The Season Beneath the Soil is a reflection on the quiet creative, art, personal work of transformation, what roots learn in the dark before renewal returns to the surface having tulips and auren lilies as starting points. It can be fully read at The Polymath.
After The Noise is a small note at The Polymath on how beauty returns through simplicity after noise — sunlight, rain, a guitar chord, a paintbrush, a quiet moment.
Roots & Horizons – Field Notes II a new post on The Polymath.
There is another set of twin posts on The Polymath and The Listening Room HQ. Both speak of Equity and Equality, The Round Table, The Grail. Of seeds, of side by side.
Equality & Equity – Round Table & Grail: Planting Seeds of Balance at The Polymath
The Polymath and Equality & Equity – Round Table & Grail:
Living Side by Side The Listening Room HQ.
Today is International Music Day. I selected three songs from different time periods and genres. Cantigas do Maio by José Afonso, Der Erlkönig by Franz Schubert, and my favourite song Will You Love Me Tomorrow sung by the Shirelles.
Cantigas do Maio is from the fifth album by Portuguese musician, composer, singer, songwriter 1971 album Cantigas do Maio. A beautiful song, in which the voice starts gentle, develops a frantic tone, then quiets, then rises again, and ends quiet.
Cantigas do Maio:
Eu fui ver a minha amada
Lá p’rós baixos dum jardim
Eu fui ver a minha amada
Lá p’rós baixos dum jardim
Dei-lhe uma rosa encarnada
Para se lembrar de mim
Dei-lhe uma rosa encarnada
Para se lembrar de mim
Eu fui ver o meu benzinho
Lá p’rós lados dum passal
Eu fui ver o meu benzinho
Lá p’rós lados dum passalFeatures
Dei-lhe o meu lenço de linho
Que é do mais fino bragal
Dei-lhe o meu lenço de linho
Que é do mais fino bragal
Minha mãe, quando eu morrer
Minha mãe, quando eu morrer
Ai, chore por quem muito amargou
Ai, chore por quem muito amargou
Para então dizer ao mundo
Para então dizer ao mundo
Ai Deus m’o deu
Ai Deus m’o levou
Ai Deus m’o deu
Ai Deus m’o levou
Ai Deus m’o deu
Ai Deus m’o levou
Eu fui ver uma donzela
Numa barquinha a dormir
Eu fui ver uma donzela
Numa barquinha a dormir
Dei-lhe uma colcha de seda
Para nela se cobrir
Dei-lhe uma colcha de seda
Para nela se cobrir
Eu fui ver uma solteira
Numa salinha a fiar
Eu fui ver uma solteira
Numa salinha a fiar
Dei-lhe uma rosa vermelha
Para de mim se encantar
Dei-lhe uma rosa vermelha
Para de mim se encantar
Minha mãe, quando eu morrer
Minha mãe, quando eu morrer
Ai, chore por quem muito amargou
Ai, chore por quem muito amargou
Para então dizer ao mundo
Para então dizer ao mundo
Ai Deus m’o deu
Ai Deus m’o levou
Ai Deus m’o deu
Ai Deus m’o levou
Ai Deus m’o deu
Ai Deus m’o levou
Eu fui ver a minha amada
Lá nos campos, eu fui ver
Eu fui ver a minha amada
Lá nos campos, eu fui ver
Dei-lhe uma rosa encarnada
Para de mim se prender
Dei-lhe uma rosa encarnada
Para de mim se prender
Verdes prados, verdes campos
Onde está minha paixão?
Verdes prados, verdes campos
Onde está minha paixão?
As andorinhas não param
Umas voltam, outras não
As andorinhas não param
Umas voltam, outras não
Minha mãe, quando eu morrer
Minha mãe, quando eu morrer
Ai, chore por quem muito amargou
Ai, chore por quem muito amargou
Para então dizer ao mundo
Para então dizer ao mundo
Ai Deus m’o deu
Ai Deus m’o levou
Ai Deus m’o deu
Ai Deus m’o levou
Ai Deus m’o deu
Ai Deus m’o levou
My favourite song Will You Love Me Tomorrow, also known as Will You Still Love Me Tomorrow, written by Carole King and Gerry Goffin, first recorded by The Shirelles in 1960.
Will You Love Me Tomorrow:
Tonight you’re mine completely
You give your love so sweetly
Tonight the light of love is in your eyes
But will you love me tomorrow?
Is this a lasting treasure
Or just a moment’s pleasure?
Can I believe the magic of your sighs?
