Tuesday, August 28, 2007

Monday, August 27, 2007

The Linden Method of stress management

http://www.youtube.com/watch?v=kUCPVx3hieg&mode=related&search=
Anxiety, Panic Attacks, OCD, Stress & Phobias, THE Solution
Do anxiety related conditions dominate your life? Charles Linden, author of The Linden Method explodes the myths surrounding the disorders such as Anxiety, Panic Attacks, OCD, Stress & Phobias and shows sufferers how they can eliminate their anxiety, quickly and permanently without the need for drugs or therapy. The Linden Method has helped tens of thousands of people worldwide to permanently eliminate their anxiety. Please watch Charles' intro to The Linden Method and contact us through www.stopworry.com should you have any questions or wish to join The Linden Method Program.

Mindfulness Meditation

http://www.youtube.com/watch?v=4UxlGVPqRVM&mode=related&search=
An Intro to Meditation for Healing and Stress Reduction

Gurucharan Singh

http://www.youtube.com/watch?v=KmKj1_jIivE&mode=related&search=
Yoga and Meditation for Stress
In this video Gurucharan Singh talks about the effects of stress on our mind and body and gives a Kundalini Yoga excercise and meditation to help you deal with this stress.Gurucharan Singh Khalsa, Ph.D., is a yogi, psychotherapist, teacher and writer, and a recognized expert in Kundalini Yoga as taught by Yogi Bhajan. He is also the founder and the Director of Training of KRI (Kundalini Research Institute).

Yogi Bhajan

http://www.youtube.com/watch?v=GK4307fPaPY&mode=related&search=
Sadhana - Video Lecture by Yogi Bhajan

Saturday, August 25, 2007

Sri Swami Satchidananda

http://www.youtube.com/watch?v=zoeU_XGJKGc&mode=related&search=
Swami Satchidananda (Integral Yoga) Speaks about Death
H.H. Sri Swami Satchidananda answers question: "What is death?"This video of Sri Swami Satchidananda is copyrighted by Satchidananda Ashram. Feel free to share this video as long as it is not altered in any way and is shared in the spirit of respect for Sri Gurudev's teachings. OM Shanthi.

Swami Sadyojathah - Art of Living teacher

http://www.youtube.com/watch?v=o5QJd9DtOQY&mode=related&search=
Interview with Swami Sadyojathah

Swami Chinmayananda

http://www.youtube.com/watch?v=hzVwf8soylA&mode=related&search=
Swami Chinmayananda 1974 - Science of Sprituality #1 of 3
This is a vintage video recording of Swami Chinmayananda teaching the Science of Spirituality at San Francisco College. The recording was originally produced on 20 minute reels of open video tape (before VHS cassettes), so the image will be dark. The content of this talk is very important to help the seeker of Truth understand the make-up of his/her own personality structure.
Bhagavad Gita :Concluding Verse
Pujya Gurudev with children !!

Swami Parthasarathi

http://www.youtube.com/watch?v=0rpaJLGRLN8
ANCIENT WISDOM IN MODERN LIFE

Swami Dayananda

http://www.youtube.com/watch?v=CwL30dZrLZg
#1 - Are we concerned to know who this "I" is?

Dr. Satish Prakash

http://www.youtube.com/watch?v=cgeQtyrD2Bs
2007-05-06 - Part 1 - Is There Anything Else For Me?
Part 1 of the pravachan given by Dr. Satish Prakash at MDG on when you're feeling like there is no one else or anything else left for you here.
2007-06-24 - Part 1 - Heightened Conciousness

Friday, August 24, 2007

Nirmala

http://www.youtube.com/watch?v=__-_aZMOkuo
What You Are is Space - Part 1
In this three-part satsang with Nirmala, he explores your true nature as aware space.After a lifetime of spiritual seeking, Nirmala met his teacher, Neelam, a devotee of H.W.L. Poonja (Papaji). After experiencing a profound spiritual awakening in India, he has been offering satsang (gatherings for the truth) in the U.S. and internationally since 1998. Nirmala offers a unique vision and a gentle, compassionate approach, which adds to this rich tradition of inquiry into our true nature. He is the author of several books, including Nothing Personal: Seeing Beyond the Illusion of a Separate Self. He can be contacted for individual satsang sessions by emailing him at: nirmalanow@aol.com. Information about his schedule and free downloads of several of his books are available at http://www.endless-satsang.com.

