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The music does not totally catch me and I don't really find some real emotional content here. It's all about feeling and vibes, but I'm missing some kind of melody or carrying lyrics. Tare incalcit proiectul lui Davide Borghi! Inceput in urma cu zece ani, se pare ca areusit sa se faca cunoscut in Italia prin cateva materiale underground. Cu o muzica mai degraba de film, soundtrack melodic, axat pe chitara, keyboards, flaut si pian, echipa lui Davide ne prezinta acum cateva piese interesante, ce penduleaza intre Dark, NeoFolk si Ambient, cu un accent pedimensiunea teatrala, cam greu de descris in cuvinte.

Nota Dark este uneori balansata de aroma unor balade remarcabile si unde vocea interesanta a lui Davide pare sa graviteze in jurul unui sound exclusivist, elitist. Quello che ci ha fatto ballare dalla fine degli anni '80 e che ancora oggi riscontra apprezzamenti sul dancefloor, sebbene la proposta artistica sia ridotta all'osso. Dopo varie produzioni, tributi a band come Cure e Mission e comparse su varie compilation, senza dimenticare i tre album precedenti, questo gruppo americano merita in pieno la propria consacrazione ed un posto legittimo sotto i riflettori.

Illa Exuro In Silentium is the fourth album by these stylish deathrockers. The sound of Second Skin is reminiscent of the late 80's and early 90's goth-rock, with Rozz Williams' Christian Death as a clear point of reference. The band performed live with Christian Death in the 90's, so the musical connection went beyond mere inspiration. The album kicks off with the alienating, ominous sounds of "She burns", after which "The West" and the driving "Kick and scream" treat us to swinging and melodious deathrock.

After the dramatic tunes of "Unwritten" the more restrained sounds of "Prince harming" and the wry "Birthday girl" make for a placid landing. In comparison to many current acts this piece of skilfully crafted goth-rock appears very serious and confident. Great care has been taken for the CD-booklet, the fold out insert is even so bulky that it hardly fits in. With this strong album Second Sking can attract a new following, embarking on a tour with these new tunes is highly advisable.

This work is F I have to say that Second Skin makes my day opening a whole world of great media icons like: I cannot say bullshit, all the tracks are hypnotic, pure controlled madness inside the perfect dome of wave-death-rock. Thank you Second Skin. Anche i Ghoultown qualcheduno se li ricorda? A me erano simpatici! Produzione ottima, grande cura nel packaging, i Second Skin li promuoviamo senza titubanze!

Dalle incandescenti lande dell'Arizona i SS propongono il loro quarto studio-album battezzato dalla label italiana Palace of Worms: In particolare, Arron, ha suonato al fianco di illustri nomi dello spessore di Rozz Williams, Shadow Project e The Mission UK, sviluppando progressivamente ulteriore esperienza nella manipolazione del dark sound accorpandolo a misurati influssi wave-goth.

Song di chiusura "Birthday Girl" muove meccaniche scansioni ritmiche su un comparto vocale appassionato e visionario dalle trame decadenti. Una performnce di tutto rispetto, elaborata senza gratuiti virtuosismi. Siamo ad un solo soffio dall'eccellenza. The ancients celebrated it as the dawn of a new year.

A time when the veils between the worlds are thinnest, when otherworldly entities walk among us. I could go on and on with accolades for this album! This album immediately demands to find its way frequently into the CD player. Doch da es diese ja durchaus gibt. Siamo al secondo lavoro uscito con la Palace of Worms per il trio proveniente dall'Arizona. Insomma, un lavoro musicalmente ottimo al quale per esser perfetto manca forse solo un po'di polvere sulle spalle A prime example is their fourth full-length album, Illa Exuro In Silentium.

The atmospheric She Burns ushers in disembodied spirits, who guide us on this dark journey. The West conjures dusty images of the Old West, but with an ominous, Vampiric feel. I love the deep vox in Kick And Scream, which has a hint of an Adam Ant feel; and the title is just what you'd be doing if someone tried to stop you from dancing to this song.

The luxurious, decadent The Narcissist takes us through the looking glass darkly. The seedy, decadent London Bridges conjures images of Jack the Ripper. A Methunderstanding has a psychedelic edge, coming at you in a haze. I love the guitars and vocal harmonies in Black Picket Fence, which delivers the classic American Dream- Gothic style. Unwritten is ominous and desolate. Birthday Girl is the opposite of a celebration.. Death Rocks wieder neu zu beleben bzw.

While this band is mainly active in the writing for compilations and movie soundtracks, they're also a band properly speaking. I don't exactly know what I've to figure from such a label, but musical wise I heard a sound reminding to the good-old new-wave decade. Some Sisters Of Mercy perfume hangs over this album, which will definitely please to some heavy nostalgic. Most of the songs remain rather quiet while some songs don't contain that much vocals.

Dark guitar wave is the main characteristic for those Americans, which bring us back in time. It's not bad, but not setting the world alight! Pe un Schelet Death Rock dar si cu trimiteri spre Dark Gothic, trupa ne prezinta un sound modern, bazat pe chitari electrice explozive, baterie ritmata, keyboard bombastic si voce masculina impunatoare! Din alt punct de vedere, s-ar putea ca albumul sa fie o mica bijuterie iar fanii sa-l considere un album cult!

