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What is channeling?

The close connection between the term "channeling," "Ascent" and "light work" I'm in the corresponding previous contributions already pointed out. There should therefore go exclusively to the channeling itself.

"channel" eingedeutschte The verb comes from American English. "Channel" means "channel" and "to channel" is often bumpy "his channel" to translate, although it is not a being, but an activity. Therefore, "to channel" aptly translated as "transfer" "forward" or.

as a "channel" or "channel medium" refers to a person who channels.

"channeling" is the transfer of power or the transmission of information from a source that is outside of our own consciousness. In the strict sense is meant by "channeling" the transmission of verbal information. The source of such information can be anything, eg God, angels, Ascended master craftsmen and women, higher consciousnesses, like the Christ-consciousness or the own higher self, nature beings, animals, plants, rocks. In the last four cases it is channeling the spirit of each of these entities, so the fifth-dimensional component.

In principle, also deceased, and earth-bound souls are channeled. Of these, however, is not recommended, because you do this to the fourth dimension hosts and then "hang" may remain in this dimension. It could be then that you believe to channel higher beings then and yet "fallen" only to beings from the fourth dimension.

If you look only at the outset of the light plane (ie from the fifth dimension) hosts, you accidentally gets little to astral beings. Serious Channel teachers teach in any case only the connection to the world of light. Communication with the realm of the dead is a specialty. Man to be developed can be very far away to see both clearly distinguish and separate. People who speak with the dead are usually not appropriate media channel and vice versa. In general you should leave the dead alone. They are anyway not as a source of higher knowledge. All other reasons for contact would also be selfish. They serve neither our own development, nor that of the deceased.

The result of a channel operation is called "channeling. It is usually a continuous text, ie a sequence of meaningful related Sentences. Images or colors are rarely transmitted. A color or image experience is usually not the result of a channel operation, but comes off on various other ways. Different emotions can change in response to the channeling of energies. Channeled words are often perceived by the media as a thought, less than spoken words, is one inwardly. This is the voice always the same, the sounds of metals. This type of medium is called Hörmedium.

rooms at this place I like with the old prejudice, that audio media are thought to be more reliable than the media, listen to audio media just because the words. If, for example in German language is channeled, then each source always use High German. If a Hörmedium then as "asks" for "asks" channeling, or "Elohim" instead of "Elohim", then you will notice that these words are used by the media in their everyday language, although they are not standard German. Such examples can be seen that the individual words are formed in the mind of the channeled information Hörmediums and therefore go through the same personality filter, as in thought media.

For the listener or reader of a channeling, the information obtained in the first three stations usually run before the Receiver arrive:
All information from luminous channeling first go from the source of all life, that is the divine truth. From this source to feed all higher beings and consciousnesses that are received in turn connects to a channel, which then channeled the messages of each system before this channeling can be heard or read.

reason alone, it is for everyone who wants to rise, is advisable to learn the channeling itself, thus omitted the four stations. Another reason is the multiplier function. Any man who can channel, allows more and more other people to enjoy to come from channeling. Finally, the learning and practice of channeling the best way so far to merge with your own Higher Self. Also, the higher self can be channeled. In the course of further development of a channel, the channel between normal consciousness and the Higher Self of the people are open and on and a person is finally able to speak from his own higher self out without him, the individual words or less dictated. This also works with other higher beings, who then take over during this process the role of the Higher Self.

Every person who transmits energy, should itself always stay out and used only as a channel for higher sources of energy rather than produce from within themselves. The channeling of information, however, is only a transitional stage towards the speech as ascended beings from the unit with your own Higher Self. As a goal two ways in common is that it finally between the ascended beings and the source of all life is no other remaining station, whether it concerns the transfer of power or the transmission of truth.

that channeling is just a crutch, of which one should not be dependent on results, it follows from the definition according to which the source of channeled information outside of our own consciousness and is usually not the same as the source of all life. The goal is thus the conscious union with our own higher self, thereby obviating an intermediate station between the human and the divine source.

Channeled information can also be something other than knowledge. They are initially unchecked knowledge that has come mostly through three stations to the receiver. In a knowledge it is the knower managed a direct connection between his normal consciousness and the divine truth make. At least for the moment the knowledge is the knower in the awareness of God. Findings channeled information can not be replaced. Without its own Finding is an evolution of consciousness is not possible without channeled information, however, very well!

Although I learn and apply each of channeling Lightworker very can put your heart in order to promote the fusion with his own higher self, this way is never a substitute for their own ideas. I recommend that every light works on all major issues of the climb - go into meditation in order to seek their own knowledge - the most repeated. The effort is worthwhile, because the fruits of their own knowledge can be immense.

