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Besame Mucho

Consuelo Velazquez wrote this song in 1940 and has since been interpreted and recorded by hundreds of artists, and in twenty languages. It is considered the most widespread English song in the world.

Quote: www.biografiasyvidas.com

Consuelo Velazquez was born in Town Guzman, in the Mexican state of Jalisco, on August 21, 1916. After four years, her uncle gave her a small piano that began with several tunes that were easily brought to its attention, including the national anthem. His father, a soldier with the soul of a poet, agreed to juggle school with the staff and enrolled in the Serratos music academy, where he gave his first recital at age six. To start high school, and would be a pianist.

father's death left his mother with five daughters and Consuelo's career accelerated. In pursuit of his master, Ramon Serratos, moved to Mexico City, and intensified his studies conservatory the best time, the school's Palace of Fine Arts. There he graduated in 1938 as a concert pianist and music teacher, with a concert that was applauded by the most renowned masters of the period constituted jury.

Consuelo Velazquez was invited soon after to participate in the course of development of works that taught the pianist Claudio Arrau, who wrote rave reviews about his piano talent. But few knew then that from years ago, released their concerns writing tender love songs. Because it "left heart", wrote Besame Mucho at nineteen, when, as would later say, "It was very formal and had not even kissed anyone, or knew what it was a kiss."

The fledgling radio station XEQ, which would be the most popular in Mexico, hired for a program of classical music. Consuelo tunes popped half hour after being presented by the announcer as "a musician prestigious European" difficult Polish name. Love with the beautiful young pianist, the program director of the station, Mariano Rivera, allowed to be introducing some of his own songs, Consuelo blamed authored an imaginary friend, because he was not well seen a fall concert the frivolity of the bolero, which then unleashed the popular feeling between Cuba and Mexico.

However, listeners' letters soon showed that they preferred to hear the notes that showed the anguish of the last kiss or the anxieties of the beloved, the pieces of Bach, Debussy, Saint-Saëns and Ravel who played the piano hidden. Mariano Rivera then asked, "as a matter of copyright", which would reveal the name of the talented friend. The composer came to light, at a time when multiplied their songs in the heat of a huge radio brought the news that the World War II. The star of the moment, Emilio Tuero, recorded in Besame Mucho 1941.

Emilio Tuero, baritone Algiers (tenor was born in Santander), fine features and aristocratic, was the star of radio and Mexican cinema of the 30's, his reputation was tarnished and career paled with the arrival of cowboys movies and music boom truck. Although "Besame Mucho" border transfer to the interpretation of Chilean Lucho Gatica, Tuerk was the first record. Emilio

Tuero - Besame Mucho
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Inspiration

Consuelo Velazquez admitted being inspired by an aria from the opera "Goyescas" by Granados to compose his "Besame Mucho." This opera was composed by English composer Enrique Granados, on the piano suite "The nice people in love", a work that emerged from the inspiration of the paintings of Goya. Granados said:

Quote

I fell in love with the psychology of Goya, his palette. Him and the Duchess of Alba, its nice lady, their models, their quarrels, love and compliments. That white cheeks pink with contrasting lace and black velvet braid, those bodies swaying waists, hands and jasmine pearl perched on jets, I have deranged

And his opera Goya's aria "Quejas" or "The Maja and the Nightingale", that little appears in the lyrics and just a phrase in music "Besame Mucho."
And it commented on the piano score for the following annotation appears on the interpretation of this piece: "With jealous woman, not with sadness widow

Victoria de los Angeles - La Maja and the Nightingale
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The other version

It was very difficult to choose the other version at this time. Of the more than a hundred interpretations impresionarion I found about twenty, and going through the second screen eliminated ten others. But he would not saturate with a dozen versions of the same piece, so this time I present what I consider the best reinterpretation and a later release will introduce those who stayed on the line.

version of pianist Chucho Valdés shows his mastery as a jazz musician and as a concert musician. Chucho Valdés was formed in the Havana Conservatory and is founder of Irakere. He is a musician who enjoys jazz, symphonic music and popular music, and transmits that Blogoversary to the listener. In this interpretation combines the flavor of the tropics with the sound of a piano concert and takes us through the countless paths of jazz improvisation. In a moment forget the sadness of the farewell of "Besame Mucho" and immersed in a sea of \u200b\u200bharmonies that had no idea existed.

