



Far away, far away
Far away from here…….
Dear visitors, it is of the utmost importance to attach youre headphone to youre laptop or computer and to fully clear youre mind to become one with this music….
Video hosted on Youtube.

Mari Fujiwra
B
orn in Osaka, Mari Fujiwra received her first violoncello lessons at age of seven and from 1959 studied with Hideo Saito. In 1971 Fujiwara was the First Prize winner at 40th National Competition. Graduated from Toho Academy of Music in 1972, she begin to activity give concerts in chamber music. In 1974 the quartet of which she was a member was awarded the Second Prize/special prize at National Competition of Chember Music. In 1975 Fujiwara gave her debut as a soliist in Tokyo and, in the same year, was awarded a Prize for New Talent from the Minister of Education. The lessons that she got from the greatest cellists Frurnier and Rostoropovich greatly helped the completion of her music. In 1978 Mari Fujiwara won The Second Prize at the Tchaikovsky International Competition in Moscow. During her Soviet Union tour in 1979, Fujiwara gave a successful concert with the Leningrad State Philharmonic Symphony Orchestra. She is busily engaged not only in recitals and orchestra concerts but also in TV and radio appearance and recording.
Ever since her sensational reception of the second prize at the Tchaikovsky Competition in 1978, Mari Fujiwara has been the musical icon of her generation and has influenced numerous musicians to follow. A protégé of many legends including Hideo Saito of the Toho School of Music in Tokyo, Pierre Fournier and Mstislav Rostropovich, her cello has brought her around the globe, performing a concerto with Leningrad Philharmonic Orchestra, Staatsoper Dresden Orchestra, Netherlands Chamber Orchestra, Slovak Philharmonic, Helsinki Orchestra, and every major orchestra in Japan. After her acclaimed debut recital in Tokyo in 1975, she was awarded the Prize for the New Talent from the Minister of Education in Japan. Since then, Ms Fujiwara has been making a name for herself as a top Japanese cellist.
Her wide chamber music repertoire ranges from the performances with Jean Jacques Kantorow (violin), Vladimir Mendelssohn (viola) as Mozart Trio, with the pianist Jacque Rouvier, with an accordionist Janne Rattya, a flutist Aurele Nicolet, an Academy-winning composer Ryuichi Sakamoto, to name a few. Ms. Fujiwara has released over 35 CDs from DENON including all Bach Unaccompanied Cello Suites and all Mozart Flute Quartet, various sonatas and concertos, and the master composer of Japanese animation, Jo Hisaishi’s “Wind” trilogy series. Most recently she has released a CD of works of Beethoven, Liszt, and Schumann with a clarinetist Fumie Endo and a pianist Teru Kurato in 2008. In the fall of 2007, Ms. Fujiwara gave a Japan tour of 11 recitals in 10 halls, named “Around the World with the classics”, which received high acclaims.
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Loneliness is a strange companion.
She comes to visit me
when I am alone
or among a hundred.
She’s my best friend
when I think of my brothers
out there
in some other Universe
or the whole span
of my physical existence
as the blink of someone’s eye
and of their existence
as the blink
of someone else’s eye
and of their existence further —
It means so much to me today
No one can ever tell
No one can imagine the dark nights
No one can endure the pain
No one can understand the desperation
No one can see trough Buddha’s eye
But no one can see as bright as me
today…..
Loneliness, my friend, my companion,
I blink my eye.
© Mazalien 18-01-2010.
On virtually every stupa (Buddhist shrine) in Nepal, there are giant pairs of eyes staring out from the four sides of the main tower. These are Buddha Eyes (also known as Wisdom Eyes), and they look out in the four directions to symbolize the omniscience (all-seeing) of a Buddha. The Buddha eyes are so prevalent throughout the country that they have become a symbol of Nepal itself. The mysterious eyes, painted on all four sides of the stupa’s spire, represent the eyes of the Buddha and face the four cardinal directions–east, west, north, and south. Between each pair of eyes, where the nose would be, is what looks like a question mark. This is actually the Nepali character for the number 1, which symbolizes unity and the “one” way to reach enlightenment–through the Buddha’s teachings. Above this is the third eye, symbolizing the all-seeing wisdom of the Buddha.