Cutie Cutie Sweet children

http://www.youtube.com/watch?v=eStpn_1tA7g
Govinda Ala Re

Thursday, August 23, 2007

Wednesday, August 22, 2007

Malayalam Songs

http://www.youtube.com/watch?v=N7yEE2cgCLY&mode=related&search=
Chandhanathil - Saasthram Jayichu Manushyan Thottu(1974)

http://www.youtube.com/watch?v=XQRQ2NEAJBI&mode=related&search=
Ellaarum Chollanu - Neelakuyil (1954)

http://www.youtube.com/watch?v=XE_6BZu_BGQ&mode=related&search=
Swargaputhri Navaraathri - Nizhalattam (1970)

http://www.youtube.com/watch?v=ueXbwYYUpK4&mode=related&search=
Chandhrikayil Aliyunnu - Bhaaryamaar Sookshikkuka (1968)

http://www.youtube.com/watch?v=OMAo0Mnx6kM&mode=related&search=
Maanikya Veenayumaayen - Kaattupookal (1965)

http://www.youtube.com/watch?v=4rjYlLIHKMI&mode=related&search=
Vaikathashtami Naalil - Bhaaryamar Sookshikkuka (1968)

http://www.youtube.com/watch?v=J9gGdSdmVX0&mode=related&search=
Thankabhasma Kuriyitta Thamburaatti - Koottukudumbam(1969)

http://www.youtube.com/watch?v=e24yM1UnshQ&mode=related&search=
Kudamulla Poovinum Malayali Penninum - Jwaala (1969)

http://www.youtube.com/watch?v=8TQfp18lKDw&mode=related&search=
Nin Padhangalil - Nazhikakallu(1970)

http://www.youtube.com/watch?v=Au5RZ5DabLg&mode=related&search=
Vasumathi - Gandharvashethram (1972)

http://www.youtube.com/watch?v=LxQEwhqtcYI&mode=related&search=
ente veenakambiyellam.. Mooladhanam

http://www.youtube.com/watch?v=x6AZqK0iulI&mode=related&search=
Snehathin..Pappayude Swantham Appus (1992)

http://www.youtube.com/watch?v=I5cWM6uxvhI&mode=related&search=
Guru - Guru Sharanam

http://www.youtube.com/watch?v=hokXylMEE7o&mode=related&search=
Ponmudipuzhayorathu Oru Chiri Kandaal mallutorrents.com

http://www.youtube.com/watch?v=5zbNgr5DFfA&mode=related&search=
ACHUVINTHE AMMA

http://www.youtube.com/watch?v=ASjnNvpztlQ&feature=related
Nakhangal - Pushpamangaliyam

http://www.youtube.com/watch?v=DQWjDs75WoI&feature=related
Kadathanattu maakham - Ilavanoor madathile

http://www.youtube.com/watch?v=fKyDAUt0U94&feature=related
Thriveni - Sangamam

http://www.youtube.com/watch?v=h6sERrEbSbc&feature=related
Indulekha Kanthurannu - Oru Vadakan Veera Gaatha

http://www.esnips.com/doc/ba6656c4-d0de-4fc6-ae2d-3c1480df47a8/060--VEENA--POOVE

Veena Poove - Kumaran Asaande Veena Pove

Malaysia Hindu Temple Demolition

http://www.youtube.com/watch?v=6s5lKylKMGE&mode=related&search=
Malaysia Hindu Temple Demolition

Theory of Relativity

http://www.youtube.com/watch?v=V7vpw4AH8QQ
Time Travel: Einstein's big idea (Theory of Relativity)

http://www.youtube.com/watch?v=X02WMNoHSm8&mode=related&search=
Is Time Travel Possible?

http://www.youtube.com/watch?v=E2sp-clMk8s&mode=related&search=
Time travel with proof

Sunday, August 19, 2007

Neelam

http://www.youtube.com/watch?v=AWEW_vAfJTw&mode=related&search=
Why does humanity live in separation? www.neelam.org

Premananda

http://www.youtube.com/watch?v=gddNFJVQbN0&mode=related&search=
Who am I?