Their music always bring a heavenly mixture between medieval music and other ethereal waves. The medieval influences and other troubadour ballads remain the main source of inspiration, but the writing evolved a bit. O Quam Tristis still plays different authentic instruments, but the electronic input becomes more important. Some might find it regrettable, but I think it's a kind of process in constant evolution.

There've been always more resemblances between both bands, which here again appears quite fast. The female and male vocals are like pure troubadour chants. The songs remain mainly inspired by old secular and liturgical poems from the Middle Ages. You definitely sometimes feel like being in the Middle Ages by the simple force of the O Quam Tristis music! I definitely remain a lover of their music! A bit comparable to Qntal and Helium Vola but with a more acoustic sound. Les Chants Funestes is their fourth album and this again features the sacral atmosphere created by a well balanced momentum of medieval instrumentation and modern electronic influences.

The presence of a bass guitar next to synthesizer sounds and male and female polyphone singing with the use of the Latin language, adds an extra dimension. The musical bandwith goes from medieval times until the baroque age and on Les Chants Funestes for the first time even rock and darkwave influences can be traced in the atmosphere of some of the tracks. O Quam Tristis really delivers in again adding extra elements to their enchanting musical world, which makes Xymox atmospheres, meet those of Dead Can Dance and Estampie.

The music of this outfit is mandatory stuff for those who love danceable medieval sounds. This is the first time I have the chance to check out O Quam Tristis Another peculiarity is to have lyrics in Latin language and this unusual characteristic enrich a formula which already was really interesting.

Jahrhunderts zu verbinden ist ebenfalls offensichtlich. Alle Klangcollagen auf dem Oeuvre weisen einen alten fast vergessenen Geist auf, der damals wie heute unter der Begrifflichkeit Dark Wave kursiert e und mit dem heutigen Gothic- bzw. Ou seja, bem ao estilo da banda mesmo, num misto de Darkwave, Medieval e Gothic. Chaque morceau est un moment de jouissance. Un album tout simplement magnifique. Ecco un link per ascoltare e scaricare alcuni loro brani: Kogaionon Noul album al acestor muzicieni insista parca mai mult ca niciodata pe latura Rock amestecata cu Electronic, insa intr-o forma originala, mixand inedita Ethereal, Folk Medieval si Electro-Soft.

Cel de-al patrulea album al muzicienilor pare a fi cel mai reusit dintre toate, insa ceva tot le lipseste pentru a putea spune ca acestia au ajuns la apogeu.. Poate cu celelalte proiecte in care canta: No obstante siguen fieles a sus principios. Ensemble francese che accorpa sia voci maschili che femminili di evidente ispirazione medievale e barocca. La line-up conta cinque elementi: Edito dall'ormai leggendaria Palace of Worms questo collage dei OQT utilizza strumentazioni acustiche medievali sapientemente miscelate a moderne trame elettroniche edificando un insieme compositivo dalle mosse maestose e perfettamente scorporate da imprecisioni.

Raggiungiamo "O Abies" che ricorre a strategie di sottile programming, riverberi vocali delle coriste subito raggiunti dall'ormai inconfondibile timbrica del singer, lontane distorsioni chitarristiche, electro effects e drumming robotico: I only found out recently that I'd been writing "O Quam Tristis The actual name of the band has an imposed ellipsis after the last word, even though leaving it out would have been simpler for everyone. It certainly would have been for me, anyway. Therefore I'm going to be pettily rebellious by forgetting it ever existed, and if some ardent perfectionist fans feel cheated by its removal or my lack of respect then feel free to make your own stand and mentally insert it.

I'm sure the band would have wanted it that way. Though going by the sound of their latest disc, an omitted punctuation mark is going to be the least of their problems. However, I've never really been able to understand the justification behind the following unless it's all made up of close friends, family members and random reviewers giving them high ratings under duress. Their style mixes subtle electro with clean, guitar-driven medieval music in the vein of a watered-down Qntal, each song being led my an intermingling of male and female voices which lend the songs an edge of Gregorian chant.

It's certainly a good idea but as with many of these 'medieval' bands, what seems fantastic on paper ends up aurally as little more than a bland, underbuffed musical exercise which never quite manages to go the distance it should. The electro elements aren't there all the time, though. There are numbers that don't feature them at all and contain purely vocals and clean, plucked guitars such as the opener Oriens, or O Vox Prophetica which features purely female vocals and synthesised pianos and wind instruments.

The rest of the time the electro is there in full force, more so than in previous releases, but it's not the type of full-on, harsh industrial style that some bands experiment with. I always found Qntal's earlier works to be a bit too heavy on the electro which is certainly something that one couldn't accuse O Quam Trsitis of since the electro is always subtle and even refreshing at times and there are moments such as in O Abies and Verna Redit Temperies where it's quite refreshing on top of the medieval underlay.

The main problem for O Quam Tristis lies in the album's nature to create songs which are far too similar to each other and this, coupled with rather dull singing, doesn't do them a whole lot of favours. The guitar playing may be excellently done and the synth playing quite accomplished but the vocals are dreary and even dirgelike at times, creating quite a soporific aura.

It's also common for both voices to fall below the notes they're trying to project and there are few things less inspiring than a song sung with no pep or vigour, and if the vocalists seem to be losing interest every so often it doesn't provide much hope for the rest of us. There's normally a chance with some bands that things will improve in the long term, but for O Quam Tristis this isn't necessarily the case.

