miércoles, 25 de febrero de 2015

Vikingos en La aventura del saber (TVE2)

TVE2. La aventura del saber. El legado vikingo

"Los salvajes guerreros del Norte, asaltaron Galicia hace 1000 años. Pero fueron vencidos y esto es lo que se celebra en Catoira, donde sus habitantes se visten de vikingos y se hermanan con estos barbaros, ahora pacíficamente. Las naves son unas reproducciones exactas de las halladas en los enterramientos vikingos. Este documento cuenta los últimos estudios genéticos que prueban que estos intrépidos navegantes llegaron a América 500 años antes que Colon, aunque no pudieron establecerse. Intentaremos averiguar qué ocurrió."

En caso de que quiten el vídeo de Youtube, se puede ver en este enlace de RTVE

domingo, 22 de febrero de 2015

Viking metal: Incursed


Viking metal desde el norte de España


(Fimbulwinter - 2012)

Here I stand again 
I am back to my yearned land 
Memories embrace me, I realize 
I should never have left 

Morning comes at last 
All these years have gone by so fast 
And it scares me 
But I’ll stand here ‘til the day I die 

Sun is rising now 
it’s given birth by the mountains 
wind blows cold as ice 
but I can feel the fire in my heart 

I was eager to run, 
along these vast northern lands, 
but I’m not longer young, 
it’s not long before my time has come 

From time to time, from land to land 
it was told (that) this place was paradise 
now (that) I stand at this ground so dank 
I’m so proud to call this “my homeland” 

There was a time when I was strong and brave 
but my fate now takes me to the grave 

From time to time, from land to land 
it was told (that) this place was paradise 
now (that) I stand at this ground so dank 
I’m so proud to call this “my homeland”

Asier Amo: Drums
Asier Fernandez: Lead guitars
Juan Sampedro: Bass
Narot Santos: Vocals, rhythm guitars
Jon Koldo Tera: Vocals, keyboards

Elderslied - 2014


Album grabado, mezclado y masterizado en los Chromaticity Studios por Pedro J. Monge durante julio y agosto de 2014.

Lyrics and music by Incursed.

Artwork and design by Narot Santos, Juan Sampedro, Danny Lara, Elene Urquijo.

Andrés Ferrando: violin in “Heart of Yggdrasil”, “The Wild Hunt”, “One Among a Million”
Borja Santamaría: choir and speech in “One Among a Million”
Hugo (from Rise to Fall): guitar solo in “The Undying Flame”
Leire Tejada: female vocals in “One Among a Million”
Oier “Jones” (from Orion Child): harsh vocals and clean vocals in “Lady Frost”, harsh vocals in “One Among a Million”

martes, 17 de febrero de 2015

The Viking Serpent

The Viking Serpent: Secrets of the Celtic Church in Norway. Their Serpent Worship and Sacred Pentagram Geometry. Harald Boehlke

What do the three most evil symbols for Christianity - 666, the pentagram and the snake - have in common? Quite possibly one of the most amazing discoveries of all time, The Viking Serpent reveals an ancient and incredible legacy placed upon the landscape of Norway. In this film, best selling author Philip Gardiner takes us on a journey into Norway to meet author, Harald S. Boehlke who has uncovered this amazing mystery in the land of the Norse. Travel with us across a beautiful landscape, into the very heart of ancient serpent worship as we unravel the sacred language of our ancestors. See the amazing serpent Stave Churches up close; walk with us along the sacred pathways of the Celtic Church and discover their unique and clever symbolic devices; journey by boat to the Holy Island and enter a landscape virtually untouched by the ravages of time. The Viking Serpent is a discovery on the scale of the Great Pyramids of Egypt and the Lost Tomb of Jesus, holding ancient truths of wisdom from a lost, yet highly sacred Church. Prepare to be stunned by the ramifications of this incredible find, and embark on a stunning, visual journey into a forgotten time and land. "I can assure you that we are as excited by this discovery as you are." Henry Lincoln, co-author, The Holy Blood & The Holy Grail.

"The Viking Serpent" or "The Norwegian Pentagram" as it was called before being translated reveals a hitherto unknown and occult side to the Viking- and early Middle Age in Norway. From approx. 935 CE heathen Viking Norway was introduced to a form of Christianity peculiar to a certain branch of the Gnostic Celtic Church of the British Isles, where the serpent had a 'leading role' and which, according to historians and archaeologists, has a pronounced Syrian and Egyptian character.

