Falcon Feather ~ Chapter 4 ~ by Susan Anwin
“She was floating. There were no memories, just the the silence and the dark and and it was alright…” Read the last part of the saga Falcon Feathers here!
“She was floating. There were no memories, just the the silence and the dark and and it was alright…” Read the last part of the saga Falcon Feathers here!
“Couriers galloped up and down along the length of the procession, cart drivers cried out. The harness tightened across the backs of the oxen.”
I consider it a continuous process and with Girls in particular there has been a sense of great discovery over the past year – Roy Assaf recalls.
“Blood and soul, flesh and bone,” she recited the ritual text. “Take whichever you like.” “Your hand will do…” Falcon Feather, a new story by Susan Anwin.
“There is something up on the hill,” the baroness told her maid that evening, “something evil.” ~ Falcon Feather, a new story by Susan Anwin.
There are four instruments in Bach’s work: flute, cello, bass clarinet and violin, and each is represented by a human body. ‘Opus’, performed in the Trafó.
These poets are still quoted because they talk about the moral roots of humanity – says Alireza Ghorbani who will sing a bunch of their poems soon.
For beginners in the world of classical music, this is a good place to start – says international student Tuva Stranger on the Classical Chill Out concerts.
A family concert, a hot chocolate, and a few rounds of skating surely help us all to get in Christmas mood. Come to the Müpa Winter Open Air!
In the first twenty years of my career, playing maloya was something to fight for, not to live from – says Danyel Waro, the “proud bastard” of Réunion.
He created an own universe, went on his own path, and after his poetry arrived to collective consciousness, no one could think the same old ways anymore.
Innovative spirit, rediscovery of forgotten pieces, playing at unusual places, contributing to Polish-Hungarian siblinghood: this is the Erdődy Orchestra.
It will work out very well in Trafó to awake feelings with the mere method of looking at people – says Alexander Vantournhout.
I felt like the bottom of my world fell out. How was I supposed to break down the news to my parents? What was I supposed to tell them?
Rumi always returns us to the quiet, reflective state of Khamush in the final strophe – this is to allow ’the giver of speech to speak’.
I’m playing the piece with recordings doing one part and me the other. I’m alone on stage, but I’m not playing alone – says drummer Julian Sartorius.
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