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Nielsen: Complete Symphonies

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Half a bar of Carl Nielsen and you know it’s him; a characteristic of great composers down the ages, to be sure, but one peculiarly concentrated around nationalist composers of the late 19th and early 20th centuries. Nationalist, not necessarily through any political affiliation but because they sought to renew both the standard musical forms and genres, and their own country’s culture, with bold and fresh attempts to marry the two. So successful was Nielsen at this (like Sibelius in Finland), indeed, that for decades afterwards he seemed to cast a shadow over those who came after.

The symphonies lie at the centre of Nielsen’s achievement. They develop as he did, from exuberant Romanticism (No.1), through rangy melodies and ‘visionary’ slow movements (Nos. 2 and 3), to an unquenchable embrace of the heroic struggle that places Man at the centre of his world (Nos. 4 and 5), finally to rest in a quizzical re-examination of all that we hold worthwhile in mind and music (No.6, the ‘Sinfonia semplice’: never was a symphony more ironically named.)

Each symphony sets off on its own exciting journey, and the demands Nielsen makes on his participants are extreme; he was a fine violinist himself, and he used his extensive knowledge to turn string players inside out with ferocious fugues and precipitous runs. Many great orchestras have tackled this music, and some have ended up making it into little more than concertos for orchestra in all but name. Not however, this apparently less glittering ensemble. David Hurwitz, famously hard to please, is unequivocal in his Classics Today review: ‘Theodore Kuchar leads what is without question the most exciting complete Nielsen symphony cycle available, making this the set to get for Nielsen newcomers.

Composer: Carl Nielsen

Artist:
Janacek Philharmonic Orchestra
Theodore Kuchar (conductor)

00:00:00 Symphony No. 1 in G Minor, Op. 7: Allegro orgoglioso
00:09:09 Symphony No. 1 in G Minor, Op. 7: Andante
00:17:16 Symphony No. 1 in G Minor, Op. 7: Allegro comodo
00:24:59 Symphony No. 1 in G Minor, Op. 7: Finale, allegro con fuoco
00:33:10 Symphony No. 2, Op. 16 “The Four Temperaments”: Allegro collerico
00:41:58 Symphony No. 2, Op. 16 “The Four Temperaments”: Allegro comodo e flemmatico
00:46:00 Symphony No. 2, Op. 16 “The Four Temperaments”: Andante malincolico
00:58:33 Symphony No. 2, Op. 16 “The Four Temperaments”: Allegro sanguinoso
01:05:15 Symphony No. 3, Op. 27 “Sinfonia espansiva”: Allegro espansivo
01:16:36 Symphony No. 3, Op. 27 “Sinfonia espansiva”: Andante pastorale
01:26:16 Symphony No. 3, Op. 27 “Sinfonia espansiva”: Allegretto un poco
01:32:50 Symphony No. 3, Op. 27 “Sinfonia espansiva”: Finale, allegro
01:42:07 Symphony No. 4, Op. 29 “The Inextinguishable”: Allegro
01:53:17 Symphony No. 4, Op. 29 “The Inextinguishable”: Poco allegretto
01:57:48 Symphony No. 4, Op. 29 “The Inextinguishable”: Poco adagio quasi andante
02:07:23 Symphony No. 4, Op. 29 “The Inextinguishable”: Allegro
02:16:11 Symphony No. 5, Op. 50: Tempo giusto
02:34:32 Symphony No. 5, Op. 50: Allegro
02:50:52 Symphony No. 6 “Sinfonia semplice”: Tempo giusto
03:04:33 Symphony No. 6 “Sinfonia semplice”: Humoreske, allegretto
03:08:41 Symphony No. 6 “Sinfonia semplice”: Proposta seria, adagio
03:14:47 Symphony No. 6 “Sinfonia semplice”: Theme & variations

J.S. Bach: Cello Suites (played on a Saxophone)

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Bach on a saxophone? What next? Of course J.S. Bach’s music is indestructible. But some arrangements turn out far better than others and manage to do justice to the original. The transition of music for a string instrument to wind does not seem obvious, especially when a saxophone is part of the equation, but Henk van Twillert pulls it off. The baritone saxophone proves itself to be an ideal replacement of the cello. It is not only a similarity in timbre but when played by this most skilful and imaginative Dutch saxophonist the instrument becomes totally adaptable to baroque music.

So should Bach be played on a saxophone? Listen to this release and you will know the answer. It may vary from ‘why not’ to ‘definitely’!