Chucho Valdés - Besame Mucho
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Bernardelli Gardone V.t. Cal. 9 C

La Bamba - Son Veracruz

After looking at some sites I found several explanations for the origin of La Bamba, but all agree that it originated in the period in which the Port Veracruz (Gulf of Mexico) was plagued by pirates. This was the most important port of New Spain and all colonial trade from California to Central America depended on it.

Perhaps the explanation which I quote below is not the most accurate, but is the most bejeweled.

Quote: miveracruz.blogspot.com taken

The origin of

bamba La Bamba was born on May 16, 1683 in the dunes of Malibran, exactly where was the property of the same name, owned by Mrs. Beatriz del Real, famous for its beauty and proclivity to fandangos at the time of the Colony.

authorship corresponds to a certain Lino whose name is not specified, but that ranks as the Guaruso.

The story referred to is that the Guaruso was a wanderer who earned his living as roistering and tenths. That's how it comes to Malibran, invited by some laborers who had met on the road. In

the farm was his joy for the magical revelry of the peons tiredness, nocturnal bustle in the huts and forced shot at parties and Guarapera milling. The

Guaruso felt at home among these people, especially since Rita, La China, a beautiful medellinera, with a pleasant demeanor and gallantry, he brought embullado.

One morning, when people made the lying in the reeds, by way of Veracruz, dusty and sweaty, Sabas arrived at the hacienda, the messenger of Dona Beatriz, who left the mule to the bottom of the talanquera ran to the chapel and shook the little bell peal. The sound

quitilán, quitilán! spread the countryside by convening the peons, who mocha and hoe in hand guardarraya out by the reeds to the hull of the hacienda, and Sabas question the cause of the uproar this only exclaim: "Pirate!"

Indeed, by the end of Anton Lizardo loomed a fleet of pirate ships, commanded by the fierce Lorencillo, which stealthily headed to the port of Veracruz.

Malanga, a mulatto burly entrepreneur, who was said he enjoyed the favor of Dona Beatriz, fearing that landed in the sand dunes of Malibran, organized the laborers, took out the old muskets and serene still life word and courageous attitude encouraged men to fight for the defense of the hacienda and women.

All night they worked at the ranch preparing harness, tying logs and hauling to the beach to save the small cannon with which auncia all the festivities of the patron saint of the shrine.

While all this was happening, the Guaruso, lying under the roof of the mill crushed strumming his carousing and singing the chant of:

"Quitilan, quitilan, / that ring bells Malibrán /, which are the pirates who will not ... / Qutilín, quitilín, / that bell rings Medellín / and rintintín sounds and sounds. "

dawned, Malanga, positioned on the highest dune to the beach scanning the sea in the distance, watching the sails of Lorencillo abejeles be straightened for Veracruz.

A rode his horse returned to the hacienda where Dona Beatriz, surrounded by women, waiting with impatience. For her it was better to flee, leaving the abandoned farm and seek shelter in the swamps of Medellín with women and children.

What will you do?, Said Beatriz Malanga, who are not sailors. To which the mulatto replied: "I'm no sailor, but this will be." He then started with his people toward the Playon.

Seeing this, Mrs. Beatriz ordered lock up children in the shrine, gathered the women and the prevailing voice said, "! Our men have gone to fight to the beach.'re going after them, will encourage them to see them win!".

But when it came to, say trench, and the palmar near the peons with Malanga came forward shouting for joy, as had happened in front Lorencillo to Playa de Hornos, to place their ships and begin the bombing of the port . The farm

all was rejoicing, celebrating and defending the alleged triumph.

Doña Beatriz and the mulatto Malanga arranged the fandango, and the Guaruso, and in the guarapeta Jaranera sang his song.

So I was like, According to Don Ramón García Río, who consulted a work of Francisco Avila Rivera, based on testimonies of the elders of the region, which in colonial times, a troubadour, El Guaruso, embroidered typical sing, who settled in the countryside as jarocha implementation required at dances and fandangos, subsequently winning the glory of being the queen of the Son Jarocho.

bamba The word is of African origin that means party , huateque or celebration. Since that day in Malibran was arming the party , because all hell broke bamba. Some

La bamba original songs have been modified or increasing according to the interpreter on duty. Including Guaruso himself, which was ended by adding that "to go to heaven you need a big ladder and a little", as having been spared the estate of attack by pirates who had the habit of obliterating everything in its path The locals felt protected from the Lord, as if in heaven itself. Hence the composer Gloria Malibrán locate the grand staircase being the one that gave access to the dune where he was finance, and the "little girl" that fought the fence surrounding it.

