Elämä jatkuu

Bisogna morire - kuolla täytyy

  • Jokainen meistä on joskus lähdössä...ei muuta kuin jonon jatkoksi, kun sen aika koituu
    Jokainen meistä on joskus lähdössä...ei muuta kuin jonon jatkoksi, kun sen aika koituu

Marco Beasley on loistava laulaja, joka jo vuosia on tulkinnut vanhempaa, italialaista laulumusiikkia. Tässä Stefano Landi:n (1587-1639) "Passacaglia della vita"-laulussa elämän ja etenkin kuoleman tosiasiat kerrotaan suoraan päin naamaa. Hienoa musaa! Näillä mennään ja tuollaisessa kyydissä muutenkin jaksetaan. Englanninkäännös on sen verran hyvä, etten rupea enää suomentamaankaan. Alkuperäinen teksti löytyy juutjuubilinkin jälkeen ja sokerina pohjana toinen, vielä upeampi laulu...

"Oh, how you are mistaken, if you think that the years do not end, everybody must die. It is a dream, that life seems so pleasant; short is the joy, everybody must die. A medicine does not help, kinine is useless, you can't be cured, everybody must die. Complaints, threats, bluffing are nothing worth; your selfconfidence will be broken, everybody must die. It is a useful knowledge that there are no words to calm your overconfidence, everybody must die. There is no way, to disenyangle this knot, it is not worthy to flee, everybody must die. It counts for everybody, even a clever person can't blow his turn away, everybody must die. Even if you're singing, playing on the (citer) or panflute, even then everybody must die. Even dancing, drinking, eating; with that careen, everybody must die.

The cruel Dead, is unfaithful to all of us, let us feel ashamed, everybody must die. Even though it seems insanity, or large rage,.....regard yourself as a lutanic, everybody must die. Young people, angels and all people must burn, everybody must die. Healthy persons, ill people, brave and weak, all will experience their end, everybody must die.

So remember inside, you'll come to an end, everybody must die. If you don't think about it, you have lost your senses, you are already dead and should only repeat: Everybody must die, everybody must die, everybody must die"...


Oh, come t'inganni se pensi che gl'anni non han da finire, bisogna morire. E' un sogno la vita che par sì gradita, è breve il gioire, bisogna morire. Non val medicina, non giova la china, non si può guarire, bisogna morire. Non vaglion sberate, minarie, bravate che caglia l'ardire, bisogna morire. Dottrina che giova, parola non trova che plachi l'ardire, bisogna morire. Non si trova modo di scioglier ‘sto nodo, non vale il fuggire, bisogna morire. Commun´e il statuto, non vale l´astuto, ´sto colpo schermire, bisogna morire.

La Morte crudele a tutti è infedele, ogn’ uno svergogna, morire bisogna. Eppur è o pazzia o gran frenesia, par dirsi menzogna, morire bisogna. Si more cantando, si more sonando la cetra, o sampogna, morire bisogna. Si more danzando, bevendo, mangiando; con quella carogna morire bisogna. I giovani, i putti e gl'huomini tutti s'hann'a incenerire, bisogna morire. I sani, gl'infermi, i bravi, gl'inermi, tutt'hann'a finire bisogna morire.

E quando che meno ti pensi, nel seno ti vien a finire, bisogna morire. Se tu non vi pensi hai persi li sensi, sei morto e puoi dire: bisogna morire, bisogna morire, bisogna morire, bisogna morire...


Myös tämä "La Carpinese" on hieno suoritus, niin naistanssijalta, Christina Pluharin yhtyeelta kuin laulajalta:


Marco Beasley:stä lyhyesti:

"Marco Beasley endowed with extraordinary vocal gifts and an innate talent for communication, Marco Beasley was born in 1957, the son of an English father and a Neapolitan mother. He grew up in Naples, the most musical of Italian cities. His passion for singing then led him to move to Bologna, where he attended courses in the performing arts at the University, concentrating especially on the vocal music of the Renaissance and Baroque periods. The rediscovery of the very rich popular tradition of Southern Italy, dating back to those very years (the early 1980s), fired him with enthusiasm and contributed to the development of his very special artistic personality. At the same time he carried on his studies in fifteenth- and sixteenth-century musical literature, with particular focus on two stylistic pillars of that period: “recitar cantando” and sacred and secular polyphony. In this context, his English heritage has further enriched his vocal talent, already full of character and passion, giving him great self-control, a deep sensitivity to sound and a wide range of highly refined timbres that enables him to explore a broad palette of colours in every register. The meeting with Cathy Berberian – of vital importance to him – also dates back to those same years. An unforgettable champion of contemporary culture, she was his teacher for - unfortunately - too short a period. Berberian's premature death acted as a catalyst: Marco Beasley found himself with a store of eclectic musical experiences which have shaped his unique, though hard to define, artistic personality. It is difficult to say what prevails in his performances: the magic of his beautiful voice, his ability to communicate or his extraordinary stage presence".

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