Composer: Johann Sebastian Bach
Artist: Henk van Twillert (Baritone-Saxophone)

00:00:00 Suite No. 1 in G Major, BWV 1007: Prélude
00:02:34 Suite No. 1 in G Major, BWV 1007: Allemande
00:07:11 Suite No. 1 in G Major, BWV 1007: Courante
00:09:59 Suite No. 1 in G Major, BWV 1007: Sarabande
00:12:32 Suite No. 1 in G Major, BWV 1007: Minuet I & II
00:15:49 Suite No. 1 in G Major, BWV 1007: Gigue
00:17:19 Suite No. 2 in D Minor, BWV 1008: Prelude
00:20:02 Suite No. 2 in D Minor, BWV 1008: Allemande
00:23:30 Suite No. 2 in D Minor, BWV 1008: Courante
00:25:49 Suite No. 2 in D Minor, BWV 1008: Sarabande
00:29:57 Suite No. 2 in D Minor, BWV 1008: Minuet I & II
00:33:10 Suite No. 2 in D Minor, BWV 1008: Gigue
00:35:42 Suite No. 3 in C Major, BWV 1009: Prelude
00:39:11 Suite No. 3 in C Major, BWV 1009: Allemande
00:43:17 Suite No. 3 in C Major, BWV 1009: Courante
00:46:43 Suite No. 3 in C Major, BWV 1009: Sarabande
00:51:12 Suite No. 3 in C Major, BWV 1009: Bourrée I & II
00:55:00 Suite No. 3 in C Major, BWV 1009: Gigue
00:56:33 Suite No. 4 in E-Flat Major, BWV 1010: Prelude
01:00:05 Suite No. 4 in E-Flat Major, BWV 1010: Allemande
01:04:07 Suite No. 4 in E-Flat Major, BWV 1010: Courante
01:08:02 Suite No. 4 in E-Flat Major, BWV 1010: Sarabande
01:12:51 Suite No. 4 in E-Flat Major, BWV 1010: Bourrée I & II
01:17:45 Suite No. 4 in E-Flat Major, BWV 1010: Gigue
01:20:42 Suite No. 5 in C Minor, BWV 1011: Prelude
01:26:34 Suite No. 5 in C Minor, BWV 1011: Allemande
01:32:39 Suite No. 5 in C Minor, BWV 1011: Courante
01:35:05 Suite No. 5 in C Minor, BWV 1011: Sarabande
01:38:34 Suite No. 5 in C Minor, BWV 1011: Gavotte I & II
01:43:12 Suite No. 5 in C Minor, BWV 1011: Gigue
01:45:34 Suite No. 6 in D Major, BWV 1012: Prelude
01:50:26 Suite No. 6 in D Major, BWV 1012: Allemande
01:59:10 Suite No. 6 in D Major, BWV 1012: Courante
02:01:55 Suite No. 6 in D Major, BWV 1012: Sarabande
02:05:28 Suite No. 6 in D Major, BWV 1012: Gavotte I & II
02:09:48 Suite No. 6 in D Major, BWV 1012: Gigue

#Classical #BrilliantClassics #Music #Composer #ClassicalMusic #Bach #bachmusic

Mozart: The Magic Flute, K.620 Vol.2

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10 vistas · 6 años hace

Tracklist below.

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One of the giants of the historically informed performance world needs little introduction; nor indeed his sympathy to Mozart’s oeuvre as already demonstrated in recordings of the three da Ponte operas that have met with wide acclaim and many awards for their closely observed intimacy, their sense of fun and drama and their well-chosen casts, at one with Kuijken’s vision of these jewels of human and music drama.

His recording of Mozart’s magical last opera, however, has not received wide availability until now, in its appearance as part of Brilliant Classics’s comprehensive Opera Collection. The recording was made live at the Notre-Dame Church in Beaune, in France, in 2004. The cast is highly recognisable from many other fine productions of Baroque and early music, including Suzie LeBlanc (Pamina); Cornelius Hauptmann (Tamino); Stephan Genz (Papageno) and Isolde Siebert (Queen of Night).

Of course the orchestral contribution to this recording is no less distinguished: La Petite Bande features the cream of Continental period-instrument musicians, and is led by Kuijken himself, a violinist as much at home in Mozart’s world as he is in Bach’s.

