Tora pou pas stin xenitia - Nana Mouskouri

Γιάννης Χαρούλης - Απόψε θέλω να μεθύσω

Απόψε θέλω να μεθύσω
Το πιο πικρό να πιω κρασί...
Τον κόσμο πίσω μου ν' αφήσω,
Που τον αφήσαμε μαζί...

Κρασί πικρό από σταφύλι,
κι απ' τη δική σου τη μιλιά...
Να 'χει της κόλασης τα χείλη,
Κι όλα σου να 'χει τα φιλιά...

Να 'χει παράξενο τραγούδι,
Να 'χει παράδεισο και γη...
Απ' το κορμί σου να 'χει χνούδι,
Και τη δική μου την οργή...

Ν' αφήνει μαύρο κατακάθι,
Ν' αφήνει πόνο και χολή...
Πικρό πολύ όσο τα λάθη,
κι όσο σ' αγάπησα πολύ...

Απόψε θέλω να μεθύσω,
και να μη σκέφτομαι γιατί...
Να κοιμηθώ και να ξυπνήσω,
και να 'ναι γύρω μου γιορτή...

Eleni Karaindrou-Maybe the best contemporary greek composer

Eleni Karaindrou was born in the mountain village of Teichio in central Greece and grew up in Athens where she studied piano and theory at the Hellenikon Odion. From 1969-74 she studied ethnomusicology in Paris and, on returning to Greece, founded the Laboratory for Traditional Instruments at the ORA Cultural Centre. She has since been an active campaigner on behalf of Greece's musical resources. Karaindrou has a long history of writing for film and theatre; to date, some 18 feature films, 13 plays and 10 television series have featured her music. Although most of her work has been with Greek directors she has also collaborated with Chris Marker, Jules Dassin and Margarethe von Trotta. Eleni Karaindrou has been associated with Theo Angelopoulos since 1982.

Greece's film critics and music journalists have long felt that Eleni Karaindrou's compositions for cinema transcend the soundtrack's conventions. Her music does not merely accompany or prettify a film, they argue, but is an essential element of it. Writer Nikos Triantafillides, nothing that Karaindrou's music is as vast in scope as the time-transgressing sequence shots of Angelopoulos, says that "in all these hundreds os feet of film, Eleni's music represents the blood not shed on the screen. Her constant presence..reveals something deeply spiritual beneath the lyricism." George Monemvasites talks of a music made "to wound and liberate" as it creates "new visions and ideas" which counterpoint or parallel the cinematic action. Yet the music, heard independently, seems to insist upon its autonomy. The collection at hand is not "film music" in the limited sense but rather music that is inherently cinematic in its reach: It establishes an emotional climate. Hints at storylines it invites a listener/viewer to take up and develop, paints sky and seacapes in subtle, muted hues and, sometimes, simply, sings.

Eleni Karaindrou was born in Teichio, an isolated mountain village in the Roumeli region of central Greece, and still retains memories of the sound of her childhood:"the music of the wind, rain on the slate roof, running water. The nightingale's singing. And then the silence of the snow." Sometimes the mountains would echo to the sound of flutes and clarinets played at festivals in the small Village Square.

Δροσίνης-Ἀπὸ τὰ «Φωτερὰ Σκοτάδια»

Ὢ θαλασσοθεμέλιωτα καὶ ἠλιόσκεπα παλάτια,
Χτισμένα ἀπὸ τὰ σύννεφα τῆς θερινῆς βραδιᾶς,

«Δὲν θέλω τοῦ κισσοῦ τὸ πλάνο ψήλωμα
σὲ ξένα ἀναστυλώματα δεμένο
ἂς εἶμαι ἕνα καλάμι, ἕνα χαμόδεντρο,
μὰ ὅσο ἀνεβαίνω, μόνος ν᾿ ἀνεβαίνω.
Δὲν θέλω τοῦ γιαλοῦ τὸ λαμποφέγγισμα
ποὺ δείχνεται ἄσπρο μὲ τοῦ ἥλιου τὴ χάρη
θέλω νὰ δίνω φῶς ἀπὸ τὴ φλόγα μου
κι ἂς εἶμαι ἕνα ταπεινὸ λυχνάρι»

Can't make you love me

Turn down the lights, turn down the bed
Turn down these voices inside my head
Lay down with me, tell me no lies
Just hold me close, don't patronize
Don't patronize me

'Cause I can't make you love me If you don't
You can't make your heart feel something it won't
Here in the dark in these final hours
I will lay down my heart, and I'll feel the power
But you won't, no you won't
And I can't make you love me
If you don't

I'll close my eyes and then I won't see
The love you do not feel, when you're holding me
Morning will come, and I'll do what's right
Just give me till then, to give up this fight
And I will give up this fight

And I can't make you love me if you don't
You can't make your heart feel something it won't
And here in the dark in these final hours
I will lay down my heart and I'll feel the power
But you won't, no, you won't
And I can't make you love me
If you don't

Ain't no use in you trying
It's no good for me baby without love
All my tears, all these years, everything I believed in
Baby
Oh yeah
Someone's gonna love me

Sun Tzu-Η τέχνη του πολέμου

Just a mastership of everlasting strategy

Η ΤΕΧΝΗ ΤΟΥ ΠΟΛΕΜΟΥ - SUN TZU

Kelly Rowland ft. David Guetta - Commander live in BBC Radio 1 Live Lounge

Plato Symposium/Πλάτωνος Συμπόσιο-Περί έρωτος

Plato's abstract in English follows,in Greek is just a short introduction and the abstract in modern Greek.Plato in Symposium deals with Love,Beauty and creation combining them all together with mythology and some of his comic stories.

Πριν από λίγο καιρό είδαμε στην Επίδαυρο την "Λυσιστράτη" του Εθνικού με τη φίλη μου την Μ. και μου γέννησε διάφορα ζητήματα. Ένα από αυτά ήταν η μη πιστή τήρηση του κειμένου του Αριστοφάνη. Ένα τέτοιο κομμάτι ήταν στην εισαγωγή όταν ακουγόταν από τα μεγάφωνα, άλλο που δεν μου άρεσε, μία περιγραφή της φύσης του ανδρόγυνου και μία ιστορία περί της δημιουργίας του και λοιπά παρεμφερή.

Ψάχνοντας λίγο βρήκα ότι προέρχεται από του Πλάτωνα το "Συμπόσιο" ή αλλιώς "Περί Έρωτος". Με το "Συμπόσιο" του Πλάτωνα, ο αναγνώστης έρχεται σ' επαφή με ένα κορυφαίο έργο, διαμέσου του οποίου κληροδοτήθηκε στον σύγχρονο κόσμο η αξεπέραστη ιδέα του κάλλους. "Έρωτας είναι η αγάπη για το ωραίο" λέει ο Σωκράτης, όταν έρχεται η σειρά του να εγκωμιάσει τον Έρωτα. Στο παρακάτω κομμάτι ο Πλάτων μέσω μίας ιστορίας όπου εμπλέκεται ο Αριστοφάνης μιλάει περί του ανδρόγυνου. Όπερ και παραθέτω ...