Will you still love me tomorrow?
Tonight with words unspoken
You say that I’m the only one
But will my heart be broken
When the night (when the night)
Meets the morning (meets the morning) sun?
I’d like to know that your love
Is a love I can be sure of
So tell me now, and I won’t ask again
Will you still love me tomorrow?
So tell me now, and I won’t ask again
Will you still love me tomorrow?
Will you still love me tomorrow?
Will you still love me?
And Der Erlkönig by Franz Schubert, with a ballade written by Johann Wolfgang in 1782. Here sung by baritone Dietrich Fischer-Dieskau accompanied by pianist Gerald Moore. Haunting, chilling, Dietrich sings the three voices, child, father, Erlkönig with deep emotion and such tonal variation it leaves you mesmerized. And the final line, In seinen Armen das Kind war tot (In your arms the child is lies dead) is arrowing.
Der Erlkönig:
Wer reitet so spät durch Nacht und Wind?
Es ist der Vater mit seinem Kind;
Er hat den Knaben wohl in dem Arm,
Er fasst ihn sicher, er hält ihn warm.
Mein Sohn, was birgst du so bang dein Gesicht? –
Siehst, Vater, du den Erlkönig nicht?
Den Erlenkönig mit Kron’ und Schweif? –
Mein Sohn, es ist ein Nebelstreif. –
„Du liebes Kind, komm, geh mit mir!
Gar schöne Spiele spiel’ ich mit dir;
Manch’ bunte Blumen sind an dem Strand,
Meine Mutter hat manch gülden Gewand.“ –
Mein Vater, mein Vater, und hörest du nicht,
Was Erlenkönig mir leise verspricht? –
Sei ruhig, bleibe ruhig, mein Kind;
In dürren Blättern säuselt der Wind. –
„Willst, feiner Knabe, du mit mir gehn?
Meine Töchter sollen dich warten schön;
Meine Töchter führen den nächtlichen Reihn
Und wiegen und tanzen und singen dich ein.“ –
Mein Vater, mein Vater, und siehst du nicht dort
Erlkönigs Töchter am düstern Ort? –
Mein Sohn, mein Sohn, ich seh’ es genau:
Es scheinen die alten Weiden so grau. –
„Ich liebe dich, mich reizt deine schöne Gestalt;
Und bist du nicht willig, so brauch’ ich Gewalt.“ –
Mein Vater, mein Vater, jetzt fasst er mich an!
Erlkönig hat mir ein Leids getan! –
Dem Vater grauset’s; er reitet geschwind,
Er hält in Armen das ächzende Kind,
Erreicht den Hof mit Mühe und Not;
In seinen Armen das Kind war tot.
More or my favourite songs can be read about here Amazing Songs & Other Delights #80 – The These Are a Few of My Favourite Songs edition and listened to here.
I have also written about this three songs plus Daddy’s Spending by Suede on The Polymath
I’m sometimes asked what a Mayan Soul Map looks like, or what to expect from a reading that includes Mayan. I’m a member of The Mild Ones, a Suede fan community. Today, is Brett Anderson’s birthday, and I share a Mayan Soul Map Synthesis, exploring his Birth Kin, current cycle, Venus phase, and more on The Polymath’s site.
Here’s an excerpt of my Brett Anderson Mayan Soul Map Synthesis: “Brett’s birth essence holds a deep, crystalline clarity: the need to question, to refuse easy answers, and to stand as a voice of integrity for the collective. His life path is not solitary. Warrior at Crystal tone suggests that his strength is found in weaving himself into group purpose, holding vision within a wider band of seekers. Brett’s full Mayan Soul Map Synthesis can be read here.
Alongside the interview with Juliana Ferreira, we invite you to visit, read and explore The Polymath and The Listening Room HQ, me two new vessels that live on another frequency, and to read their recent twin posts.
Presence, Listening, Creation – A Polymath Manifesto where I write in The Polymath about being a Polymath in this time and age, creating a Polymath Manifesto.
And Listening Beyond the Noise, on The Listening Room HQ, that unveils the currents behind and beyond the relentless noise we are surrounded with. Here on a men’s practice vision, but that is transposable for everyone.
I wrote a note about the Autumn Equinox on The Polymath.
My field notes for The Polymath The Polymath of a metro trip to Isabel Meyrelles’ exhibition Raízes e Horizontes (Roots and Horizons) at Galeria Municipal Matosinhos, found objects and another exhibition can be read here:
Mondo Bizarre Magazine 