Dr. Karenga Deborah Jones Gail Davis

Joseph Haydn: Russian Quartets, Opus 33 (Kodály Quartet)

A total of 83 string quartets, Haydn over of his life composing - not counting
"Seven Last Words of Christ on the Cross" . An amazing performance in itself, the estimate is higher than in Haydn's not focused on this genre or even be limited. More than 100 symphonies, plus numerous piano sonatas, operas, concerts, religious works: even if one considers that his professional career more lasted half a century, which is an enormous workload. It has set Haydn in some areas significantly more forward than on other signals. While, for example, concert and opera remained relatively traditional and there is the string quartet, the symphony and the piano sonata a tremendous process of development and unparalleled ingenuity, which has affected the younger generations deep.
from the years 1778-1781 are the six so-called
"Russian" quartets
, which owe their name to the client and dedicatee, the Grand Duke Paul of Russia
. Here, the development of chamber music of Haydn therefore reached its climax when, in comparison with the older quartets to fully passes to abandon the binding of the thematic material to individual instruments, especially the first violin, and instead, all four participants thoroughly involved in the debate. It is thus achieved in other words, emancipation, which was binding on the quartet style of the later generations. For while previously led just one word and the three others more or less nodded approvingly, now creates the kind of musical communication, which - would not it worked so elaborate and well considered - more like the "democratic" achievement of political discussion reminded: It falls to each other's word, not the other may be able to finish, is taking statements to continue as they see fit ... and sits in the middle of a desperate leader who tries to save with subtle hints of what can not be saved.
To stay in this comparison: In the case of the string quartet is the moderator, that is, the composer, of course, in a very different situation. Because of his imagination and his form of consciousness arises from the back and forth of the motives, and he can show off or give up as he sees fit, he formulated the attacks and disruptions. And besides, he may at any time the heat of battle defuse with a few humorous remarks - a procedure that has been
Theodor Heuss

and Konrad Adenauer almost disappeared from the political culture.

National Exhibition Joseph Haydn in his time, the Austrian postal stamp of 1982 How very, Joseph Haydn on the conformation, the six "Russian" quartets show all. They are all four movements, the first four compositions place the Scherzo and Scherzando (a fairly new and absolutely Haydn's invention) into second place in the last two quartets, they stand before the final, which means, in four of the six cases as Presto is. Once - in G major Quartet Op 33 No 5
- the composer's first leads listeners astray: The final movement begins as Allegretto and presents three variations on a lilting siciliano
theme. But then something happens entirely without unsuspected - yet still beats the tempo into a Presto, and in no time the work reached the end. In general one must, as already indicated, be prepared for some humorous showpiece. The voices of the birds Quartet C major, Op 33 No 3
are just as stubborn as the main theme from the first sentence of the first following work; unorthodox and downright ignored bold Composer of the pre-drawn triple time in the Scherzo of the Fifth Quartet, and the final Allegretto of the Quartet No. 6 is again a proof that can also lead to lively debates a good point, if only one regulatory hand at work. With a portion of any litigation, lack of seriousness is to be avoided, except where the dispute itself was the target. This is different then just the classics from the present ...

Source: Anonymous
, the booklet
CD 1, Track 8, op.33 String Quartet No. 2 "The Joke" IV Finale




TRACKLIST

 
 Joseph Haydn (1732-1809) Russian  Quartette / Jungfernquartette 
 
 CD 1: On Streichquartette. 33 No. 1, 2 & 5 [54:41] Quartet No. 
 
 
. 29 in G major, Op. 33, no. 5 "How do you do?"  
 01. I. Vivace assai [6:03] 
 02. II. Largo e cantabile [4:50] 
 03. III. Scherzo [3:13] 
 04. IV. Finale [5:11] 
 
 Quartet No.. 30 in E flat major, Op. 33, no. 2 "The Joke" 
 
 05. I. Allegro moderato [4:50] 
 06. II. Scherzo [3:44] 
 07. III. Largo e sostenuto [4:40] 
 
 08. IV. Finale [3:43] 
 
  Quartet No.. 31 in B minor, Op. 33, no. 1  
 09. I. Allegro moderato [5:24] 
 10. II. Scherzo [2:51] 
 11. III. Andante [5:49] 
 12. IV. Finale [4:16] 
 
 
 
 CD 2: On Streichquartette. 33 No. 3, 4 & 6 [53:38] 
 
  Quartet No.32 in C Minor, Op. 33, No.3 'The Bird'  
 
 01. I. Moderato [6:59] 
 
 02. II. Scherzo: Allegretto [2:50]  03. III. Adagio ma non troppo [6:13]  04. IV. Finale: Rondo - Presto [2:55] 
 
 Quartet No.33 in D Major, Op. 33, No.6 
 
 05. I. Vivace assai [5:38] 
 06. II. Andante [4:55] 
 07. III. Scherzo: Allegretto [2:16] 
 08. IV. Finale: Allegretto [5:06] 
 
 Quartet No.34 in B Flat Major, Op. 33, No.4 
 
 09. I. Allegro moderato [4:32] 
 10. II. Scherzo: Allegretto [2:50] 
 11. III. Largo [4:19] 
 12. IV. Finale: Presto [4:58] 
 
 
 
 Kodály Quartet Recorded at the Unitarian Church, Budapest 
 CD 1: 25th to 27th February 1993 
 CD 2: 21st to 24th September 1993 
 producer: Ibolya Tóth 
 engineer: János Bohus 
 (C) & (P) 1994, DDD 
 
 
 
 
 

Pompeo Batoni: Emperor Joseph II and Grand Duke Pietro Leopoldo of Tuscany, dated 1769, Art History Museum Vienna (Source: KHM Wien)
Joseph II (1741-1790), eldest son and co-regent with Maria Theresa in 1765, traveled to Italy in 1769 and visited with his younger brother Peter
Leopold (1747 - 1792, 1790 Emperor Leopold II) Rom. How many young foreign aristocrats "Grand Tour" on them, the obligatory educational trip to Italy, were the two portraits by Pompeo Batoni , the leading painter of the Roman period. Its simple classical portraiture, which dispenses with external pomp corresponded to the progressive ideal of the two enlightened prince.