Les Chants Funestes is their fourth album and doesn't stray at all from their previous material. I'd love there to be some beacon or semblance of promise here since the band can go further if they chose to unlock some kind of emotion - some spark of feeling - anything other than the dingy haze of tedium that gums up Les Chants Funestes. Even though they may have an interest in medieval themes and music, this doesn't mean that this interest translates particularly well onto CD.

The disappointing vocals and doggerel, tiresome compositions make this is a very lukewarm addition to the darkwave genre where the splendid work of other bands such as Dominion III and Helium Vola ruthlessly outshine it. The retreating Italian 8th Army's Alpini Corps succeeded in driving the Russian forces out of Nikolaevka, thus allowing the Italians to retreat to Axis lines. However this was at a huge cost - only a fraction of the original number of troops survived.

Now Italian label Palace of Worms has produced this compilation album which is loosely themed around the battle.


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There are eighteen tracks from as many Italian acts running the gamut from neofolk to darkwave to neoclassical and all points in between. This is a fantastic compilation, brimming over with creativity and imagination, showcasing the best in dark Italian sounds. Si apre con un bel brano di Albireon la compilation tutta italiana della label lombarda Palace Of Worms: Nikolaevka nel 26 gennaio del vide la ritirata dell'esercito italiano dal fronte russo sul Don, lasciando sul suolo diverse decine di cadaveri. Il disco si apre quindi con la forza evocativa del brano "Il Deserto Dei Tartari" a firma Albireon, e la successione delle tracce si nutre di immagini idilliache e inquiete nelle quali la scelta dei singoli brani si dipana come se un sottile filo artistico legasse il sampler nei piccoli dettagli, mai trascurati.

La quarta traccia, "Der Morgen" dei Der Feuerkreiner, s'incastona perfettamente nel computo generale per la sua ipnosi, merito in gran parte degli equilibri tra voce e pianoforte e delle percussioni incalzanti ma delicate. Gran ritmo di sarabanda rinascimentale per Emanuele Buresta, che dietro il monicker L'Effet C'Est Moi esalta la sua terra e la propria storia; araldi e vessilli propri delle Marche e di tutta quell'Italia in cui sventolavano fieri, accompagnati da suoni di rullante, trombe e tamburi la cui digitalizzazione contemporanea non ne rovina affatto il senso rievocativo.

Nel momento in cui iniziano le prime note di "The Warm Whisper Of The Wind", brano firmato Hexperos, l'incanto raggiunge apici che in Europa poche voci femminili possono esprimere: Elane, Priscilla Hernandez e pochi altri possono vantare una tecnica vocale simile. Il classicismo eccelso degli Hexperos merita lo stesso prepotente successo che negli ultimi tempi, sia come Corde Oblique o in passato come Lupercalia, ha dato lustro all'arte di Riccardo Prencipe. Ostico ma dal carattere fortemente evocativo e funereo il brano di Symbiosis: Struggente come fosse la soundtrack di una maledizione immaginaria la musica del triestino At The Funeral Of My Violet Rabbit, che riporta la memoria verso le mestizie desolate dell'animo di Le Triste Sire.

Januar die 8. Wem dieser inhaltliche Ansatz zu abschreckend bzw. A Batalha de Nikolaevka foi travada em 26 de janeiro de como pequena parte da maior Batalha de Stalingrado. Mas na Europa tem se cultuado. Bazata pe un titlu din istoria celui de-al doilea razboi mondial, aceasta compilatie ne prezinta o suma de trupe italiene ce abordeaza partea NeoFolk, Martial si Ambient Gothic a muzicii. This sampler is all about the battle of Nikolaevka that was fought on January 26th, This battle was just a fragment of the larger and famous battle of Stalingrad.

It was a battle between the Italian and Russian armies, which now, nearly 66 years later seems to get a second life. Martial and apocalyptic neo-folk music have been launched by 18 projects. This sampler reaches some peaks, but unfortunately depths as well. Let's concentrate on the best parts and especially the one delivered by Symbiosis. This is definitely the absolute masterpiece from this conceptual sampler.

I heard too much uninspired and flat compositions. I guess it's not a question to be into this genre of music or not, but I simply heard much better neo-folk and martial releases! The self-willed Greek combo Daemonia Nymphe that strifes to let music from the ancient Hellenistic times revive with the use of specially prepared reproductions of authentic instruments releases their music through the French label Prikosnovenie, but this album with remixes from the releases on Prikosnovenie is released through the Italian Palace of Worms label.

Poesie E Prose

This has been done beautifully and very well. This is great stuff! Het is bekend dat de groep Dead Can Dance vele volgelingen heeft gehad en nog steeds komen er nieuwe bij. Daaronder zitten heel aardige bands, maar de leukste zijn juist die groepen die er een eigen invulling aan geven.

Vaak zijn dat ook groepen die met klassieke instrumenten werken. De Grieken mengen op ingetogen haast kale wijze gotiek met Griekse folk. De stemmige muziek leent zich door dat ingetogen karakter ook goed voor mixen. Op Remixes , u raadt het al, worden hun nummers -van met name de eerste cd- geremixed. Erg leuke en uiteenlopende mixen zelfs. Geen van allen is bij hun folk-achtige muziek blijven hangen. Vrijwel iedereen heeft er met elektronica aan gesleuteld en de muziek van Daemonia Nymphe op eigen wijze ingekleurd.

