Tuesday, March 30, 2010 at 20:36
Tuesday, March 30, 2010
Free Gay Por That Can Be Watch In Phone
Music: Genesis - Firth of Fifth
Tuesday, March 30, 2010 at 20:36
Tuesday, March 30, 2010 at 20:36
Firth of Fifth, an absolute masterpiece of their production: The title is a pun that turns the "Firth of Forth, Scottish river, in" Firth of Fifth ", as the band composed of five elements. It is also said that the title of the song have come from an idea by Gabriel, a man saw five people dying and thirsty, really wants to jump over and drink the water that comes out of their mouths, as the human body, made for 75% water and only arrived in the fifth, however, realizes that the water coming out is totally inadequate for them to find, since there are even more weakened and dehydrated as before: so, after having accidentally killed four, the discharging ' impossibility to save them when laying eyes on the mouth (Firth, in reality non-existent word in English) the fifth (fifth).
The chaotic, yet orderly and lucid emotional epic begins with a soliloquy of Banks on piano, swift and decisive, with frequent changes of pace designed to outline the first melody fits perfectly.
Then check here is the song of Gabriel, the orchestra begins to take shape with the introduction of the conciliatory tone of the organ of Banks el'insinuarsi the first tentative strokes on the drum of Collins.
The path is clear Though no eyes can see
The course laid down long before.
And so with gods and men The sheep
Remain inside their pen,
Though many times they've seen the way to leave.
He rides majestic
Past homes of men
Who care not or gaze with joy,
To see reflected there
The trees, the sky, the lily fair,
The scene of death is lying just below.
La via verso la gloria assoluta è chiara: esiste da sempre, tracciata da qualcuno. I mezzi per solcare il percorso ci sono da tempo. E’ un cammino verso l’oceano, un cammino guardato gioiosamente da tutti, che ci vedono riflessi i bei lillà. E’ il fiume, maestoso: lo si potrebbe cavalcare, ci si potrebbe provare: ma si è ancora pecore, e come tali, per ora, si sta dentro il recinto. Sui fondali del fiume si annida la morte oscura, ed annegare è in realtà molto più facile di quanto sembri.
Il tono di voce si affievolisce per poi rialzarsi progressivamente, mentre l’organo è pressoché ammutolito.
The mountain cuts off the town from view,
Like a cancer growth is removed by skill.
Let it be revealed.
La montagna intorno al fiume nasconde tutto il resto, tutto ciò che lo circonda: gli altri, i movimenti, i gruppi, i pensieri, i critici, persino il pubblico; bisogna tagliarli fuori, reciderli risolutamente. Bisogna rimuovere il cancro che si annida là fuori, attentamente, senza sbavature. Isolarsi e chiudersi in studio di registrazione. In fondo il cancro, la morte spirituale, è so close to the lily fair: The masterpiece is so close to the usual compositions tired and boring ... The border between the two is actually very thin. But it must be groped at least groped to ride the river, letting the experience proves to be sincere. Banks has already tried, in his opening words at the piano ... to no avail.
We are at the dawn of the fourth minute: dishes Collins, in the background, seem to filing her nails waiting to perform shamelessly. The song of Gabriel becomes shrill and distorted.
A waterfall, His madrigal.
An inland sea, His symphony.
A madrigal? A symphony? It could be that. And here
the voice is detected up, powerful, driven by the change of pace imposed by the battery.
Undinal
songs Urge the sailors on Till lured by sirens
'cry.
For now, the urge Genesis as navigators, like sheep in the enclosure closed. Just as sailors, until they are lured by the sirens, this time by the orchestra, in all likelihood, be able to set up. Only then will no longer serve as navigators, but only over how to navigate, simple passengers transported by them passively, inexplicably, to the sea. Will not notice it either, not to be sheep.
The singing fades away to make room Banks plan, reviving, and even more suffused slow, in charge of creating the atmosphere legendary: the accompanying gusts of wind, waiting for the explosion of expertise.
E 'when after 3 minutes and 29 seconds that appears on the scene, unexpectedly, the sweet sound of a flute that features the world to the melody of the river, the row of notes that rushes towards larger universe of ours, above the simple composition calculated in the study. The flute, like the floor, we decided to test: you are on the launch pad, but something is still missing.
Collins means the continuation of the work, arguing with his incessant beat the return of the exciting piano Banks, this time quite cheerful, that leads us in a fairytale, sea harmonious and filled with sirens: at the end ... but darkens
bursts into a frenzied keyboard, faster, more arrembante, the viewer finds himself still unaware also confused by the roaring battery that is increasingly leading role. The melody that fits between the two entities is something indescribable, something that multiplies every time you listen to: a redundancy is always new. She could dominate the whole scene, take the upper hand, but thinks better of it, leaving the stage to again summarized Banks.
5 minutes and 45 seconds apart from her. Timid, confused, tending all’infinito. L’universo altro del primo flauto si riaffaccia, tenendo però un basso profilo. E’ un continuo tendere a qualcosa, un lamento perpetuo, tanto ripetuto quanto sconnesso. La chiave non si è ancora rivelata, ma dà tutta l’impressione di volerlo fare.
La chitarra elettrica si ricompone, Hackett dimostra di conoscere il motivo alla perfezione, disegnandolo senza sbavature: impeccabile, accompagnato dai tocchi sottili offerti da una batteria mai doma. E’ lei che, scatenandosi, lancia l’assolo che si amplifica, spalanca i polmoni e respira solitario, mentre la chitarra acustica di Rutherford in sottofondo rimanda sommessamente ad una nuova, improvvisa interruzione.
Anche Hackett pare non farcela, dunque: torna su un profilo modesto e caotico, giocando sulle note come fosse perduto, come si fosse arenato sul bordo del fiume; come stesse scappando verso la città tutt’intorno, quella fin dal principio rinnegata, quella popolata da centinaia di bravissimi, virtuosi, anonimi musicisti.
Ma non è ancora finita: Collins e Hackett ci riprovano, riprovano a navigare verso il mare, ed il risultato è un incondizionato lasciarsi trasportare dalla corrente impazzita: la nave dei cinque giunge finalmente allo sbocco sul mare, veicolata da un assolo superlativo: pulito e fortissimo, acuto e suadente.
La tempesta strumentale è venuta, ed ora può assopirsi per lasciar room for a great calm, able to reflect on what has already been heard and that the show is presented to five: the boundless ocean. No need to prove anything, now the rest is a must. When
now eight minutes have passed, the body returns clocked by the master Swiss touches of tribal drums of Collins, and Gabriel's voice seems gratified by the sensational experience.
Now as the river dissolves in sea, So Neptune has
Claimed Another soul.
And so with gods and men The sheep
Remain inside Their pen,
Until the Shepherd leads His flock away. The sands of time
Were
eroded by The river of constant change.
The five have remained like sheep in the fence, the fence already heard, the easily forgotten, until an inexplicable pastor led them away, outside the fence: a shepherd of the strongest of them.
Rock claims another soul, another big fish, another memorable melody.
Closes experience plan Banks, on the same motive, in a circular process that, after the central climax sees the return of hope, the hope of remaking something like, overwhelming, infinite. A vain hope
happily.
taken from
http://fire.rettorato.unito.it/blog/?id=31007
Subscribe to:
Post Comments (Atom)
0 comments:
Post a Comment