Madhukar

http://www.youtube.com/watch?v=ElmiNZaPkEo&mode=related&search=
Meeting with Madhukar

Isaac Shapiro

http://www.youtube.com/watch?v=o3riqLv0lz8&mode=related&search=
Spiritual teacher Isaac Shapiro explains how we are NOT our emotions, our thoughts, our body. Amsterdam interviwe by Luc Sala in Myster centre

Unmani - Liza Hyde

http://www.youtube.com/watch?v=ng-ggs0b1wQ&mode=related&search=
Meeting with Unmani in Not-Knowing

Swami Sivananda

http://www.youtube.com/watch?v=hojebi2rVF8&mode=related&search=
Sivananda

Ashrams

http://www.youtube.com/watch?v=apfglrQ2ZNY&mode=related&search=
At the Shivananda Ashram in Uttarkashi, India

Paramahamsa Nithyananda

http://www.youtube.com/watch?v=zhuNLxHWKE8
Ashram versus Monastry

Sacinandana Swami

http://www.youtube.com/watch?v=v6mDObpJ5RA&mode=related&search=
Sacinandana Swami - Vyasa Puja - Part2

Swami Ramdev

http://www.youtube.com/watch?v=28Znl8xd5Ow
Swami Ramdev in London

Swami Vivekananda Saraswathi

http://www.youtube.com/watch?v=AMgNwUoJjf4&NR=1
Swami Vivekananda's trip to the Uk branch of Agama Yoga

Swami Shankarananda

http://www.youtube.com/watch?v=8Qc8jmZCZvE
Satsang with Swami Shankarananda vol I
Swami Shankarananda, head of Shiva Ashram in Melbourne, Australia Talks about Great Beings and in particular Sri Nisargadatta Maharaj

Asaram Bapu

http://www.youtube.com/watch?v=odsLF06LRy4
Hinduism = Knowledge, Asaramji Bapu

Saturday, August 18, 2007

Karl Renz

http://www.youtube.com/watch?v=nr4l25Aqpaw&mode=related&search=
Karl Renz_Talks in Tiruvannamalai 17.01.07 www.premmedia.de

Wednesday, August 15, 2007

The Simpsons

http://www.youtube.com/watch?v=FtMVjQizwE8&mode=related&search=
Simpsons Hamlet

Shakespeare

http://www.youtube.com/watch?v=GMw8bjzDP2k
Shakespeare - Hamlet, Act III, scene i "To be or not to be"