CD Info & Scans (tracklist, cover, booklet, samples, Bonus Pictures), 46 MB

Read the file "Download links.txt" for links to the Ape + Cue + Log Files

CD 2, Track 1, String Quartet Op 33 No 3 "The Bird, I. Allegro moderato

Teddy Joseph Haydn Hermann Coburg, available in the Bear Boutique with Yatego

Joseph Haydn - a beautiful tribute to the oldest of the three great masters of the Viennese Classical ! Joseph Haydn Hermann Coburg is 42 inches tall, filled mohair and excelsior. He is stylishly dressed and with the musical work "Children's Symphony" features. Limited to only 500 copies worldwide.

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JS Bach: Cello Suites BWV 1007-1012 (Pablo Casals)

"They had kept these suites for academic stuff, for mechanical Etüdenkram without musical heat. You have to imagine it once. How could a man find them cold - they radiate, the poetry, warmth and sense of space literally! They are the essence of Bach's work, and Bach himself is the quintessence of all music. " (Pablo Casals in his memoir " Light and shadow on a long road ", Frankfurt / Main 1971) The everlasting devotion to Creator God is also the creative Johann Sebastian Bach s
based. "Soli deo gloria", but for the glory of God he would write his works. This applies to the spiritual compositions as well as the profane, for vocal works, as well as for instrumental music. In many works of Bach weaves references to a god, often with the aid of the usual baroque symbolism of numbers. This formulaic allusions were the listeners of his time familiar, we, however, are not readily apparent that Bach about the remarkably frequent use of the number six in the orders of his works - like the six sets of the six cello suites - an allusion to the number of Days of Creation formulated.


Pablo (Pau) Casals (1876-1973) If we assume that the baroque artist created with the full maturity of his work as a symbol of divine perfection, we may If the call Cello Suites BWV 1007 to 1012
comforted by Johann Sebastian Bach as sounding credo. Never before has a composer had written for the instrument works of such perfection, of comparable complexity and harmonic polyphony. Anyone who closes his eyes while listening, is hard to believe that only one solo instrument is played. In the six Bach suites require the performer playing technical mastery, exceptional situations, finger and bow technique, mastery of three-and four-part chords and outstanding ability to differentiated articulation. The degree of difficulty increases from suite to suite, like a
"Gradus ad Parnassum , And thus the wealth of design elements. Four of the suites are major, two minor, for the first and the last suite Bach chose one cross key. The passage through the keys of the suite to suite reinforces the impression of "advancement" through to bright D major, is the key to the baroque doctrine as the key of life, encouraging. The idea of Bach, to compose a work of such proportions for cello solo, was new in his time, except for Violin and Viola da Gamba already existed a small solo repertoire. Not new, however, was the shape of the suite as a series of dance movements from Allemande, Courante, Sarabande and Gigue. Bach, however, it is possible, if possible within these limits to develop great design freedom and interpret the new tradition: Each suite he put forward a Prélude and inserted between the traditional dances such as were in his time "modern" as Minuet, Gavotte and Bourrée.



Bach wrote the cello suites in a period that was perhaps the happiest of his life in general. Thirty-two years he had in December 1717 over the post of music director and director of the royal college in Köthen. There, the composer felt so well that he "vermeinete to decide its lifetime can also" here. Prince Leopold of Anhalt-Köthen , who was with Bach's office just as twenty-three years, had the intention to create a Court of the Muses in Köthen and build first an excellent court orchestra. He hired the best musicians, many of them former members of the Berlin court orchestra, the frugality of the soldiers of King Friedrich Wilhelm I had fallen victim. Bach's task was to write pieces for evening concerts and festive occasions, this court orchestra to rehearse with and to direct the performances. From the Köthen period in addition to the cello suites are the Brandenburg concertos, the violin and piano concertos, the six English and French Suites for harpsichord and the six solo sonatas for violin. the court musicians Leopold were two excellent cellist. One of them was the eminent virtuoso Christian Ferdinand Abel
for the Bach cello suites probably composed. In Bach's time, had the four-string cello
whose strings in C - G-d-a were voted enforced. To extend the tonal and technical possibilities, Bach was at the top of the fifth suite a vote on g-string down. The sixth suite in D major, written for a special cello of his time: This instrument had an extra fifth string in e, the so-called "Cello à cinq cordes" or "Viola pomposa. This expands the sound space of the instrument significantly and now includes more than three octaves. From the artist, which this suite on a normal four-string cello, but this requires an extraordinary ability.