00:00:00 Die Zauberflöte: Act 2: No. 9. March of the Priests (Orchestra)
00:02:40 Die Zauberflöte: Act 2: Dialogue: Ihr, in dem Weisheitstempel eingeweihten Diener (Sarastro/Priests/Speaker)
00:06:53 Die Zauberflöte: Act 2: No. 10. Aria and Chorus: O Isis und Osiris (Sarastro/Chorus)
00:09:26 Die Zauberflöte: Act 2: Dialogue: Eine schreckliche Nacht! (Tamino/Papageno/Speaker/Second Priest)
00:13:28 Die Zauberflöte: Act 2: No. 11. Duet: Bewahret euch vor Weibertücken (Priests)
00:14:22 Die Zauberflöte: Act 2: Dialogue: He, Lichter her! Lichter her! (Papageno/Tamino)
00:14:43 Die Zauberflöte: Act 2: No. 12. Quintet: Wie, wie, wie? Ihr an diesem Schreckensort? (Three Ladies/Papageno/Tamino)
00:17:41 Die Zauberflöte: Act 2: Dialogue: Heil dir, Jüngling! (Speaker/Second Priest/Papageno/Monostatos)
00:19:39 Die Zauberflöte: Act 2: No. 13. Aria: Alles fühlt der Liebe Freuden (Monostatos)
00:20:58 Die Zauberflöte: Act 2: Dialogue: Zurücke! (Queen of the Night/Pamina/Monostatos)
00:24:35 Die Zauberflöte: Act 2: No. 14. Aria: Der Hölle Rache kocht in meinem Herzen (Queen of the Night)
00:27:45 Die Zauberflöte: Act 2: Dialogue: Götter, das kann ich nicht! (Pamina/Monostatos/Sarastro)
00:30:02 Die Zauberflöte: Act 2: No. 15. Aria: In diesen heil’gen Hallen (Sarastro)
00:33:01 Die Zauberflöte: Act 2: Dialogue: Hier seid ihr euch beide allein überlassen (Speaker/SecondPriest/Papageno/Tamino/Old Woman)
00:35:47 Die Zauberflöte: Act 2: No. 16. Trio: Seid uns zum zweiten Mal willkommen (Three Boys)
00:37:35 Die Zauberflöte: Act 2: Dialogue: Tamino, wollen wir nicht speisen? (Papageno/Pamina/Tamino)
00:39:41 Die Zauberflöte: Act 2: No. 17. Aria: Ach, ich fühl’s, es ist verschwunden (Pamina)
00:43:23 Die Zauberflöte: Act 2: Dialogue: Nicht wahr, Tamino, ich kann auch schweigen (Papageno)

Romantic Cello Concertos

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10 vistas · 6 años hace

Tracklist below.

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Antonin Dvoräk
00:00:00 Cello Concerto in B Minor, Op. 104: I. Allegro
00:14:13 Cello Concerto in B Minor, Op. 104: II. Adagio ma non troppo
00:24:49 Cello Concerto in B Minor, Op. 104: III. Finale, allegro moderato
00:37:04 From the Bohemian Forest, Op. 68: V. Silent Woods
00:42:05 Rondo in G Minor for Cello & Orchestra Op.94

Robert Schumann
00:48:25 Cello Concerto in A Minor, Op. 129: I. Nicht zu schnell
00:58:51 Cello Concerto in A Minor, Op. 129: II. Langsam
01:02:59 Cello Concerto in A Minor, Op. 129: III. Sehr lebhaft
04:26:32 Fantasiestücke, Op. 73: I. Zart und mit Ausdruck
04:29:31 Fantasiestücke, Op. 73: II. Lebhaft, leicht
04:32:55 Fantasiestücke, Op. 73: III. Rasch und mit Feuer

Camille Saint-Saëns
01:10:28 Cello Concerto in A minor Op. 33: I. Allegro non troppo - II. Attaca. Allegretto con moto - III. Tempo I
04:19:21 The Carnival of the Animals: XIII. The Swan

Gabriel Fauré
01:28:28 Élégie Op.24

Max Bruch
01:34:53 Kol Nidrei, Adagio for Cello and Orchestra, Op. 47

Tchaitochvsky
01:43:23 Variations on a Rococo Theme, Op. 33
04:42:35 Pezzo capriccioso in B Minor, Op. 62 (Andante con moto)
04:53:41 6 Pieces, Op. 51: VI. Valse sentimentale in F Minor (Tempo di Valse)