A room in the Castle.
[Enter King, Queen, Polonius, Ophelia, Rosencrantz, andGuildenstern.]
King.And can you, by no drift of circumstance,Get from him why he puts on this confusion,Grating so harshly all his days of quietWith turbulent and dangerous lunacy?
Ros.He does confess he feels himself distracted,But from what cause he will by no means speak.
Guil.Nor do we find him forward to be sounded,But, with a crafty madness, keeps aloofWhen we would bring him on to some confessionOf his true state.
Queen.Did he receive you well?
Ros.Most like a gentleman.
Guil.But with much forcing of his disposition.
Ros.Niggard of question; but, of our demands,Most free in his reply.
Queen.Did you assay himTo any pastime?
Ros.Madam, it so fell out that certain playersWe o'er-raught on the way: of these we told him,And there did seem in him a kind of joyTo hear of it: they are about the court,And, as I think, they have already orderThis night to play before him.
Pol.'Tis most true;And he beseech'd me to entreat your majestiesTo hear and see the matter.
King.With all my heart; and it doth much content meTo hear him so inclin'd.--Good gentlemen, give him a further edge,And drive his purpose on to these delights.
Ros.We shall, my lord.
[Exeunt Rosencrantz and Guildenstern.]
King.Sweet Gertrude, leave us too;For we have closely sent for Hamlet hither,That he, as 'twere by accident, may hereAffront Ophelia:Her father and myself,--lawful espials,--Will so bestow ourselves that, seeing, unseen,We may of their encounter frankly judge;And gather by him, as he is behav'd,If't be the affliction of his love or noThat thus he suffers for.
Queen.I shall obey you:--And for your part, Ophelia, I do wishThat your good beauties be the happy causeOf Hamlet's wildness: so shall I hope your virtuesWill bring him to his wonted way again,To both your honours.
Oph.Madam, I wish it may.
[Exit Queen.]
Pol.Ophelia, walk you here.--Gracious, so please you,We will bestow ourselves.--[To Ophelia.] Read on this book;That show of such an exercise may colourYour loneliness.--We are oft to blame in this,--'Tis too much prov'd,--that with devotion's visageAnd pious action we do sugar o'erThe Devil himself.
King.[Aside.] O, 'tis too true!How smart a lash that speech doth give my conscience!The harlot's cheek, beautied with plastering art,Is not more ugly to the thing that helps itThan is my deed to my most painted word:O heavy burden!
Pol.I hear him coming: let's withdraw, my lord.
[Exeunt King and Polonius.]
[Enter Hamlet.]
Ham.To be, or not to be,--that is the question:--Whether 'tis nobler in the mind to sufferThe slings and arrows of outrageous fortuneOr to take arms against a sea of troubles,And by opposing end them?--To die,--to sleep,--No more; and by a sleep to say we endThe heartache, and the thousand natural shocksThat flesh is heir to,--'tis a consummationDevoutly to be wish'd. To die,--to sleep;--To sleep! perchance to dream:--ay, there's the rub;For in that sleep of death what dreams may come,When we have shuffled off this mortal coil,Must give us pause: there's the respectThat makes calamity of so long life;For who would bear the whips and scorns of time,The oppressor's wrong, the proud man's contumely,The pangs of despis'd love, the law's delay,The insolence of office, and the spurnsThat patient merit of the unworthy takes,When he himself might his quietus makeWith a bare bodkin? who would these fardels bear,To grunt and sweat under a weary life,But that the dread of something after death,--The undiscover'd country, from whose bournNo traveller returns,--puzzles the will,And makes us rather bear those ills we haveThan fly to others that we know not of?Thus conscience does make cowards of us all;And thus the native hue of resolutionIs sicklied o'er with the pale cast of thought;And enterprises of great pith and moment,With this regard, their currents turn awry,And lose the name of action.--Soft you now!The fair Ophelia!--Nymph, in thy orisonsBe all my sins remember'd.
Oph.Good my lord,How does your honour for this many a day?
Ham.I humbly thank you; well, well, well.
Oph.My lord, I have remembrances of yoursThat I have longed long to re-deliver.I pray you, now receive them.
Ham.No, not I;I never gave you aught.
Oph.My honour'd lord, you know right well you did;And with them words of so sweet breath compos'dAs made the things more rich; their perfume lost,Take these again; for to the noble mindRich gifts wax poor when givers prove unkind.There, my lord.
Ham.Ha, ha! are you honest?
Oph.My lord?
Ham.Are you fair?
Oph.What means your lordship?
Ham.That if you be honest and fair, your honesty should admit nodiscourse to your beauty.
Oph.Could beauty, my lord, have better commerce than with honesty?
Ham.Ay, truly; for the power of beauty will sooner transformhonesty from what it is to a bawd than the force ofhonesty can translate beauty into his likeness: this wassometime a paradox, but now the time gives it proof. I didlove you once.
Oph.Indeed, my lord, you made me believe so.
Ham.You should not have believ'd me; for virtue cannot soinoculate our old stock but we shall relish of it: I loved younot.
Oph.I was the more deceived.
Ham.Get thee to a nunn'ry: why wouldst thou be a breeder ofsinners? I am myself indifferent honest; but yet I couldaccuse me of such things that it were better my motherhad not borne me: I am very proud, revengeful,ambitious; with more offences at my beck than I havethoughts to put them in, imagination to give them shape,or time to act them in. What should such fellows as Ido crawling between earth and heaven? We are arrantknaves, all; believe none of us. Go thy ways to anunnery. Where's your father?
Oph.At home, my lord.
Ham.Let the doors be shut upon him, that he may play the foolnowhere but in's own house. Farewell.
Oph.O, help him, you sweet heavens!
Ham.If thou dost marry, I'll give thee this plague for thydowry,--be thou as chaste as ice, as pure as snow, thoushalt not escape calumny. Get thee to a nunnery, go:farewell. Or, if thou wilt needs marry, marry a fool;for wise men know well enough what monsters you makeof them. To a nunnery, go; and quickly too. Farewell.
Oph.O heavenly powers, restore him!
Ham.I have heard of your paintings too, well enough; God hathgiven you one face, and you make yourselves another: you jig,you amble, and you lisp, and nickname God'screatures, and make your wantonness your ignorance.Go to, I'll no more on't; it hath made me mad. I say, wewill have no moe marriages: those that are marriedalready, all but one, shall live; the rest shall keep asthey are. To a nunnery, go.
[Exit.]
Oph.O, what a noble mind is here o'erthrown!The courtier's, scholar's, soldier's, eye, tongue, sword,The expectancy and rose of the fair state,The glass of fashion and the mould of form,The observ'd of all observers,--quite, quite down!And I, of ladies most deject and wretchedThat suck'd the honey of his music vows,Now see that noble and most sovereign reason,Like sweet bells jangled, out of tune and harsh;That unmatch'd form and feature of blown youthBlasted with ecstasy: O, woe is me,To have seen what I have seen, see what I see!
[Re-enter King and Polonius.]
King.Love! his affections do not that way tend;Nor what he spake, though it lack'd form a little,Was not like madness. There's something in his soulO'er which his melancholy sits on brood;And I do doubt the hatch and the discloseWill be some danger: which for to prevent,I have in quick determinationThus set it down:--he shall with speed to EnglandFor the demand of our neglected tribute:Haply the seas, and countries different,With variable objects, shall expelThis something-settled matter in his heart;Whereon his brains still beating puts him thusFrom fashion of himself. What think you on't?
Pol.It shall do well: but yet do I believeThe origin and commencement of his griefSprung from neglected love.--How now, Ophelia!You need not tell us what Lord Hamlet said;We heard it all.--My lord, do as you please;But if you hold it fit, after the play,Let his queen mother all alone entreat himTo show his grief: let her be round with him;And I'll be plac'd, so please you, in the earOf all their conference. If she find him not,To England send him; or confine him whereYour wisdom best shall think.
King.It shall be so:Madness in great ones must not unwatch'd go.
[Exeunt.]