Is it difficult to base this high a burden that the Cello Suites BWV 1007-1012 were hidden after Bach's death over 150 years a large audience? In the concert hall they were virtually non-existent, although in the 19th Century, twelve different editions of the works appeared, indicating that they were well studied by cellist and played. Only a lucky coincidence meant that they are heard for the past 100 years in the concert. To thank the cellist Pablo Casals
. This came in 1890 in a music shop in Barcelona on an edition of the plays, and was immediately fascinated. Twelve years he studied them before he first played in the concert. In the 1930s he took the suits then click on the first record he himself confessed to have studied more than fifty years time and again with these pieces. In the attempt to grasp the almost superhuman perfect art of Bach in words, Casals appeared incidentally only one sphere be adequate to the divine. "The miracle is taking Bach undermine in any other art. Human nature, until it receives divine Profile the wings of eternity give the transitory nature, the divine things humanize, deifying the human things, this is the work of Bach "

© 2006 Christiane Krautscheid. (First published: program of the Berliner Philharmoniker No. 74, 05/28/2006)


TRACKLIST

 
 JOHANN SEBASTIAN BACH (1685-1750)  
 
 
 CD 1 [56:16] 
 
 
 SUITES FOR SOLO CELLO (BWV 1007-1009)  FOR CELLO SUITES (BWV 1007 - 1009) 
 
 
 SUITE NO. 1 G MAJOR, BWV 1007 / SUITE NO. 1 IN G MAJOR, BWV 1007 
 Ex. / recorded in 1938 
 
 
 01 I. Prelude (moderate) [02:26] 02 
 
 II. Allemande (very moderate) [03:40]  03 III. Courante (Allegro non troppo) [2:32] 04  IV. Sarabande (slow) [02:22] 
 05 V. Menuetto I & II (Allegro moderato) [3:14] 06 
 VI. Gigue (Vivace) [1:48] 
 
 
 SUITE NO. 2 d-moll, BWV 1008 / SUITE NO. 2 IN D MINOR, BWV 1008 
 aufg. / recorded in 1936 
 
 07 I. Praeludium [3:41] 08 
 II. Allemande [3:54] 09 
 III. Courante                    [02:17] 
 10  IV.  Sarabande                             [04:06] 
 11  V.   Menuetto I & II                       [03:19] 
 12  VI.  Gigue                                 [02:32] 
  
  
 SUITE NR. 3 C-DUR, BWV 1009 / SUITE NO. 3 IN C MAJOR, BWV 1009 
 aufg./recorded in 1936 
  
 13  I.   Praeludium                            [03:26] 
 14  II.  Allemande                             [03:46] 
 15  III. Courante                              [03:14] 
 16  IV.  Sarabande                             [03:29] 
 17  V.   Bourree I & II                        [03:23] 
 18  VI.  Gigue                             [03:00] 
 
 
 
 
 CD 2 [71:53] 
 
  FÜR Cello Suites (BWV 1010-1012)  FOR CELLO SUITES (BWV 1010-1012) 
 
 
 SUITE NO. 4 Es-Dur, BWV 1010 / Suite No. 4 IN E FLAT MAJOR, BWV 1010 
 aufg. / recorded in 1939 
 
 01 I: Prelude (Allegro) [04:12] 02 
 II: Allemande (Allegro moderato) [03:45] 03 
 III: Courante (Allegro non troppo) [3:53] 04 
 IV: Sarabande (Lento) [04:06] 
 05 V: Bourree I & II [03:37] 06 
 VI : Gigue (Vivace)       [02:34] 
  
  
 SUITE NR. 5 C-MOLL, BWV 1011 / SUITE No. 5 IN C MINOR, BWV 1011 
 aufg./recorded in 1939 
  
 07  I:   Prelude (Adagio - Allegro moderato)   [07:17] 
 08  II:  Allemande (Allegro moderato)          [03:17] 
 09  III: Courante (Allegro non troppo)         [02:02] 
 10  IV:  Sarabande (Lento)                     [02:43] 
 11  V:   Gavotte I & II                        [04:29] 
  
 12  VI:  Gigue (Allegretto)                    [02:19] 
  
     SUITE NR. 6 IN D-DUR, BWV 1012 / SUITE No. 6 IN D MAJOR, BWV 1012 
 aufg./recorded in 1938 
  
 13  I:   Prelude (Allegro moderato) [5:05] 
 14 II: Allemande (Quasi adagio) [07:30] 
 15 III: Courante (Allegro non troppo) [03:43] 
 16 IV: Sarabande (Lento) [04:17 ] 
 17 V: Gavotte I & II (Allegro moderato) [03:03] 
 18 VI: Gigue (Vivace) [03:54] 
 
 Pablo Casals, cello 
 (P) + (C) 2003, ADD 
 
 
 
 

CD 1, Track 1: Cello Suite No. 1 in G major, BWV 1007 I. Prelude

beginning of the Cello Suite No. 1 in G, First Page of the manuscript by Anna Magdalena Bach

The cellist Pablo Casals

on his 85th Birthday Pablo Casals was forced by an American publisher, he should finally get his autobiography on paper. Casals then waved modestly, what he had to happen because, as that would be worth the trouble, and who are already interested in the experiences of an old cello player. In other work he had to and I have no time for such nonsense. But quite as publicity-shy as it seems, Casals was no longer - on the contrary: He willingly could spend hours with any stranger journalists talk about his life, and then he told in detail about his childhood, his artistic career and his experiences during the two world wars. And it bothered him apparently little, if there were photographers always around him, who held his every move and every gesture of him, so that there are even 14 years after his death, a flood of Casals-table books, in view of which many a Star conductor should really be green with envy. Perhaps the most memorable image
successes are those that show Casals immersed in the game of his beloved cello suites by Johann Sebastian Bach: the face tense, concentrated listening to oneself, and then the next moment lost in thought every sound nachlauschend. Everything remains in the sphere of intellectual, physical exertion or of a struggle to cope with technical problems had nothing to do. What is visible in these images corresponds to the position just fine, as conceived Pablo Casals Bach's music and interpreted.