Peekay Tayloh Pantelis Kakaroglou doet dat zelfs tweemaal. De twee elektronica specialisten van het opgeheven Beefcake nu spelen de heren in Kattoo , Freude Am Tanzen en Wighnomy Brothers samplen de Grieken op subtiele wijze binnen hun mix van spannende idm en donkere ambient. Hun verrassende verschijning op deze compilatie komt waarschijnlijk door hun werk met Peekay Tayloh.

De mooiste mix komt van ene Basilis die heel fijntjes glitch rondstrooit door het uitgeklede origineel. Ook de andere onbekende mixers Nikodemos , Dani Joss en Supermarket gooien er op fijne wijze elektronica doorheen, die in het geval van Dani Joss zelfs aardig dansbaar wordt. Het is een verrassende remix-cd geworden, die misschien nauwelijks aansluit bij de originele muziek, maar wel erg lekker is en iets nieuws toevoegt aan de Daemonia Nymphe discografie. Auralpressure Daemonia Nymphe remixed seems an odd release to come from this recondite neoclassical stable, yet the myriad of artists attempt to retain the Hellenistic mystery and mastery.

For the most part all the remixes feature electronic qualities bringing Daemonia Nymphe to a newer audience. Von Magnet, under the guise of Von Nymph for this remix, mixes female cries into the pulsating electronic rhythms weaving lyre and the powerful recitation of Phil Von in a sinuous orientalism. Nikodemos goths up ' Summoning Divine Selene ' with mock-industrial percussion and softly skirling synthesized sweeps. Contributing two tracks to the remix album, Peekay Tayloh fuse folk guitar to trip-hop cadence and rasped noise with their ' Hymn to Bacchus ' remix.

Gelid winds announce the ensorcelling remix of ' Nymphs of the ' by Basilis, retaining strong elements of the original with the flourish of the many stringed instrumentation and percussive hand drums. Mimetic Fake drive a club track out of ' Message Horn's Enchanting Echo ' broken by moments of pan-fluted reflection before launching back into heavy bass and beat. In their second contributing track, Peekay Taylor contracts and shudders with a noisier glitch remix of ' Deads are Dead ' while preserving the loose folds of esotericism.

Supermarket continues the modern electronic soundscape of eerie unresolving atmosphere and melody. Lastly, Dani Joss, delivers one of the darker mixes on the album with plodding percussive hypnotism broken in fragments of isolated vocals and shimmering oscillations. The release is presented as an eight page full colour booklet, roughly DVD sized with the CD itself affixed to the last inside page.

Rubicund, earthy tones saturate the booklet with the familiar silhouettes of the band composited artfully throughout. Gli ellenici Daemonia Nymphe, da Atene, sono attivi sin dal ed hanno dato alle stampe due full-lenght "The Bacchic Dance of The Nymphs" del , recentemente ristampato in digipack col mini "Tyrvasia", risalente al , nonche eacute; il tomo omonimo di tre anni fa per Prikosnovenie: Riti dionisiaci e ninfe fascinose impalmano in guisa suadente tali ambientazioni soniche, ricreate impeccabilmente per tramite di una strumentazione tradizionale arpa, lira, percussioni e canto femminile in un idillio pastorale dai riflessi esoterici.

In questa occasione, il leader Spyros Giasafakis ha contattato alcuni dei suoi act elettronici preferiti al fine di reinterpretare una selezione delle composizioni dell'ensemble in chiave contemporanea: Tra le sortite piu ugrave; rappresentative vanno debitamente segnalate l'onirico adattamento di "Hypnos" a cura di Beefcake, il delicato ed avvolgente mix de "Nymphs Of The" effettuato da Basilis ed il trattamento crepuscolare riservato al "Dance of the Satyrs Prayer Mix " da parte di Supermarket.

In linea di massima, le restanti tracce non deludono e certificano l'evidenza di un lavoro di gran classe. Un esperimento riuscito, peraltro forte di uno splendido artwork, al quale eacute; lecito augurare un pronto seguito. Roberto Alessandro Filippozzi 8. Dette er, som man kan se av tittelen, en remixplate. Quando l'impossibile non solo diventa probabile, ma pure reale. Formazione in grado di coniare un suono tradizionale in tutto e per tutto, ma al tempo stesso perfettamente attuale e carico di forza creativa.

Daemonia Nymphe intoxicates the senses with aged instrumentation, spoken words, deep chanting and a sultry and ritualistic sound, with the lyrics based on mythology. As an experiment Daemonia Nymphe were asked to provide samples of their handmade Ancient Greek instruments. The results were so exciting that front man Nikos Brass approached several artists, mainly from the electronic scene, such as Von Magnet, Beefcake and Mimetic Mute, to name just a few, to remix some of his tracks.

And see how the mix of analogue and digital instruments could fuse into the rebirth of his songs. This remix album contains honest re-interpretations, each track keeping their spirit but interestingly flavoured by their remixers. Though the originality resides in the fact that this is really a clash of both styles, and the electronics are far more present. I have been approached in the past to give samples of our songs to musicians, so that our music could be used for composin electro-acoustic compositions. The sound of the reproductions of ancient Greek instruments we use is extraordinary and could easily be used for contemporary music.