Mr. Bean

http://www.youtube.com/results?search_query=Mr.+Beans&search=Search
Mr. Bean

http://www.youtube.com/watch?v=cGy_qmoEsPY
Rowan Atkinson

Tuesday, August 14, 2007

Bridging Heaven & Earth Show

http://www.youtube.com/watch?v=hzpZn4PGAB8
Bridging Heaven & Earth Show # 79 with Arjuna & Sudama
Arjuna, a spiritual teacher & author, uniquely merges Eastern & Western philosophies combining Western techniques of hypnotherapy with Eastern spiritual tenets of the direct realization of the Truth. His spiritual searching started early in life. He became a teacher of Transcendental Meditation at 17 and studied in India for many years. His book, "Relaxing into Clear Seeing" is a guidebook with exercises designed to dissolve false identifications and break through into the essential nature of spirit and the oneness with all life. Sudama is a songwriter and recording artist who plays the Western guitar and the Eastern instruments of sitar, shakuhachi flute and zither. He has studied and played North Indian classical music for sixteen years and was a tamboura player on 11 CD's accompanying internationally renowned artists such as V. Balaji, Ali Khan and Rita Sahai. In 1989 he received a Celestial Musician award from Sri Chimnoy at the United Nations peace Meditation.Bridging's website is: http://www.heaventoearth.com/