For the artist, Pablo Casals, there were two major tasks: First, there was his commitment to the cello suites of Bach. But far more important to him was the culture of his homeland. Difficult it was only when he was to outline the concept of 'home' firm, for Casals had several souls in his breast. Compared with the English state, he felt himself a Catalan - his first name he chose for himself instead of always the Catalan form 'Pau' Pablo '. But he was as far as Spain, that he had to do with true love in the English royal family, although he simultaneously supported the English Republicans in their efforts towards a democratic order. When the English Civil War of the apparent victory of General Franco, Casals emigrated to southern France in the Pyrenees-site Prades. In 1955 he moved to the island of Puerto Rico, where his mother came from. His beloved Spain, he should not see each other again. Casals was an idealist, and for that idealism out to the weaknesses and contradictions his actions are explained. As soft after the Second World War, the Franco regime did not want to and not a nation committed to the freedom of Spain, Casals refused to ever again perform in public. However - after three years of silence, he agreed to have at least listen to his exile in Prades paying guests. A new summer festival was born - a festival that should be enough according to the will of its founder, not only artistic aspirations, but also intended as a demonstration for a free Spain was. But before long, that here on the border to Spain gathered those illustrious festival community, which are also found in Bayreuth and which the political attitude of the dictator General Franco was perhaps not so unappealing.

Source:
Wolfgang Lempfrid: The cellist Pablo Casals
is This post originated as a transmitting manuscript for the Germany wireless, K PEP


Jan van Kessel (* 1626, Antwerp, + 1679, Antwerp): Concert of Birds , Koninklijk Museum voor Schone Kunsten, Antwerp El Cannot Dels Ocells
(German: "The singing of the birds') is an old Catalan folk and Christmas songs. In this song, celebrating more than thirty small and large bird species, the birth of Christ. The song is in the melody solemnly carried and set in a minor tone. It covers from the lowest to the highest tone a very large extent note. A parody version of this song was in 1705 during the visit of English King-designate and Archduke of Catalonia,
Charles III., later when Charles VI. Emperor of the Holy Roman Empire of the German nation, was launched in Barcelona in circulation. Pau Casals started all his concerts in exile since 1939 with the song, like for example the concert on 13 November 1961 at the White House before Jackie and John F. Kennedy and invited guests in an arrangement for cello and piano. In this way, this song in a similar way as the Virolai de Montserrat addition to the official Catalan anthem Els Segadors of a Catalan national symbol, a kind of secret national anthem.
Pau Casals plays "El Cannot del Ocells" (Youtube)
The notes of the cello suites for free download
in
International Music Score Library Project search for JS Bach's cello suites at JPC (many connected !)


CD Info & Scans (tracklist, cover, booklet, samples, Bonus Pictures), 40 MB
Read the file "Download links.txt" for links to the Ape + Cue + Log Files
CD 2, Track 12: Cello Suite No. 5 in C minor, BWV 1011, VI. Gigue

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Wanda Landowska (1879 - 1959): Goldberg Variations BWV 988

suffered from low self-esteem is not the lady, "If you can not do teach, play Bach on your way. I for one play him in his own way. "Whether Wanda Landowska actually canceled a meeting with these words on the right decorations for Johann Sebastian Bach, is controversial. But a conviction of the perpetrator great Polish harpsichordist was in any case - though one that Bach did not play very safe "in his own way." To have the Ritardandi and Rubati , some ornament, probably some registry changes, their monstrous Pleyel harpsichord allowed surprised determined. And yet, Wanda Landowska done more for the development of a historically informed understanding of music than almost any other artist in the first half of the 20th Century. It is quite conceivable that without Bob van Asperen , Gustav Leonhardt and all the other famous expert on historical keyboard instruments today would not be what they are. Wanda Landowska began as a pianist, in the best romantic tradition - as well as different in a music world where a harpsichord as a museum-quality Wire chest was. Your teacher Aleksander Michalowski taught some of the greatest pianists of the time, including Vladimir Sofronitzky and Mischa Levitzki. Landowska also must have been a wonderful interpreter of Chopin, and Mozart recordings, such as produced in London in 1937 Coronation, are documents of a lucid, pleasantly dry articulate piano playing. Fresh, fluid and completely unsentimental phrased it, and only the dreamy and touching plays Fantasie d-minor KV 397 suffices as evidence that she was a great interpreter of Mozart.



Wanda Landowska (1879-1959) 1900 Landowska arrived in Paris, a 23-year-old pianist who is less for virtuoso keyboard thunder as the fine detail in Bach, Rameau and Couperin enthusiastic. Given their love for the French to handle the harpsichordists harpsichord
in retrospect seems obvious and consistent. In fact, however, was an instrument that had the Paris Pleyel piano company
Built in 1889 for the Exposition, as in the former pianist scene curiosity. But Landowska was undeterred, traveled through European museums, in the wake of a Pleyel technicians to measure the number of old harpsichords had. The instrument, which they then presented in 1912 on the Bach Festival in Wroclaw, as a result of this research, measured over two meters in length, had a massive cast-iron frame, strings, which were under high stress, six combined index, including a heavy 16-foot - this unit was to generate some noise. And so it is - all in spite of intensive study of sources Landowska - not historically accurate, when they swept with metallic sparkle by Bach's Chromatic Fantasy and roars with orgelndem Bass by Passacaglia
of Handel's G minor Suite. The effect, however, was terrific. We understand quite why the harpsichordist of this instrument might never separate anymore. When the Polish Jewess end of 1941, adventurous, and the loss of their entire property from the Nazis fled to America was her Pleyel more or less the only thing that could save them.