This gave me the idea to approach musicians mostly from the electronic genre, so that our songs take a different form and re-birth, having a new result combining the ancient sounds with modern ones. All musicians who contribute to this work are some of our favourite, and each gives his own approach to our music, creating variety. Their voices are combined with Latin chants by male voices and very rich and versatile music to which the bandwith of the musical spectrum stretches from pure medieval folk on to modern electronic interpretations.

At other moments as a listener you find yourself watching a medieval tournament where heralds sound their horns. O Quam Tristis is a band that until now still is a relatively well kept musical secret outside the electronic medieval scene but this could change permanently with this album. Musically speaking this album is better than the previous cd of Q Quam Tristis and therefore this is a recommendation to everyone that can relate to the above description.

This is a lovely record! Alleen met een gymnasiumdiploma kom je in de band, aangezien alle teksten in het Latijn zijn. De teksten, gezongen door zowel robuuste mannen en engelachtige vrouwen, zijn dan ook gebaseerd op liturgische en seculiere gedichten uit de Middeleeuwen. Anders is het gebruik van moderne elektronica naast de klassieke en oude instrumenten. Zo zijn twee nummers haast dansbaar, terwijl het decor eeuwenoud is. Je zou het een moderne interpretatie van Middeleeuwse muziek kunnen noemen. Overigens is het op vele momenten ook heerlijk sereen en sacraal, ondanks de onderliggende beats.

Een origineel album, vol onaardse schoonheid. Als Thy Violent Vanities opereren ze om die te vertolken middels liederen. Ze gebruiken op Come To Dust een gelijksoortig instrumentarium als bij hun moederband, dat wil zeggen moderne en traditionele instrumenten. De zang, vaak meerstemmig, is dan ook een sterk onderdeel van de cd; zeker Liesbeth's heldere stem is een mooi aanvulling op die van de zware jongens. Voor de zware stof die ze behandelen is het redelijk opgewekt en up-tempo. Desondanks zou je de muziek als dark folk kunnen bestempelen, maar dan van het soort dat het daglicht prima verdragen kan.

While listening to O Quam Tristis I've been thrown back in the middle age. It's medieval folk with latin lyrics, if you're familiar with bands such as like Ataraxia, Qntal e Dead Can Dance "Aion" era you probably know what we're talking about. I like this album: Palace of Worms describes this record as "a modern interpretation of medieval and ancient folk music" and after all it's the best possible definition for a work like that.

The most interesting thing of this release obviously is represented by the vocal parts gregorian chant have been a real turning point in the history of music since the male singers are good, but the female ones are even better. This' the third cd by O Quam Tristis and the band shows how maturity helps to refine the "modus operandi" in songwriting.

The funny thing is that while one may expect an epic record with a completely ethereal mood, "Mediationes ultimes" is full of mid-tempo "danceable" tracks Quoniam tu solus, Terrae for exemple. If you imagine a cd overwhelmed with evocative songs give it a chance since in the past some songs would have been a great soundtrack for a banquet.

Come definire altrimenti l'incanto di tracce del calibro di "O Langueo" semplicemente irresistibile , "Quoniam Tu Solus" e "Confiteor", laddove l'incastro dei vocalizzi maschili e femminili, la perizia strumentale e la suggestione dei testi in latino ricreano scenari estatici di grande impatto emotivo. Un'opera eccellente, peraltro forte di un ottimo, evocativo artwork: Female and male vocal polyphonies inspired by musics going from the Middle Age down to the Baroque Era. But the main goal is still not to create "authentic" ancient music because the band is mixing old instruments such as mandolas, psaltry, dulcimer and recorders with traditional electric ones lying on electronic loops and rythm patterns.

In the beginning, the songs were quite only using anonymous medieval liturgic lyrics When medieval music comes to mind images of dusty churches and Gregorian chants instantly spring into the imagination. Personally I have a penchant for medieval instrumentation though I have often found the vocals and lyricism used by many medieval musicians to be overbearingly liturgical as they often invoke images of Christian religious ceremonies taking place under the vaulted ceilings of ancient European cathedrals.

For the last decade the neoclassical music genre has been experiencing a small renaissance of Neo-Medieval music led by artists inspired by the music and culture of the middle ages. Musicians such as O Quam Tristis and The Soil bleeds Black have been working hard to bring an appreciation of medieval inspired music into our modern age. O Quam Tristis has entered this emerging music arena and firmly established themselves. This French ensemble comprised of five talented French musicians and vocalists have quickly made a name for themselves by offering listeners medieval inspired music that detours from the standard.

Meditations Ultimes is O Quam Tristis third full length album and it sees the band coming to full maturity. Meditations Ultimes brings together fourteen medieval secular, liturgical and poetry inspired tracks in a very long album that is sure to satiate even the most demanding music listener. If O Quam Tristis simply regurgitated a handful of medieval liturgical songs I would not be writing this review right now.

What makes the music of O Quam Tristis inspiring and engaging is the band reworking of original medieval material. Utilizing modern technology and their own unique creative sensibilities O Quam Tristis transforms the dated material they use for inspiration into modern compositions filled with new life and vitality. From the ashes of the past the band is able to coax forth fiery and festive compositions created from a melding of modern and medieval influences.


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The combination of vocals and guitars is expertly paired. After a brief passage bass guitar and violin join the composition accompanied by male vocals and backing female vocals. The song becomes dense with vocals and instrumentation that weave and intertwine flawlessly captivating the listener. The song transforms through moments of density to moments of open and airy instrumentation and solo singing allowing for a sense of development and a pause between denser moments in the composition.