Carmen insisted that I had to put a video and not just the music, and rightly so. The dance is very striking traditionally includes a couple tie a bow with his feet. Besides the costume of Veracruz is the most beautiful in the country. The music plays the Conjunto Jarocho Medellin.

The other versions.

The popularity of La Bamba is patent to be dozens of performances in diverse genres, from the easy music to concert music. Here is a small selection.

One of the most popular is that of Ricardo Valenzuela "Ritchie Valens", who even held a Hollywood biopic. Ultimately its version does not seem of great quality (even better reinterpret Los Lobos), but it is very famous and it is a reference. La Bamba version of Rock 'n Roll.

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Easy-Music versions abound, with marimbas, string orchestras, bands of metal. Very decaffeinated or removed from a caricature of Speedy Gonzalez. But Juan Garcia Esquivel deserves a mention, the father of the Space-Age Pop abuses the stereofonía and kitsch.

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They also present two versions of jazz. Demonic version of Dave Brubeck, included in the Mexican music album Bravo! Brubeck and recorded in 67 live in Mexico City. The concert was divided into two discs, the first performs his hits and some standars and arrangements on the second Mexican and Latin songs. He is accompanied by Paul Desmond, Eugene Wright and Joe Morello and local musicians Benjamin "Chamin" Correa (guitar) and Salvador "Rabito" Agueros (congas).

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the monster also Cal Tjader Latin jazz has its own version of La Bamba. With arrangements by Gary McFarland appends a touch of funk to this rich tropical jazz to stop dancing or wearing a bathing suit and tossing of the sea. To make matters worse accompanying João Donato on organ, Ray Barreto and orestes Vilato on percussion, Bobby Rodriguez on bass and Mike Abene on the keyboard.

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version Philharmonic Society Concert directed by Eduardo Alvarez differs from other orchestrations to try to go beyond the mere adaptation of folk music to symphonic ensemble. The arrangers of the SF (Lifshitz and Toussaint mainly) had the creative freedom to experiment with new approaches to national music, far from official speeches. In general the result is brilliant and in some parts it was surprising.

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Finally we conclude with a mixed version, very tied to Mexican roots, the version of Lila Downs, who in an interview said:

Quote: from ultrasónica.info

"La Bamba" is something I've wanted to do for a long time. I was wondering creating a link with our African ancestors, our 'third root' as we call it. Is also a war that took place in Veracruz, there is a verse that says' I'll be a sailor? Never will be. " In a way I wanted to take up this idea. "

Movies Corporal Punishment

Heroes David Bowie / Brian Eno Taken from the blog
1000 Mirrors

was 1977 and several events gave the talk of the music world: a worn Elvis Presley died of an overdose, the Sex Pistols got their irritating and powerful album Never Mind the Bollocks, while the television is launching the legendary Marquee Moon. By then, David Bowie was risking one of his most controversial and historic hits "Heroes."

The story goes that Bowie spent his days in Berlin, in a tough rehabilitation for cocaine, when peered from her window two lovers having a meeting at the Berlin Wall. "I thought, from all places to meet in Berlin, why choose a bench that was under a guard tower of the Wall?" He said at the time the singer.

The author sobbing with anger at these doomed lovers, who find redemption time together, just for a day. A story of love which was music by big names in British music, including the same Bowie (vocals, sax and keyboards), the former Roxy Music, Brian Eno (keyboards) and Robert Fripp, King Crimson guitarist (guitar .) A tough combination which, added to the production of Tony Visconti (T. Rex and Morrissey today) resulted in a composition so melancholy as contingent.

The exceptional letter - co-written by Bowie and Eno - shows an ironic aspect, yet highly romantic and triumphant. Perhaps it is this quality to say more than it appears the reason why so many bands of different styles and musical influences are identified and moved by this song, making their own attempts to reinvent it. Nico, Blondie, The Wallflowers, Billy Corgan, The Magnetic Fields, Oasis, among many others have this classic remakes.

"Heroes" speaks of love, longing and hope in a time when the difficulties are greater, the more restricted space and increased anger. It has become over time an anthem of hope, that shouts loudly against repression and anonymity and for the love and courage, through a successful and emotional chorus that continues to inspire many: "We can be heroes, just for one day. "



The other version


Philip Glass Taken from Philip Glass page

Just as composers of the past have turned their gaze to the music of time to create new works, the work of Bowie and Eno became an inspiration and starting point for a series of symphonies own.