Pure style music that sounded to Wanda Landowska too often 'to' bland indifference and tortuous. The last thing one would blame herself. Alone on their recordings can understand easily why their residence Saint-Leu-La-Forêt, near Paris, where they hoarded until the German invasion of ten thousand books and numerous notes and a private concert hall built, the Mecca of very different musicians. Poulenc and de Falla her feet, and were both written for concerts them. The great pianist Alfred Cortot played with her and sent his students. Your unique harpsichord-like in today's musical life as no more imaginable and Landowska be playing out of date in many details. But the fascination of her recordings is unbroken. This is true for the 64 1928-1940 in Europe earlier and now re-released recordings of music by Bach, Handel, Scarlatti, Rameau, Haydn, Mozart and some others even more so than for the later, although better known, but all in all less fresh and spontaneous-looking New York productions. 1934 was sparkling Scarlatti sonatas like little jewels. Bach's Goldberg Variations
- in May 1933 Landowska invited to the "first complete performance in this century," and produced it in the same year - it draws a seemingly endless sheet. And it is the unassuming miniatures by Byrd, Couperin, Daquin, or they discover a most virtuous times, sometimes touching cabinet pieces. The technical quality of sound is the way in most cases, surprisingly good, which is probably not only to thank the excellent remastering. Also in this respect seems to have been Pleyel giant indestructible.


Emil Orlik (1870-1932): Wanda Landowska, 1917 Wanda Landowska, formed in 1959 at age 80 Died in Lakeville, is the pioneer of the modern harpsichord playing, even if it's music and more on their, as played in his own way.

Source:
Oswald Beaujean: The cast-iron harpsichordist, DIE ZEIT, 13.03.2008 No 12

quotes from Wanda Landowka:

"I have observed during my concert tours that the harpsichord, his enemies mainly . Pianist in circles by the difficulties to obtain such a hard-to-use tool and learn its special way of playing, are not the only causes of mistrust, and there are more serious and deeper reasons: If one of certain childhood Works heard on the piano, so of course we feel a shock at first when they are played in a completely different tone. The ear is very surprised by the timbre of silver, the metallic sound of the chords, too blinded by the shine and the mysterious sums were able to do that than to follow the melodic line and take their expression. The harpsichord is not an imperfect precursor of the modern piano and the piano is no improvement of the harpsichord. There are two entirely different instruments. "

" So far we know, except for very rare exceptions, only two ways to interpret old music. Either pour them into a new shape by processes they beyond recognition, the pace and nuances vary in their expression and exaggerates. Or they are taking them, as they call it, pure in style, and indeed to that thread and winding indifference that seems difficult, dull and monotonous and gives the impression of attending a funeral of our foreign person with whom it would be improper to to appear cheerful. " " The concept of progress is a quirk of the critics. The band themselves have never had it. All great musicians were rather full of respectful affection for their predecessors. The critics who say time and again that music is a transient Art is the fashion and is subject to are no better than those of natives of the Fiji Islands who kill their parents when they start to get old. If a composition was actually alive once, then if they met all the conditions of life, then there is no reason that they would die. Music is aging only when it is neglected - like a woman who is not loved. Do you deal with it, and it will taper "

Source: Wolfgang
Lempfrid: The distant sound - Wanda Landowska and the rediscovery of the harpsichord


TRACKLIST

 
 Johann Sebastian Bach ! 
 Italian Concerto, BWV 971 [12:36] 
 
 (Recording: 07/09/1935 and 25-26.09.1936) 
  01 1. Allegro [03:59] 
 
 02 2. Andante [05:03] 
 
 03 3. Presto [03:35]   
 Chromatic Fantasia and Fugue, BWV 903 [13:24] 
 
 (Record: 10 +16.07.1935)   04th 1. Fantasy [8:26] 
 05th 2. Add [04:57] 
 
 
 
 Goldberg Variations, BWV 988 
 [46:35]   (Recording: 09/11/1933 and 13-11.15.1933)   06. 1. Air, expressive Andante [02:18] 
 07. 2. Variation 1 [01:47] 
 08. 3. Variation 2 [00:54] 
 09. 4. Variation 3, Canone all 'Unison [01:00] 
 10. 5. Variation 4 [01:01] 
 11. 6. Variation 5 [00:57] 
 12. 7. Variation 6 Canone alla Second [00:51] 
 13. 8. Variation 7 [01:11] 
 14. 9. Variation 8 [00:54] 
 15. 10. Variation 9, Canon at the Third [01:08] 
 16. 11. Variation 10, fughettas [01:35] 
 17. 12. Variation 11 [01:07] 
 18. 13. Variation 12, Canon at the Fourth [01:13] 
 19. 14. Variation 13 [02:51] 
 20. 15. Variation 14 [01:10] 
 21. 16. Variation 15, Canone alla Quinta [02:35] 
 22. 17. Variation 16, Overture [01:54] 
 23. 18. Variation 17 [00:45] 
 24. 19. Variation 18, Canone alla Sesta [00:53] 
 25. 20. Variation 19 [00:49] 
 26. 21. Variation 20 [01:00] 
 27. 22. Variation 21, Canon on the Seventh [02:14] 
 28. 23. Variation 22, the short [01:33] 
 29. 24. Variation 23 [01:10] 
 30. 25. Variation 24, Canone all 'Ottava [01:40] 
 31. 26. Variation 25 [03:55] 
 32. 27. Variation 26 [01:04] 
 33. 28. Variation 27, Canon at the Ninth [0:52] 
 34. 29. Variation 28 [01:19] 
 35. 30. Variation 29 [01:13] 
 36. 31. Variation 30, Quodlibet [00:52] 
 37. 32. Aria (da capo) [02:26] 
 