Beethoven
02:00:13 Cello Sonata in A Major Op. 69: I. Allegro ma non tanto
02:12:44 Cello Sonata in A Major Op. 69:: II. Scherzo. Allegro molto
02:17:48 Cello Sonata in A Major Op. 69:: III. Adagio cantabile – Allegro vivace

Felix mendelssohn
02:26:12 Cello Sonata No. 1 in B-Flat Major, Op. 45: I. Allegro vivace
02:38:46 Cello Sonata No. 1 in B-Flat Major, Op. 45: II. Andante
02:45:06 Cello Sonata No. 1 in B-Flat Major, Op. 45: III. Allegro assai

Johannes Brahms
02:51:57 Cello Sonata No. 1 in E Minor, Op. 38: I. Allegro non troppo
03:02:41 Cello Sonata No. 1 in E Minor, Op. 38: II. Allegretto quasi menuetto
03:08:07 Cello Sonata No. 1 in E Minor, Op. 38: III. Allegro

Frédériq Chopin
03:14:28 Cello Sonata in G Minor, Op. 65: I. Allegro moderato
03:28:45 Cello Sonata in G Minor, Op. 65: II. Scherzo. Allegro con brio
03:33:32 Cello Sonata in G Minor, Op. 65: III. Largo
03:36:52 Cello Sonata in G Minor, Op. 65: IV. Finale. Allegro
04:55:41 Introduction and Polonaise Brillante in C Major, Op. 3
Sergei Rchmaninoff
03:43:13 Cello Sonata in G Minor, Op. 19: I. Lento - Allegro moderato
03:55:40 Cello Sonata in G Minor, Op. 19: II. Allegro scherzando
04:02:33 Cello Sonata in G Minor, Op. 19: III. Andante
04:08:19 Cello Sonata in G Minor, Op. 19: IV. Allegro mosso
04:37:32 14 Romances, Op. 34: XIV. Vocalise

Enrique Granados
04:22:19 Goyescas, Act 1: Intermezzo

Nikolai Rimsky
04:49:03 The Golden Cockerel, Act 2: II. Hymn to the Sun

Manuel de Falla
05:04:13 Seven Spanish Folksongs: I. El paño moruno
05:06:21 Seven Spanish Folksongs: II. Nana
05:08:30 Seven Spanish Folksongs: III. Canción
05:10:01 Seven Spanish Folksongs: IV. Polo
05:11:17 Seven Spanish Folksongs: V. Asturiana
05:13:34 Seven Spanish Folksongs: VI. Jota

Claude Debussy
05:16:35 Cello Sonata, L.135: I. Prologue. Lent
05:20:26 Cello Sonata, L.135: II. Sérénade. Modérément animé
05:23:21 Cello Sonata, L.135:: III. Finale. Animé

Guitar Vibes: Music for Guitar and Strings

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10 vistas · 6 años hace

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Composer: Leo Brouwer, Maximo Diego Pujol
Artists: Elias Izhar (guitar )
Netherlands Chamber Orchestra
Matangi (Quartet)
Florian Magnus Maier (moog guitar)

About this Album:
Izhar Elias has produced several successful and imaginative albums for Brilliant Classics. None of them have confirmed to a ‘Spanish guitar’ stereotype but all have engaged in various original ways with the developing heritage of the instrument during the 19th century, from ‘Paisiello in Vienna’ (BC95301) to ‘Beethoven and the Guitar’ (BC94631) to Giuliani’s astonishing transcription of Rossini’s grand tragedy Semiramide (BC93902).

His latest recording brings the classical guitar up to date with works by composers from four different countries; within them may be heard influences from classical music, avant-garde, Caribbean music, Spanish folklore, flamenco, Arabic music, blues, Argentinean tango and even trip-hop and heavy metal: provocative testament to the world’s most versatile instrument. The Guernica Suite by Pujol (b.1959) focuses on different aspects of Picasso’s painting in six movements, with a tentatively positive conclusion.

The Triptych of Roberto Sierra (b.1953) evokes some nocturnal sounds from his native Puerto Rico, including the tropical tree frog as well as a night on the tiles. The three Danzas Concertantes pulse and glide with the rhythms of Leo Brouwer’s native Cuba, offset by some astringent harmonies that place the guitar’s usual role as purveyor of folkloristic colour under threat. Finally there is the Schattenspiel Suite by Florian Magnus Maier (b.1973), who also plays electric Moog guitar on this recording. Maier pursues a diverse career as a composer, guitarist and vocalist with bands including Alkaloid, Dark Fortress and Noneuclid; this tripartite suite inspired by shadows is his best-known work in the classical tradition, and for this recording he has made a new arrangement for two guitars and string quartet. There is something for everyone on this album: it’s essential listening for guitar-music enthusiasts who want to broaden their horizons.