Stave churches were designed according to the golden section. The stave churches have serpents on all gabels, and "snake skin" on walls and roofs. Stave churches are unique to Norway.

"The Viking Serpent" or "The Norwegian Pentagram" as it was called before being translated reveals a hitherto unknown and occult side to the Viking- and early Middle Age in Norway. From approx. 935 CE heathen Viking Norway was introduced to a form of Christianity peculiar to a certain branch of the Gnostic Celtic Church of the British Isles, where the serpent had a 'leading role' and which, according to historians and archaeologists, has a pronounced Syrian and Egyptian character.

Comparing old legends and historical facts the author has unravelled a fascinating story and found a holy geometry constructed by the Celts that the famous co-author of Holy Blood, Holy Grail, Henry Lincoln has deemed "the Norwegian extension of this extraordinary business." The clandestine plan of the Celtic Church erecting cities and monasteries as markers in such a fashion that one with the use of The Golden Section was able to construct a gigantic pentagram across Southern Norway is also revealed. The geometry is illustrated by the author in easy to follow step-by-step diagrams.
The Celtic Church's form of Gnostic Christianity contained certain elements brought to them by the largest of the Gnostic sects, the Ophites who revered the serpent, as a symbol of Christ.

Following the Roman Emperors sanctioning of a certain breed of Christians in 325 CE, later known as the Roman Catholic Church, the Ophites and other Gnostics were persecuted, their scriptures confiscated and burned. They sought shelter in Syria, Egypt, Western and Northern Europe. A large number of their writings were found in the Egyptian desert at Nag Hammadi in 1945 CE. In the manuscripts one finds that Christ was called "The Beast." "The interpretation of "the beast" is "the instructor." For it was found to be the wisest of all beings."

The number of the Beast, 666 figures prominently in the holy geometry placed across Norway and is disclosed in an obscure fashion in a certain Viking saga describing the burial of the Viking king Olav, later canonised by the Celtic clergy. The book abounds with exciting Viking lore. A treasure cave which legend claims connects with Scotland under the sea, explored by the Orkney Earl Ragnvald in 1127 CE. turns out to be the upper left arm of the holy pentagram. The Stave Churches, peculiar to Norway abound with serpent imagery; serpents are carved on pillars and portals writhing all over the churches and church roofs are fashioned so as to mimic serpent skin.

From ca. 935 1015 the Celtic Church made secret arrangements with no less than three Vikings of royal descent intent upon ascending the Norwegian throne. In return for the opportunity to convert their country to the Gnostic Celtic Christianity and put their sacred geometry in place, they assisted the kings in creating and deploying the law and order of the church, making the people more governable.

The book also exposes the Catholic Churches murder of the first Norwegian Archbishop on his return from his inauguration in Constantinople. The East-Roman Empire with its seat in Constantinople was considered by many to be the centre of Christianity and differed from Rome in its beliefs, resulting in "the great schism" or definitive separation of Rome and Constantinople on religious matters. After the Roman Catholics murder in 1152 of the first Norwegian Archbishop they sent their own delegates unannounced from Rome to Norway and persuaded the Norwegian leaders to let them inaugurate an archbishop in Nidaros and a bishop in Hamar. Unknown to the Catholics Hamar was the last marker in the pentagram, and in inaugurating a bishop in Hamar they unwittingly completed the holy pentagram of their Celtic adversaries.

sábado, 14 de febrero de 2015

Música: Poeta Magica. Edda Vol II

Die Edda Vol. II
Poeta Magica

Segundo volumen dedicado a las Edda y la música de Escandinavia
Second álbum dedicated to Edda and Scandinavian music

Holger Funke - Moraharpa, Esseharpa, Silverbasharpa, Sopran-Nyckelharpa, Alto – Nyckelharpa, Tenor - Nyckelharpa, Großbaß- Nyckelharpa, schwedische Säckpipa

Boris Koller - Quartton-Nyckelharpa, Sopranino – Nyckelharpa, Alto- Nyckelharpa, Tenor-Nyckelharpa

Friederike Funke - Vocals bei "Yggdrasil - Völuspá" und "Yggdrasil - Die Weltenesche", Organistrum, Gardon (Schlagbordun)

Katja Hütte - Keltische Harfe bei “Yggdrasil“, “Gallsjöns Ros“ als auch den Erzählungen