 Gesamtzeit: [72:35] 
 
 Wanda Landowska (1879-1959), Cembalo 
 + Audio Restoration Producer: Mark Obert-Thorn 
 (P) & (C) 2005 ADD 
 
 
 
 
 

David Bailly, (* 1584 Leiden, + 1657 Leiden): Self-Portrait with vanitas symbols, 1651, Stedelijk Museum De Lakenhal suffering (Source: Web Gallery of Art ) This famous David Bailly's paintings

blurs the boundary between the two genres of still life and self-portraits. found the one hand, several portraits (as a painting within the painting), which are arranged as part of a still life on the table. The package includes, among other things, a skull, an extinguished candle, coins, an overturned Wine glass, a pocket watch, roses, a pearl necklace, whistle, books and sculptures. In soap bubbles float
, a traditional symbol of transience.
other hand, the entire collection serves as a statement about the man on the left, whose face the typical characteristics of a self-portrait has. It is irritating that the artist was 67 years old, in truth, when he painted this picture in 1651.
His true appearance at this time shows Bailly in the small oval portrait that presents the young man ostensibly the viewer is thus presented with sophistication, the transience of life. The young man who at first View is presented as real is actually the past: David Bailly more than 40 years.

In the second oval portrait is shown Bailly woman who died in 1651 already, and exposed just as the aged mind (or imagination of the artist) behind the

champagne flute in the middle of the picture. shown at a young age, she has been a youthful self-portrait, as deceased but the age portrait of the artist.
The pressure on the wall is a reproduction of
"According game ends fool"
of

Frans Hals (1623, Musée du Louvre). The drawing of the bearded man next to it is Bailly's father or one of his teachers, and this detail has yet to enlightenment, perhaps forever.

Biography • Quotes • Links • Literature & Sources to Wanda Landowska on the 'FemBio "the women's biographical research

CD Info & Scans (tracklist, cover, booklet, Samples, Bonus Pictures), 24 MB

Read the file "Download links.txt" for links to the Ape + Cue + Log Files

Sample

Track 2: JS Bach: Italian Concerto BWV 971 - 2 Andante Wanda Landowska (1879-1959), harpsichord, recording of 9 July 1935

Does Sleep Eze Sleeping Aid Work

postcodes

When I look for a flight to Moscow, I always look first at
www.fluege.de

• I book but not directly from fluege.de, because they always try to impose me any insurance. Instead, I book directly with the provider. For direct flights from Munich to Moscow
are the most flights from Air Berlin at the www.geruxx.de

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What is Ascension?

"rise", "light work" and "channeling" are three words in our language relatively new. They all come from the English-speaking world and are also arisen in terms of content and context. "Ascent" and "light work" are translations of "ascension" or "light work". The word "channeling" was due almost untranslatable left in the original, except that it has an "l" is omitted.

light work is the vehicle for the ascent and a light worker is a person who follows the path of ascension. were the same (the theme of "light work", see my detailed review of August 2009.) The channeling of information and energy and the picking up and the two main instruments of light work. Unless very briefly on the links.

fact that there are people who describe themselves as light workers, although they do not go the way of ascent, is another matter. Likewise, some people describe their activities as light work, although this has to do with neither light nor to work with advancement. Also, the channeling is used not only for the rise. All this can and may be so, then has nothing to do with real and true light work. This is intended to conceptual clarity and not the assessment of the actions of others. Everyone can do whatever he wants, but should use proper names for each of his actions. What light is working and what is not light work, I have detailed in the relevant contribution explained and justified.

respect of the rise can be divided roughly four groups of people: first
The inertial mass, which currently makes up the majority of people that do not go the way of the ascent.
second The pessimists who have been understood at least that the world is in a massive change, but are convinced that everything will end very badly and had already decided not to go the way of the ascent.
third The naive optimists who believe in the extreme case that the entire human race on Earth 21/12/2012 will rise automatically and therefore do nothing except wait and hope, "and drink tea."
4th That small percentage, which also Sai Baba on the link in my last post says, who recognized that only ascend those who actively do something for its advancement, where is the time of rise for every person and not another pre-determined.

The mass of people either have not heard of ascent, or considers it nonsense. However, the theme of "2012" is present more and more in the world public, so everyone now gets the chance to learn of the theme of "rise" as the only individual solution to this dilemma and to choose this path!

Because much is certain that the frequency increased further, the energy on earth more increases in strength and more and more different energy qualities are available. Thus, each individual human being on earth in a few years only have the option to either adapt to these energies of the rise or exkarnieren necessarily because no body can endure in the long term energies of the fifth dimension, without adapt.