For this exciting new recording Dutch guitarist Izhar Elias selected 4 works for guitar and strings to show the versatility of his instrument. In these works by Brouwer, Pujol , Sierra and Maier influences can be traced from classical music, Avant-Garde, Caribbean music, Spanish folklore, Flamenco, Arabic music, tango, blues and even trip-hop and heavy metal: fascinating!
Izhar Elias secured the collaboration of world-class musicians (composer Florian Magnus Maier plays the Moog electric guitar), each bringing a different musical background and an open mind.
In the booklet text each composer comments on his own work, a better introduction is hardly possible.

Tracklist:
00:00:00 Tres danzas concertantes: I. Allegro
00:03:37 Tres danzas concertantes: II. Andantino
00:08:55 Tres danzas concertantes: III. Toccata
00:14:02 Guernica suite: I. Mujeres
00:16:15 Guernica suite: II. El ave
00:19:29 Guernica suite: III. El guerrero
00:22:49 Guernica suite: IV. El caballo y el toro
00:26:35 Guernica suite: V. Mujer con niño muerto
00:28:35 Guernica suite: VI. Epílogo
00:33:17 Tríptico: I. Tranquilo
00:36:48 Tríptico: II. Rítmico
00:41:35 Tríptico: III. Fluido
00:45:30 Schattenspiel

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Schulhoff: Complete Music for Violin and Piano

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10 vistas · 6 años hace

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A musical portrait of a master guitar-maker of the 19th century.
The last two decades have seen a richly merited revival of interest in the music of Erwin Schulhoff, one of the German-Jewish composers who fell victim to the Nazis’ rise to power in the 1930s and whose work was soon declared Entartete Musik; he was deported to a concentration camp in Bavaria in the winter of 1941 and died there of tuberculosis nine months later, not yet 50 years old.

By then Schulhoff had earned a considerable reputation in his native Prague and beyond, with a catalogue of large, ambitiously programmatic symphonies, daring jazz-age chamber
music and an opulent, Expressionist opera, Flammen, first staged in Brno in 1932. The Suite and First Sonata violin and piano are much earlier works, less harmonically adventurous and more indebted to the examples of Debussy, Richard Strauss and his teacher Max Reger, effusive and lyrical in expression.
00:00:00 Suite for Violin and Piano, WV 18: I. Präludium. Stürmisch
00:04:05 Suite for Violin and Piano, WV 18: II. Gavotte. Mäßig
00:08:12 Suite for Violin and Piano, WV 18: III. Menuetto
00:12:29 Suite for Violin and Piano, WV 18: IV. Walzer
00:16:35 Suite for Violin and Piano, WV 18: V. Scherzo
00:22:27 Sonata No. 1 for Violin and Piano, WV 24: I. Wuchtig
00:29:08 Sonata No. 1 for Violin and Piano, WV 24: II. Ruhig
00:33:45 Sonata No. 1 for Violin and Piano, WV 24: III. Scherzo. Bewegt
00:36:40 Sonata No. 1 for Violin and Piano, WV 24: IV. Rondo. Nicht zu schnell
00:44:23 Sonata for Solo Violin, WV 83: I. Allegro con fuoco
00:46:42 Sonata for Solo Violin, WV 83: II. Andante sostenuto
00:52:04 Sonata for Solo Violin, WV 83: III. Scherzo. Allegretto grazioso
00:54:52 Sonata for Solo Violin, WV 83: IV. Allegro risoluto
00:58:00 Violin Sonata No. 2, WV 91: I. Allegro impetuoso
01:04:44 Violin Sonata No. 2, WV 91: II. Andante
01:09:58 Violin Sonata No. 2, WV 91: III. Burlesca. Allegretto
01:12:41 Violin Sonata No. 2, WV 91: IV. Allegro risoluto

Trumpet Concertos Trailer | December Release

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10 vistas · 6 años hace

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This is a sparkling set of concertos for the trumpet along with other pieces that highlight the instrument, providing vivid readings of some of the most renowned masterworks in the trumpet repertoire plus recordings of lesser-known yet equally idiomatic compositions.