As I have been involved in the dance world for many years, naturally I mentioned the Symphony "Heroes" to the choreographer Twyla Tharp nortemericana. Plainly wanted to "Heroes" for his new dance company, and soon we met with David. He shared immediately entusiasmpo Twyla and I found myself writing a symphonic score that became ballet.

- Philip Glass Philip

has put more of himself in this new album, but the irony is that I think actually more stressed in my original voice. Play this material is a bit like being introduced to a brother or sister to tell you that you have and which you did not know its existence. And when you know, obviously the familiarity of family traits highlights, but there is a whole life and all these things have grown without your knowledge. The music has features that recognize immediately, but has its own life It has nothing to do with me. Has all those expeirencias .[...] I do not know I feel much closer to the intimate feeling than trying to do.

- David Bowie.

minimalist version of Philip Glass.

The difference between a version and the other is 20 years and a wall. It seems that the feeling of injustice Bowie version is transformed into a more hopeful world.


Yet another

Aphex Twin remix version Aphex Twin is responsible for work that may be shocking to many ears. Mix Glass's orchestral music with Bowie's voice is not easy and for some the outcome is not the best. Maybe it's that the two disparate views expressed feelings. But listen out of curiosity, the work of Aphex Twin is great and is backed by a long career as a DJ and the incursion of his compositions in the repertoire of the London Sinfonietta. It is an eccentric musician and irreverent. The second time you hear it and know what to expect and perhaps form a better opinion.

Aphex Twin - Heroes

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Is It Safe To Defrost Sausages In The Microwave

Theenus Collaboration.

Bolero by Maurice Ravel

The Bolero (Bolero French) is a musical work by French composer Maurice Ravel in 1928 and premiered at the Opera Garnier in Paris on November 28 of that year . Ballet compound and dedicated to the dancer Ida Rubinstein, his immediate success and rapid spread universal not only made him one of the most famous works of the composer, but also one of the exponents of twentieth-century music.

orchestral movement inspired by a English dance, is characterized by an unchanging rhythm and tempo with a haunting melody in C major, repeated over and over again without any change except for orchestral effects, in a crescendo that, in extremis, finished with my higher modulation and a thunderous coda.

Ravel Although he considered the work as a simple study of orchestration, the Boléro lies a highly original and concert version has become one of the most performed musicals worldwide, to the point that until 1993 remained in first place in the world ranking of rights of the Société des auteurs, éditeurs et compositeurs of musique (SACEM).

Ravel himself described this work: "It is a dance movement in a very moderate and consistently uniform, both melody and harmony and rhythm, the latter marking the drum incessantly. The only element of diversity is provided by the orchestral crescendo. " If the work was composed as a ballet, instrumental solos suite highlights the individual talents, but also collective homogeneity of each desk, and that all orchestra members participate equally in the unabashed support: it is the very definition of a new musical genre that sees the light at the time: the "Concerto for Orchestra." The rhythmic and melodic character Hispanic, and even more specifically Andalusian also approach the spirit of the rhapsodic compositions very fashionable in the late nineteenth and early twentieth centuries.

Rhythm

adopted by Ravel The rhythm is the rhythm typical of the bolero in three stages, marked 'Tempo di bolero moderato assai "(" very moderate bolero time). Contrary to the original dance, traditionally accompanied by castanets and tambourines, chose the drum orchestra, orchestral metamorphosed after box to mark the rhythm of this traditional dance. The rhythmic cell comprises two nearly identical bars with very little variation in the third period of the second bar. The ostinato is repeated by one, then two boxes orchestral, from first to third last time, then follows the great crescendo, finally being touched by the whole orchestra in the coda. From Wikipedia

The other version

In honor of Zappa-week, we have this wonderful live album, a tour between February and June 1988. This collection includes big-band arrangements (other 3 guitars, keyboards, bass and drums, there are trumpet, trombone, saxes fed (high soprano, baritone and tenor (is it open parentheses within parentheses?, Say in mathematics uses)), clarinets and percussion). concert favorite (read: Heavy Duty Judy, More Trouble Every Day) and deranged versions of (what we are dealing with us) covers.

In particular we have this exquisite rendition of Bolero fairly concise (only 5:19 min) and light touches of humor (a brief tribute to The Knack).



Apart disc covers the following features: Ring of Fire (Mr. Johnny Cash), I left my heart in San Francisco, Purple Haze, Sunshine of Your Love, When You Irish Eyes are smiling, the theme of Godfather II, and wonder of wonders (whatever it says my buddy Henry) Stairway to Heaven.