Maharshi Mahesh Yogi

http://www.youtube.com/watch?v=JY1SUxolUNM
Full Introduction to TM

Monday, August 13, 2007

Sri Bhagavan - Kalki

http://www.youtube.com/watch?v=NiRIndmiKyU&mode=related&search=
Sri Bhagavan: What is Enlightenment

http://www.youtube.com/watch?v=3ux1vSmtIFI&mode=related&search=
Sri Bhagavan: Look at Your Life

Deepak Chopra

http://www.youtube.com/watch?v=NnETVXKkvNU&mode=related&search=
Andrew Cohen & Deepak Chopra in New York

http://www.youtube.com/watch?v=3yIxPN7VOkI&mode=related&search=
Deepak Chopra and Meditation

Sri Sri Ravi Shankar

http://www.youtube.com/watch?v=p-Sstlp1u7Y
Sri Sri on CNN regarding his visit to Iraq

http://www.youtube.com/watch?v=-Vz6TxoYcII&mode=related&search=
Sri Sri Ravi Shankar's Peace Mission to Iraq

http://www.youtube.com/watch?v=sZ5IQ2_vt-Y&mode=related&search=
The Creative Face of God prt 1
Sri Sri Ravi Shankar and Andrew Cohen

Osho

http://www.youtube.com/watch?v=5-7JSIDgcLk
OSHO: LOVE and HATE are ONE

http://www.youtube.com/watch?v=PBEIeRSLb8k&mode=related&search=
OSHO: Anybody who gives you a belief system is your enemy.

Converting from Christianity to Islam - the reasons thereof

http://www.youtube.com/watch?v=v-XFLF01UTw&mode=related&search=
From Jehovah's Witnesses to Islam
From Jehovah's Witnesses to Islam :Dr. J Nicholson, from Scotland, has a PhD in Theology. He used to be part of the Jehovah's Witnesses and later reverted to Islam by the Mercy of Allah. He is going to share his story with us in this Video. Learn how he is active in the effort of Da'wah, and how his mother accepted Islam just before death at the age of 118!Very inspirational - recommended watch!Category: Islam Allah Muslim Muhammad Quran Qur'an Convert Islamic Video
Bible or Quran Debate Islam Christian and Muslim

Converting from Hinduism to Islam - reasons thereof

http://www.youtube.com/watch?v=qtAhp5Eud9A&mode=related&search=
Hindu Bhraman Dr. Meena Embraced Islam in English & Malayalam

Sunday, August 12, 2007

Guruvayoor

http://www.youtube.com/watch?v=bARSaEGbRH0
Guruvayoor Temple

Mumbai

http://www.youtube.com/watch?v=3grp2hiw6go
Life at Night in Mumbai - Part 1

http://www.youtube.com/watch?v=rvdQsiWqBgc&mode=related&search=
Mumbai Meri Jaan

Swami Satyananda Saraswathi

http://www.youtube.com/watch?v=0rfoTsW0sNQ&mode=related&search=
Swami Satyananda on the Yoni Mudra
The Yoni Mudra is a powerful Mudra that brings us the recognition that we are at the centre of the Universe. Swamiji demonstrates the Mudra.