The third eye (also known as the inner eye) is a mystical and esoteric concept referring in part to the ajna (brow) chakra in certain Eastern and Western spiritual traditions. It is also spoken of as the gate that leads within to inner realms and spaces of higher consciousness. In New Age spirituality, the third eye may alternately symbolize a state of enlightenment or the evocation of mental images having deeply personal spiritual or psychological significance. The third eye is often associated with visions, clairvoyance (which includes the ability to observe chakras and auras), precognition, and out-of-body experiences, and people who have allegedly developed the capacity to utilize their third eyes are sometimes known as seers.
In Hinduism and Buddhism, the third eye is a symbol of enlightenment (see moksha and nirvana). In the Indian tradition, it is referred to as the gyananakashu, the eye of knowledge, which is the seat of the ‘teacher inside’ or antar-guru. The third eye is the ajna chakra (sixth chakra) also known as brow chakra or brow centre. This is commonly denoted in Indian and East Asian iconography with a dot, eye or mark on the forehead of deities or enlightened beings, such as Shiva, the Buddha, or any number of yogis, sages and bodhisattvas. This symbol is called the “Third Eye” or “Eye of Wisdom”, or, in Buddhism, the urna. In Hinduism, it is believed that the opening of Shiva’s third eye causes the eventual destruction of the physical universe. Many Hindus wear a tilak between the eyebrows to represent the third eye. In the Upanishads, a human being is likened to a city with ten gates. Nine gates (eyes, nostrils, ears, mouth, urethra, anus) lead outside to the sensory world. The third eye is the tenth gate and leads to inner realms housing myriad spaces of consciousness.
Images are copyright to Mazalien.
The polka dance was first introduced to Prague ballrooms in 1835, and to Paris ballrooms in 1840. French dancers took to polka immediately, and it soon grew wildly popular. Polka eventually reached England and the United States by the late 1840s. In the twentieth century, Polish American immigrants adopted the polka as their national dance. Today, polka is one of the few dances that originated during the nineteenth century that is still popular worldwide.
rom accordionist Lawrence Welk to the bands seen in POLKA TIME, live music remains an integral part to any polka dance. The standard polka song has a 2/4 beat and is structured around four verses and a chorus, which is sung after each verse or after every two verses. Many polka songs are about loss, love and even food.
A standard polka band might include bass, trumpet, clarinet, saxophone and drums, although different varieties of Polish polkas include different combinations of instruments, such as the accordion and the concertina. The two other kinds of mainstream polka are Czech and German. Newer polka stylings such as Texas Polka and even punk polka further blend other instruments and genres with classic polkas.
The Dance
Polka dancers perform in pairs or couples, either in the face-to-face waltz position or while standing side by side, with the man’s arm around the woman’s waist and her hand on his shoulder. One characteristic of dancing the polka is the half-step, or hop, that precedes the first step. Some dancers omit the hop entirely, while other simply reduce it to a quick rise and fall of the weighted foot before beginning the first step.
The basic polka step is done in four counts. Begin with standing with your weight on your right foot. Give the preliminary hop on the right foot, then step forward on your left foot. Close the right foot to the left, taking weight on the right foot, and step again on the left foot. Then hold for a beat, keeping weight on the left foot. Repeat this series of steps again, except using the opposite foot—using the left foot for the hop and the right foot as the one that steps forward, for instance.
Now you can move backwards, forwards, left and right. Polka dancers move across the floor in all directions while dancing, and not in any strict line or formation, as seen at the Gibbon Polka Fest in POLKA TIME.
Sources :
Polka History of Dance
Polka Interview
How to Dance the Polka
PBS
Ben, you’re always running here and there
(Here and there)
You feel you’re not wanted anywhere
(Anywhere)
If you ever look behind
And don’t like what you find
There’s something you should know
You’ve got a place to go
(You’ve got a place to go)
I used to say, “I” and “me”
Now it’s “us”, now it’s “we”
(I used to say, “I” and “me”)
(Now it’s “us”, now it’s “we”)
Ben, most people would turn you away
I don’t listen to a word they say
They don’t see you as I do
I wish they would try to
I’m sure they’d think again
If they had a friend like Ben
(A friend)
Like Ben
(Like Ben)
Like Ben….
By Webmaster
By diane
By es
By Webmaster
By es