He is a man, thought Rina, not unlike our people — a man who speaks our Ligurian dialect, but is somehow incomprehensible; he spoke the same words that she used and that others spoke to her, but their meanings were twisted and distorted coming from his lips. She saw again in her mind the lieutenant entering her house for the first time with his men, and she finally concluded this: Because this is what she had felt: And now the warm and infinite wave that was in her grew as she replayed in her mind the Fascist officer in the semi-dark kitchen giving her orders with a voice that had tried in vain to be kind, while his men were taking over her rooms and her kitchen utensils.

Rooms and utensils that they had stolen, just as they had stolen the Ligurian words — stolen, not in the sense that those things belonged to her the partisans had also used those rooms and things, except that in that case, it was natural and right, as if she herself had used them , but rather, she recognized, because the Fascists had used those very things against her, by making her an instrument in their scheme, and thus turning her against every true thing. And it felt again as if she were pregnant, thinking of the night when the lieutenant had come down to the kitchen, down from the bedroom he had stolen from her, with a book in his hand.

I would admire him if he were here with us. In any case, here is a truly beautiful poem, with words that even I understand. Now Rina repeated the verses to herself from memory, just to make them real again. She recited them slowly — they were verses that entered her slowly: E la paura le era venuta la notte, dormendo con la madre vecchia e i bambini in cucina.

Cui essi risposero una sola cosa: E allora mentalmente disse: He had written these words in war. What of their lament could this Fascist lieutenant possibly understand? But it was exactly this that infuriated her: And because of this, she felt him now, with those intimate words coming from his mouth, more than ever her enemy over there in her bed; he was clearly a wrong that must be righted at all cost.

And now I can say that we will go back tomorrow. The woman had fallen sound asleep in front of the JIT Volle lei stessa chiudere gli occhi ai morti e prima che ad ogni altro a Sardegna morto col pugno chiuso. When the first firing began, she told the children, who had been startled awake, that a show had begun. The October nights were becoming quite cold, so Rina hurried quickly to the house that was finally hers again.

There were still fresh droppings from mules and horses on the road through Loco, and in the house an unbearable musty smell of strangers. But why had that hot wave inside her not cooled? She had heard that four partisans had been killed, finished off by the lieutenant just before he left, each with a shot to the neck, and that was foremost in her mind — more than the intense joy that her house was her own again.

Really, and she felt quite sincere thinking this she would have preferred to lose the house than to have these men lose their lives. Because she felt vaguely that they had died for her, so that she could take back her house—for herself, for her children, and also for her husband, whenever he might return.

She left her children with her mother, saying: Il Natale diceva Pablo Ma il Natale non era sotto quegli alberi vetrificati di gelo e di luna. She wanted to close the eyes of the dead herself, and first among them, Sardegna who lay with fist clenched. A fist, even when abandoned on the cement that way, that before was truly hard and Ligurian, despite his assumed name of Sardegna.

And at last, without a tear, she knew that she had found a match for that immense, almost living thing in her belly: Per- haps it was one of the last chestnut husks, weighed down by the snow. All four of them were focusing on those soft thuds each clump fell, echo- ing the distant muffled rumble of mortar fire. If they were pleased that Pablo continued talking, it was only to see the cloud of vapor coming out of his mouth in the glimmer of the moonlit: It was not even down in the valley where the Trebbia River, choked with enormous ice floes, bottle-green under the moon, no longer flowed along the village that kept all its lights extinguished; and it was not even in the city: With almost every blast — maybe while someone a child, a little girl, a mother died because of that strike, under the rubble of a wall -- another clump of snow slid from the trees, and fell softly as Pablo continued talk- ing, and someone died.

But while the bells were silent, and not one single light was on, why did Pablo, continue to speak on that night between the 24th and 25th of December of Christmas that was no longer there, either, a few kilometers away from the village? The clumps of snow continued to fall softly, echoing the distant mortars. It was a night, this is certain: Le traduzio- ni sono comparse sulla rivista El Ghibli - e su altre riviste online e cartacee.

Le sue raccolte poetiche sono state tradotte in varie lingue, tra cui francese, spagnolo, norvegese, finlandese, sloveno e afrikaans. Le sue poesie sono state pubblicate in oltre 50 antologie e libri di testo. Libri e tascabili Prairie Pub Poems tascabile, poesia. Air Canada Owls poesia. Nightwood Editions, Madeira Park. West Into Night poesia.

Jan Lake Sharing poetry chapbook. Privately printed, Saskatoon, with Jim Harris. Birchbark Meditations poetry chapbook. Looking Back Sometimes I am shaken by a desire to return to that child I was- endless days under a vast sky, sun omnipresent as the mongrel that dogged my footsteps. A half-century and more removed, I remember each day bloomed wonder.

Never bored, I did not realize how poor we were, having so much. Perhaps it is our nature to hold hard to what causes least pain? To indulge moments of nostalgia is no act of foolishness. Sguardo sul passato A volte sono scosso da un desiderio di ritornare il bambino che ero — giorni infiniti sotto un cielo immenso sole onnipresente come il cane bastardo che mi tallonava. La raccolta si articola in cinque parti: Suspension of Belief Cables, ropes and wooden slats create a seemingly fragile sagging arc high above the crash and dash of Capilano Canyon.