Joining the well loved Classical trumpet concertos of Haydn and Hummel are the many Baroque works featuring trumpet by Telemann and an Italian champion of the instrument, Giuseppe Torelli, along with famous pieces by Vivaldi and Handel. We find another prolific trumpet composer in the German baroque violinist Johann Melchior Molter, and fine concertos from Quantz, famed more for his flute music, and Johannes Matthias Sperger, a renowned player of and composer for the double bass.

The music of Quantz’s teacher, Jan Dismas Zelenka, is enjoying a revival, as is that of Johann Friedrich Fasch, admired by both Bach and Telemann, who wrote an extraordinary concerto for three wind choirs with nine trumpets between them. Later in the 18th century, some composers stretched the limits of virtuosity in the natural trumpet, before the advent of valves around 1815. These include Georg Reutter II and the enigmatic Franz Querfurth, who both demanded sustained playing in the highest register. Tuscan composer Francesco Manfredini, like Querfurth, is known today for little else besides his trumpet concerto, while the majority of his works are now lost to history.

Authors who wrote prominently for the trumpet in pieces other than concertos include Johann Schmelzer and Johann Joseph Fux, along with Fux’s student František Tůma, while Beethoven’s composition teacher Johann Georg Albrechtsberger wrote concertos for the jaw harp, whose harmonics are well suited to adaptation for the natural trumpet.

Though somewhat overshadowed by their more illustrious family members, Michael Haydn and Leopold Mozart both wrote fine trumpet concertos, while two generations of Bibers, Carl Heinrich and his more prominent father Heinrich Ignaz Franz, composed sonatas and dances for multiple trumpets.

Rounding out this set are outstanding modern additions to the trumpet repertoire, including trumpet concertos by the Armenian Alexander Arutiunian and French composer André Jolivet, as well as Shostakovich’s Piano Concerto No.1, which casts the solo trumpet in a prominent role.

SAI LOVE SPECIAL - Sathyam Sivam Sundaram

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10 vistas · 6 años hace

" NA PUNYAM "

Na Punyam Na Pâpam Na Saukhyam Na Dukkham Na Manthro Na Tîrtham Na Vedâ Na yajnam.
Aham Bhojanam Na Bhojanam Naiva Bhojam Na Kartau Sadânanda Rûpam Advaitam Sathyam Sivam Sundaram.

Neither sin nor merit; neither pleasures nor pain.
Neither sacred formulae nor sacred places.
Neither Vedas nor yajnas (rituals).
I am neither the eaten nor the eater nor the act of eating;
I am the ever blissful One, One without a second, Truth, Goodness and Beauty.
I AM THAT

Music composed by Gabriele & Gianluca Ducros.
Edited by sailove.org.
.
.
.

8. Viswasanthini - Sai Baba "Embodiment of Love - 1" b

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10 vistas · 6 años hace

Baba sings verses - Viswasanthini

Viswasanthini Chekurchu Vidhamu Nerchi
Sankuchita Bhavamulanella Samayajesi
Ai Kamathyamu Sahajivanadi Kanu
Peraga Nerputaye Kade Brahma Vidya

Having learnt the method of obtaining world peace destroving the narrow
minded attitudes, cultivating unity and fraternity this verity is
the knowledge of the Brahman the Supreme.

Баба поёт стихи - "Воплощение любви", диск 1
8. Вишвашантини

Вишвашантини чекурчу видхаму нерчи
Санкучита бхавамуланелла самаяджеси
Аи каматхьяму сахадживанади кану
Перага нерпутайе каде брахма видья

Постижение метода обретения всеобщего мира,
ничтожение ограниченного и узколобного отношения,
развитие единства и братства -
это и есть познание Брахмана, или Всевышнего.

¿Qué debo hacer con mi vida a los veinte? - Sadhguru le responde a un estudiante

India
10 vistas · 6 años hace

Sadhguru responde una pregunta de un estudiante universitario sobre qué es lo que debería hacer para vivir una vida llena de verdad, involucramiento y realización.
#UnplugWithSadhguru

Sadhguru en Darshan en el Isha Yoga Center, Diciembre 2013

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Yogui, místico y visionario, Sadhguru es un maestro espiritual con una diferencia. Una notable combinación de profundidad y pragmatismo, su vida y su trabajo sirven como recordatorio de que el yoga es una ciencia contemporánea, de vital relevancia en nuestro tiempo.

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Panama WYD: Virtual reality will allow one to travel to Jesus' times

Rome Reports Español
10 vistas · 6 años hace

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