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Fanfare for the Common Man


Without doubt, the most popular of the compositions of Aaron Copland, often used at sporting events and rock groups as introit or encore of their concerts. This book emerges as a request by Eugene Goossens, director of the Cincinnati Symphony Orchestra, who during the First World War British musicians asked to compose a fanfare for the start of each concert. During World War II, for the 1942-1943 concert season, decided to relive the experience but to American composers. In wartime, the concerts are usually open to national anthems.

Goossens fanfares suggest that they were dedicated soldiers, sailors or pilots, including Copland wrote the following:
"... my idea is to make these fanfares in revolving and significant contributions to the war effort ..."
Copland took into account the titles Fanfare for a Solemn Ceremony and Fanfare for Four Freedoms, before deciding on the surprising Fanfare for the Common Man Copland Goossens wrote:
"Its title is as original as his music, and I I think it is so eloquent that deserves a special occasion for interpretation. If you agree, the premiere on March 12, 1943 at the date of tax collection income. "

The title of this fanfare is inspired by the speech (and subsequent book) of the U.S. Vice President Henry A. Wallace," The Century of the common man ", which indicates preseguir goals to be allies in the war and after it. The speech has a lot of Christian references and was described as leftist. Here's a snippet:

Some have spoken of the "American Century". I say that the century we are entering - the century will emerge from this war - can and should be the Century of the Common Man may be the opportunity of America to identify the rights and freedoms why the common man should live. Everywhere the common man must learn to build their own industries with their own hands is a customary practice. Everywhere the common man must learn to increase their productivity so that he and his children can expect to pay to the world community what they have received. No nation has the divine right to exploit other nations. The older nations have the privilege of helping the youngest nations on the road to industrialization, but not military or economic imperialism. The nineteenth century methods will not work in century village that is now about to begin. India, China and America America has a huge role in people's century. As their masses learn to read and write, and become as production machinery, their standard of living will double and triple. Modern science, when whole-heartedly devoted to the general welfare, which has potential in sleep yet.

for their adherence to such ideas, the work of Aaron Copland suffered the official veto and the composer was tried for his membership in the Communist Party. However, he could not prove anything, and music remained the most popular in the American nationalist symphonic repertoire.

I would add a paragraph of musicological work Copland, from his book How to listen to music?

The really important question is: "What starts the composer, what is your point?" The answer to that is: every composer begins with a musical idea, a musical idea, I understand, a mental idea, literary or extra-musical. An issue comes up suddenly. (Item is used as a synonym of musical idea.) Composer of his subject, and the theme is a godsend. The composer does not know where he is, has no power over him. It comes almost like automatic writing. So start a notebook usually is escribió themes seconds to read it. Collect musical ideas. Not puedo hacer no relation to this element of composition.

Aaron Copland, Fanfare for the Common Man, with Leonard Bernstein drove to the New York Philharmonic.

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The other version

Being so popular, the fanfarira has been interpreted and reinterpreted by many musicians from diverse genres. Even Copland takes as the theme for the fourth movement of his Third Symphony, a pastoral and meditative movement Conclude sumptuously.
But he makes the version of progressive rock band from the 70s Emerson, Lake and Palmer. PLA experimented with the reinterpretation of classical music since their debut album The Barbarian, there turn the Allegro Barbaro Bela Bartok in a fast jazz piece. Bach, Tchaikovsky, Mussorgsky, Ravel, Janacek and were also Ginastera interpreted by the group. He even says that they revived the music of Copland Hoedown performed first in 1972 and five years later in the album appears Works I Fanfare for the Common Man interpretations on issues symphonic rock by ELP join two styles do not look and see happens, we are clear. According to Keith Emerson
:

On a trip from almost utopian freedom of our music to the music school and institutionalized orthodox Joseph Eger I met (director of the Sinfonia of London in the album) was traveling in the opposite direction.
Since that meeting we have been Sometimes a catalyst in the combination of music from our different contexts sometimes forming a merger, and sometimes a healthy conflict between the orchestra, which is possibly the establishment , and the trio (rock), which represents the non-establishment , we have complete confidence in a musical brain of a rebel spirit and highly developed open-minded reformers whose ideas have been neglected, almost spat by so-called critical.

I
the album Works ELP.

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Discriminated for being man Can we be worse? Welfare


found this post at Radio Christianity and found it interesting to share with you. Example worthy of emulation.