In my eyes this is not a bridge — but rather, some adult deceit designated to instill fear in a small boy. Father takes my hand, envelops it in warmth, strength and security a child comes to accept as truth. Beneath my feet faith and trust teeter and sway side to side, nothing beneath me but a void my fear has filled.

Mio padre mi prende la mano, la avvolge col calore, la forza e la sicurezza che un bambino riconosce come veri. Sotto i miei piedi fede e fiducia traballano e oscillano fianco a fianco, niente sotto di me se non un vuoto colmato dalla mia paura. The Thief Reflects Tell me, what have I stolen from you that you have missed? Surely you know I have taken only inessential fragments you would have shed without my help.

I can in no way be dismissed as common thief, nor as cheap trickster. You must agree I am a thief of impeccable taste: I did choose you. Night is never dark enough for some. There will always be things to hide. Cold speaks its own language. The deafest ear will hear something. Fear not the night, the dark, the cold. It is ourselves that we need to fear.

An open heart will always be hurt. Close it if you must. Di sicuro sai che ho preso solo frammenti inessenziali li avresti sperperati senza il mio aiuto. Non posso proprio essere liquidato come ladro comune, o dozzinale truffatore. Devi convenire che sono un ladro di gusto ineccepibile: Sempre ci saranno cose da celare. Il freddo parla la sua propria lingua. Paura non avere di notte, freddo, buio. Di noi stessi che dobbiamo aver paura. Tutti i cuori muoiono. Closed hearts only the pain of no. Only a fool tries to stop the wind.

The same fool tries to stop hurt. The open hand feels good about itself. The closed hand always wonders why. Hourglass The evidence lies everywhere. We ignore the image — the bottom half, its increasing sand. It is funerals we attend with growing frequency that give us pause, make us feel the measure, the urgency, the anticipatory snare drum roll.

I cuori chiusi solo la pena del no. Solo un folle tenta di fermare il vento. Lo stesso folle tenta di fermare il male. Clessidra Le prove sono ovunque. Make it Last A flash of orange and black through sun-splattered aspen leaves, the faintest glimpse of baltimore oriole; or the brilliant scarlet shoulder sheen as a red-winged blackbird warbles from its wind-bent cat-tail perch; or a high-above dissonant clamour of a passing startle of snow geese etched white on unmarred blue: Beauty surrounds us — no charge, no previous experience needed.

Beauty is Where You Find It Why deny Beauty can illuminate a January day when wind has taken a break and the air is a hush, a blanket of expectation? Even that miserly sun, that furtive fox creeping ever southward, bounces brilliant diamond facets off sculpted snow, mauve with shadow. Infine, il libro veniva rilegato dal rilegatore [26]. Le copertine erano fatte di legno e ricoperte di cuoio. Esistono testi scritti in rosso o addirittura in oro, e diversi colori venivano utilizzati per le miniature. A volte la pergamena era tutta di colore viola e il testo vi era scritto in oro o argento per esempio, il Codex Argenteus.

Per tutto l'Alto Medioevo i libri furono copiati prevalentemente nei monasteri, uno alla volta. Il sistema venne gestito da corporazioni laiche di cartolai , che produssero sia materiale religioso che profano [28]. Nelle prime biblioteche pubbliche i libri venivano spesso incatenati ad una libreria o scrivania per impedirne il furto. Questi libri furono chiamati libri catenati.

Vedi illustrazione a margine. L' ebraismo ha mantenuto in vita l'arte dello scriba fino ad oggi. Anche gli arabi produssero e rilegarono libri durante il periodo medievale islamico , sviluppando tecniche avanzate di calligrafia araba , miniatura e legatoria. Col metodo di controllo, solo "gli autori potevano autorizzare le copie, e questo veniva fatto in riunioni pubbliche, in cui il copista leggeva il testo ad alta voce in presenza dell'autore, il quale poi la certificava come precisa".

In xilografia , un'immagine a bassorilievo di una pagina intera veniva intarsiata su tavolette di legno, inchiostrata e usata per stampare le copie di quella pagina. Questo metodo ebbe origine in Cina , durante la Dinastia Han prima del a. I monaci o altri che le scrivevano, venivano pagati profumatamente. I primi libri stampati, i singoli fogli e le immagini che furono creati prima del in Europa, sono noti come incunaboli. Folio 14 recto del Vergilius romanus che contiene un ritratto dell'autore Virgilio. Da notare la libreria capsa , il leggio ed il testo scritto senza spazi in capitale rustica.

Leggio con libri catenati , Biblioteca Malatestiana di Cesena. Incunabolo del XV secolo.

egarosilip.tk: prose e poesie liriche volume 4 by dante alighieri alessandro torri paperback

Si noti la copertina lavorata, le borchie d'angolo e i morsetti. Insegnamenti scelti di saggi buddisti , il primo libro stampato con caratteri metallici mobili, Le macchine da stampa a vapore diventarono popolari nel XIX secolo. Queste macchine potevano stampare 1. Le macchine tipografiche monotipo e linotipo furono introdotte verso la fine del XIX secolo.