The pessimists are those who have information on one side of negative sources and have taken too early for a decision. They believe for example that we are with a large celestial body (almost) crash, or win the Illuminati, or that the earth is conquered by negative aliens, or or or. These people are likely to least likely, because it is always difficult to give a one precipitated Prejudice back on. This group includes the people who believe that in time would be saved from doom, the "chosen ones", for example through an evacuation on the part of the Ashtar Command.

The naive optimist in extreme cases make the mistake of thinking that they are three different concepts of ascent equate to each other, namely the concepts of global ascension, ascent of the collective and individual advancement. They are subject to one or more of the following illusions :
a) All people will rise up in any case.
b) All People will ascend at the same time.
c) either increase or no people at all.
d) OF happens rise on 21.12.2012 or to another certain date.
e) To ascend it is enough to want to move up, the rest happens by itself

There are more errors on "rise", but they are here with me immediately occurred to me as they are encountered again and again.

all time is cyclical. Our universe as a whole is already longer in the process of ascension. It is therefore in the entire universe was only about 2,000 of planets where there is life on the material plane. Since we therefore one of the few planets belong to the universal development lagging far behind that of the Hierarchy has considered a plan for us to support people on earth to our advancement, without losing Cosmic laws are violated.

The smallest of the great cycles is that our entire solar system, the Pleiades in about 26,000 years circled. Within this cycle, we are also in a phase of the promotion, which ends on 12/21/2012. Thus creating as many people as their individual advancement, we are exposed to more intense energies of Ascension. 12.21.2012 at these energies, the frequency of the fifth dimension have reached and that frequency from then maintained for then no longer renewed descent possible. This occurrence in time is called the global ascension process, the time is up to 21/12/2012 of preparation and only then the real climb begins process, because this is the achievement of the frequency of the fifth dimension to the hypothesis. As of 12/21/2012 we are little by little on energy are available, what we need for our full individual advancement. Purely in the minds of individuals is an ascent possible before 21.12.2012, but not with the physical body. This will take many years.

Part of this process and that have Ascended Master / incarnated from all parts of the universe on earth, to support us physically-ground. In addition, there are multitudes of angelic beings who are not incarnated Ascended master craftsmen and women and the Ashtar Command, which is a delegation of the Inter Galactic Confederacy. The spaceships of our space brothers and sisters are in orbit, mostly in the fifth or fourth dimension. The key for us now global phase of the ascension process ends with the collective advancement, of which the date is not fixed yet.

From the collective ascent can be spoken, when nearly all Earth humans will be gone up individually, which, as already mentioned, it is common for individuals, since it depends on his commitment.

Ascension is first and foremost an individual event. The rise means the development of consciousness of man within his individual being. Any development is spiritual development and spiritual development is any consciousness development. There are two ways for individuals who are both part of being human. Everyone is an individual expression of the divine. Every person is multidimensional, thus exists simultaneously on several levels. On the material plane (3 Dim), we present our physical bodies, on the astral plane (4.Dim.) With our astral bodies, in the fifth dimension with our light bodies, etc.

Our normal consciousness is in the fourth dimension. From there we have some awareness of our being and viertdimensionalen we have an awareness of, and our bodies, we are not aware our bodies. The expansion into our consciousness within our body, both down in the physical body, and up into the higher body into it, is promotion.

On the path of enlightenment in contrast to the rise we expand our consciousness beyond the boundaries of our individual being out of. An enlightened experiences no more duality and experiences himself as the one BE, even though it still gives individual and he even almost always ego has, only that it is no longer identify with the ego and therefore ultimately has no power over the people. However, the enlightened one is subject to many illusions. An ascended man finds no duality also more experienced, but still as an individual, but now as one with all, as a part of the whole.

All people are individual. How should they all rise at once? Each person goes his own way both in his own pace. Every single person who walks the path of ascent, is thus at some point, if he is mature enough to rise. The individual rise to the fifth dimension is the development of five-dimensional Consciousness. , Means that a person is aware of his being within the lowest five dimensions of consciousness, or that he is aware of this being , because awareness is easier said being conscious that one of his words - his own first - being aware or aware that this is his own being .

You go first in the fifth dimension, which means that we obtained five-dimensional individual consciousness. Rise is not a shift in consciousness. It "shifts" into his consciousness not in the fifth dimension, because then you would get a five- t-dimensional consciousness and not a five-dimensional. A five-dimensional consciousness have to say, be fully aware of physical body, his etheric body, his astral body, his emotional body, his mental body, to be his spiritual body and its light body! From there, then climb further steps are possible, by getting used to and after his 6th-dimensional component, then its 7th-dimensional, etc. to the "upper" limit of the individual being.

There are in addition to the rise by the dimensions of their being still a special promotion, step and a second ascent. The climb to the Christ-consciousness is done on the 7th Dimension. Christ is not an entity, but pure consciousness. The tag "Christ" and "Christ-consciousness" are identical. "Christ consciousness" is nothing else than the corresponding term for our culture, the unity consciousness of God. As an ascended being you are for you in a sense of the oneness. You will experience yourself as one with everything. However, this is something other than the unity consciousness of God!

The other type of ascent is the ascent into Avatarsein. There are therefore two kinds of avatars: avatars avatars force per se and their development. An avatar per se is a direct emanation of the divine. This connects directly to have ever been through a development with a human body without. Upon completion of the terrestrial Task runs the divine back completely. This is different avatars which they have become through development. They are the most free beings who can think of.