During this year's auditions in Dallas for the popular talent contest American Idol, the judges discriminated against the 19-year-old Bruce Dickson, for openly expressing their choice of abstinence until marriage and his desire to "save everything for that special woman. On my wedding day I will have my first kiss "which earned him be dismissed on the television program.

As reported by Cybercast News Service (CNS), one of the judges of American Idol, Randy Jackson told him to go to "kiss some girls" while Simon Cowell, known for its acidic behavior, he said something similar while Ryan Seacrest said at the end of the segment that "maybe next year will not come as a child but a man."

For their part, and in an interview with CNS, Dickson said "expect a real man instead of doing anything with anyone." He also said he stands firm in his choice of not have sex until they marry, despite the jokes that they suffer. "I respect women and do not think they are a sex object ... and for that I'm weird?" Questioned the young man. About abstinence, that Bruce "was not something that we have been forced (my parents). It's something we have been taught its importance. "

In last Wednesday's broadcast of American Idol, Dickson was the key that takes you on a chain on his neck, and also showed his father, who had open heart with that key. All 5 children in the family use it himself and his father Bruce has delivered one of the hearts to the husband of his daughter Michelle. "I think I'm a normal guy," said Bruce after a CNS.

Abstinence is an important thing for me, and I know I can not handle alone, so I asked my dad to help me, "he added. Still, Bruce has not given up. Still preparing a demo in a studio and expect to report back at an audition on American Idol next year.

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The idea of \u200b\u200bthis blog is to present high quality reinterpretations of songs from diverse genres. I will not present covers only reinvented version where the arranger shows its quality as a musician, able to create original works. Let's begin this blog with one of my favorites.

Also sprach Zarathustra

very popular melody ambientar an iconic scene in the science fiction film of Kubrick's 2001: A Space Odyssey, the scene has been parodied many times while still making use of music original.

Actually the piece known as Also sprach Zarathustra (Thus Spake Zarathustra) is only the introduction of a symphonic poem of that name, composed by Richard Strauss. Opus 10 is the composer of this century (not to be confused with Strauss of waltzes) and consists of ten parts including the introduction. The title of the book is taken from the famous book by Friedrich Nietzsche, and R. Strauss searches through musical images illustrate the stories and doctrines expressed by the philosopher over the text. In the introduction Zarathustra leaves after ten years as a hermit's life and begins to decline (Untergang, a necessary step for Übergang or significance). Here the text:

When Zarathustra was thirty years old left his home and the lake of his home and went to the mountains. There he enjoyed his spirit and his solitude and for ten years never tired of it. But in the end his heart was transformed - and one morning, rising with the dawn, stepped before the sun and spoke thus:
"You great star! What would your happiness if you had those for whom you shine!.
For ten years you've been up to my cave: not me, my eagle and my snake you would have had enough of your light and in this way.
But we awaited you every morning, you liberábamos of your abundance, and bless you for it. Look! I am weary of my wisdom as the bee that has gathered too much honey, I have need of hands that are extended.
I like to give and distribute until the wise men have returned to rejoice in his madness, and the poor with their wealth.
For this I have to descend into the depths, as you do in the evening when he crossed the sea carrying light even to the underworld, star filthy rich!
I, like you, I have to sink into my decline, as people say who want to get off. Bless me, then, calm eye, able to look without envy even a happiness too big!
Bless the cup that wants to make it overflow water flows carrying gold all over the glow of thy delight!
Look! This cup wants to be emptied again, and Zarathustra wants to become a man. "
- Thus began Zarathustra's decline.

So the introduction is a juxtaposition of the dawn of day and the beginning of the demise of the prophet.

This is the version of op. 30, Also sprach Zarathustra Richard Strauss performed by the Berlin Philharmonic Orchestra under the baton of Herbert von Karajan in 1983.

This is the version of op. 30, Richard Strauss Also sprach Zarathustra performed by the Berlin Philharmonic Orchestra under the baton of Herbert von Karajan in 1983.

The other version is that of Eumir Deodato. Brazilian musician, master of jazz and funk, recorded in 1972 on the Prelude album version with great funk and much LSD. The yellows and reds of dawn in the orchestral version become the cakes and dawn psychedelic drugs and the revolution of the 70s. Deodato does not conform to interpret the original item and place it into a new sound, the harmony takes eight minutes and drags us unsettling rhythms and guitar keyboard colored horizons. The lack of impressive sounds of the orchestra supplies the rhythm and harmony funk maddening. The result a work of art with psychotropic effects.