Nel [34] nasce il Progetto Gutenberg , lanciato da Michael S. Hart , la prima biblioteca di versioni elettroniche liberamente riproducibili di libri stampati. I libri a stampa sono prodotti stampando ciascuna imposizione tipografica su un foglio di carta. Le varie segnature vengono rilegate per ottenere il volume. L'apertura delle pagine, specialmente nelle edizioni in brossura , era di solito lasciata al lettore fino agli anni sessanta del XX secolo , mentre ora le segnature vengono rifilate direttamente dalla tipografia. Nei libri antichi il formato dipende dal numero di piegature che il foglio subisce e, quindi, dal numero di carte e pagine stampate sul foglio.

Le "carte di guardia", o risguardi, o sguardie, sono le carte di apertura e chiusura del libro vero e proprio, che collegano materialmente il corpo del libro alla coperta o legatura. Non facendo parte delle segnature , non sono mai contati come pagine. Si chiama "controguardia" la carta che viene incollata su ciascun "contropiatto" la parte interna del "piatto" della coperta, permettendone il definitivo ancoraggio. In origine era costituito dalla firma del copista o dello scriba, e riportava data, luogo e autore del testo; in seguito fu la formula conclusiva dei libri stampati nel XV e XVI secolo che conteneva, spesso in inchiostro rosso, il nome dello stampatore, luogo e data di stampa e l'insegna dell'editore.

Usata raramente fino a tutto il Settecento quando solitamente l'editore vendeva i libri slegati o applicava una semplice copertina di protezione, che veniva poi gettata dal legatore divenne molto popolare a partire dai primi anni dell' Ottocento , forse su impulso degli stampatori Brasseur di Parigi [38]. Nel libro antico poteva essere rivestita di svariati materiali: Poteva essere decorata con impressioni a secco o dorature.

Ciascuno dei due cartoni che costituiscono la copertina viene chiamato piatto. Nel XIX secolo la coperta acquista una prevalente funzione promozionale. Ha caratterizzato a lungo l'editoria per l'infanzia e oggi, ricoperto da una "sovraccoperta", costituisce il tratto caratteristico delle edizioni maggiori. Le "alette" o "bandelle" comunemente dette "risvolti di copertina" sono le piegature interne della copertina o della sovraccoperta vedi infra.

Generalmente vengono utilizzate per una succinta introduzione al testo e per notizie biografiche essenziali sull'autore. Di norma, riporta le indicazioni di titolo e autore. I libri con copertina cartonata in genere sono rivestiti da una "sovraccoperta". I tagli possono essere al naturale, decorati o colorati in vario modo. In questi ultimi casi, si parla di "taglio colore", nel passato usati per distinguere i libri religiosi o di valore dalla restante produzione editoriale, utilizzando una spugna imbevuta di inchiostri all' anilina anni del XX secolo [39].

Dalla fine degli anni novanta vengono svolti in labbratura con colori a base d'acqua. Riporta solitamente titolo, autore, e editore del libro. Sovente riporta un motto. Assente nel libro antico. I primi incunaboli e manoscritti non avevano il frontespizio, ma si aprivano con una carta bianca con funzione protettiva. Nel XVII secolo cede la parte decorativa all' antiporta e vi compaiono le indicazioni di carattere pubblicitario riferite all'editore, un tempo riservate al colophon.

In epoca moderna, le illustrazioni e parte delle informazioni si sono trasferite sulla copertina o sulla sovraccoperta e altre informazioni nel verso del frontespizio. I nervi possono essere lasciati a vista e messi in evidenza attraverso la "staffilatura" , oppure nascosti in modo da ottenere un dorso liscio. Nel libro moderno i nervi sono di norma finti, apposti per imitare l'estetica del libro antico e conferire importanza al libro.

Se esse fanno parte integrante del testo sono chiamate illustrazioni. Esse hanno una numerazione di pagina distinta da quella del testo; vengono impresse su una carta speciale, quasi sempre una carta patinata [41]. Da Wikipedia, l'enciclopedia libera. Disambiguazione — Se stai cercando altri significati, vedi Libro disambigua. Pagina del Codex Argenteus. Arma di Taggia, Atene, , p. All ,, of you. URL consultato il 15 agosto There are ,, of them. At least until Sunday. History and Technique of an Ancient Craft New ed. Dover Publications , p. Confucius Sinarum Philosophus sive Scientia Sinensis latine exposita.

Jahier, Piero. Importanza di vivere. Milan, Bompiani Editore. New York, , 2 vols. Leipzig, Insel Verlag. Lanciotti, Lionello and Tsui Tao Lu. Sei racconti di vita irreale, di Shen Fu. Rome, Casini. Lanciotti, Lionello. Botto ed. Milan, Vallardi. Racconti di vita irreale. Venice, Marsilio Editori. Manni, Guiseppe. Masci, Maria Rita. Zhong Acheng, Il re degli scacchi. Rome, Edizioni Theoria. Zhong Acheng, Il re degli alberi. Zhong Acheng, Il re dei bambini.

Zhong Acheng, Vite minime. Masi, Edoarda ed. Il sogno della camera rossa. Massarani, Tullo. Il Libro di giada. Walter da Tullio Massarani. Florence, Le Monnier. Walter [Judith Gautier]. Ristampa con aggiunte per cura di Augusto Serra. Edizone postuma delle opere. Florence, Le Monnier: vol. Le Livre de jade.

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Metastasio, Pietro. Venice, A Curti Q. Giacomo, t. VI: Morandi, L. Poeti Stranieri. Lirici, Epici, Drammatici. I: De Gubernatis pp. Saint-Denys pp.


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