Jorgen Lang - Gitarre dadgad, Low whistles, Untertongesang

Thomas Schlitt - Schlagzeug, Percussion

Margareta "Rairda" Kron - Vocals bei “Gallsjöns Ros“

Su Ehlers - Vocals bei “Fossegrim“ & Erzählmusik

Katharina Dustmann - Tubular Bells

Marco Ambrosini - Midi-instrumente

Volkert Volkmann - Rezitation bei “Yggdrasil“

*** Die Edda Vol. I ***

miércoles, 11 de febrero de 2015

Amon Amarth 2015

Amon Amarth

Deceiver Of The Gods European Tour 2015
Sala la Riviera, Madrid

Tour Dates:
01/15 – Lille, FRA – Le Splendid
01/16 – Brighton, UK – Concorde 2
01/17 – Plymouth, UK – The Hub
01/18 – Bristol, UK – Thelka
01/19 – Nottingham, UK – Rescue Rooms
01/21 – Norwich, UK – Waterfront
01/22 – Colchester, UK – Arts Center
01/23 – Oxford, UK – O2 Academy 2
01/24 – Stoke, UK – Sugarmill
01/25 – Manchester, UK – Academy 2
01/27 – Glasgow, UK – Classic Grand
01/28 – Leeds, UK – Stylus
01/29 – Newcastle, UK – Newcastle University
01/30 – Lemmington, UK – The Assembly
01/31 – Southampton, UK – 1865
02/02 – Rouen, FRA – Le Cargo
02/03 – Reims, FRA – La Cartonnerie
02/04 – Nancy, FRA – L’autre Canal
02/05 – Nimes, FRA – La Paloma
02/06 – Bilbao, SPA – Santana 27
02/07 – Barcelona, SPA – Sala Razzmatazz
02/08 – Madrid, SPA – La Riviera
02/10 – Lisboa, SPA – Paradise Garage
02/11 – Porto, POR – Hard Club
02/12 – Santiago, SPA – Capitol
02/14 – Clermont-Ferrand, FRA – La Cooperative De Mai
02/15 – Strasbourg, FRA – La Laiterie


Father of the Wolf
Deceiver of the Gods
Live for the Kill
Free Will Sacrifice
For Victory or Death
As Loke Falls
Bleed for Ancient Gods
Death in Fire
The Last Stand of Frej
Guardians of Asgaard
Shape Shifter
Cry of the Black Birds
War of the Gods
Victorious March
Twilight of the Thunder God
The Pursuit of Vikings

jueves, 5 de febrero de 2015

Música: Sigurd (ópera)

En la historia de la ópera francesa, Sigurd es una anomalía plagada de tantos malentendidos y consideraciones ajenas que sus encantos palpables pueden quedar oscurecidos. El libreto de un colaborador de Alfred Blauand Verdi, Camille du Locle, extrae su historia desde el Cantar de los Nibelungos medieval que inspiró a Wagner, y la trama, de una manera general, se solapa con la del último acto de Sigfrido de Wagner y el despliegue de Götterdämmerung.

Resulta fácil tachar a la obra como wagneriana, tanto por el tema como por las etiquetas melódicas de identificación como por el sinuoso lirismo en algo que puede calificarse como "melodía infinita". Sin embargo, el libreto se establece en tiempos históricos - Gunther es el rey de los borgoñones y recibe emisarios de Atila el Huno. Además, en 1862, cuando Reyer dio los primeros pasos con Sigurd, Wagner había abandonado Siegfried, para componer Tristán e Isolda y Los maestros cantores, y no retomaría Siegfried de nuevo hasta 1869. Así que la recurrencia temática era una idea "en el aire".

Aunque ya se habían estrenado algunos fragmentos, como la escena del despertar de Brunilda, la obra completa fue rechazada por los principales teatros de ópera de París durante varios años. Finalmente Reyer colocó Sigurd con el Théâtre de la Monnaie de Bruselas, donde tuvo su estreno triunfal el 7 de enero de 1884. La siguió Covent Garden en julio del mismo año, y Lyon unos meses más tarde. Llegó a París, por fin, el 12 de junio de 1885, gracias a una propuesta de la Académie Nationale de Musique, aunque en versión reducida, lo que ocasionó mucha pena al compositor (la obra completa dura 4 horas). Sigurd permaneció en el repertorio de la Ópera de París hasta 1935, alcanzando un total de 252 actuaciones.

Extracto de un artículo de Adrian Corleonis

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