Ganapati Sachchidananda Swamiji - healing with music

http://www.youtube.com/watch?v=mu0Sy-R_STc&mode=related&search=
Sri Ganapati Sachchidananda Swamiji
Sri Ganapati Sachchidananda Swamiji sees healing with music as a yogic practice. Yoga teaches that the astral body has 72000 nerve lets and 14 major nadis or nerves. Each nadi vibrates at its own frequency. Music soothes the nadis and helps them to vibrate at the proper rate. Music becomes a therapy, He says, when the healer, musicians and listeners all deeply concentrate on the sound. Sri Swamiji stresses on concentration or Ekagrata on the part of the healer musician and the listener. Listening is a special technique where sense control or Indriya Nigraha is required. "Physical health and results from a healthy mind," Sri Swamiji says. "Music of the right type helps in achieving relaxation by soothing the nerves and through that, comes peace and stillness of the mind."Sri Swamiji claims that "ragas are the unspoiled sounds of eternal nature, the soul of man and Paramatman. In the hands of the perfect technician, they are great forces." Sri Swamiji uses a synthesizer because this instrument can reproduce singly or in combination the sounds of more than 1,100 instruments. This allows Sri Swamiji a greater range for healing through music. Not all ailments can be cured by Sri Swamiji's music however, especially those which have already reached a terminal state.Music therapy requires more than just intense meditation on sound. This great master understands the varying vibrational qualities of the different ragas and knows which raga can help a particular disease. Certain ragas can only be played at selected times to be healing.

Tamil movies

http://pesumpadam.wordpress.com/
Tamil movies, songs

Tamil Songs

http://www.youtube.com/watch?v=I0ET7nZG4Is
Ulagam Engum Ore Moli

http://www.youtube.com/watch?v=uFDnBLApCNo
Neerodum Vaigai ilaeye

http://www.youtube.com/watch?v=yaCkpHiCGZ4
Naan Malarodu
Song:Naan MalaroduMovie:Iru VallavargalActors:JaiShankar, L.VijayaletchumiSingers: TMS & P.Suseela

http://www.youtube.com/watch?v=CQ-OC2l7jb8
Aalayamaniyen oosaiyai naan katen
A nice song from paalum pazhamum. Lyrics by kannadasan. Music by M.S.Viswanathan (more)
Pesuvathu Kiliya
Film: PanathottamSong: Pesuvathu KiliyaMusic: M.S.ViswanathanSingers: TM. Sounderarajan. P. Susheela Actors: MGR, B.S. Saroja Devi
Thottaal poo malarum
Naan Paarthathile aval orithiyaithaan
Aagaya Pandhalile from Ponnunjal.
Paar magale paar from movie Paar magale paar.
Aval paranthu poonaale
Oru Pennai Parthu from Deivathai.
Thangathile Oru Kurai Irundhalum - Baaga Pirivinai
Palootti valartha Kili
Kaveri Karai Irukku
Film: Thayai Kaatha Thanayan Song: Kaveri Karai IrukkuMusic: M.S.ViswanathanSingers: TM. Sounderarajan. P. Suseela Actors: MGR, B.Saroja Devi
Naan Pesa
moonram pirai - kannae kalaimane
Aadaatha manamum aaduthe
Paalum Pazhamum Kaigalil yenthi
kalangalil aval vasantham
Paasamalar
Oruthi Oruvanai Ninainthuvittal from Saradha

Saturday, August 11, 2007

Malayalam comedy

http://www.youtube.com/watch?v=icglBuK9hD0
Jayaram on the art of selling medicines!

M.S.Subhalakshmi

http://www.youtube.com/watch?v=okQUQqEYChk&mode=related&search=
Govinda Ashtakam

Eight Pada on Krishna
Sing salutations to The only ornation of Vraj, Who destroys every sin (among us), Who is continuous bliss for His devotees, and Who is the dear one of Nanda. I bow to naughty Krishna, Who has beautiful bunch of peacock feathers on head, Who has a sweet sounding flute in hands, and Who is inseparable from God and is full of colorful actions.1
I bow to The lotus-eyed One, Whose beauty slays the pride of Kamdev (Manoj), Who has fulsome lips and beautiful big eyes, Who removed the thoughts of obstacles from cow-rearers (gopa). I bow to head-elephant-like-carefree Krishna, Who lifted a mountain in His lotus like hands, Whose smile and gaze is enticing, and Who slayed the pride of Indra¹.2
I bow to Krishna, Who is hard to get, Who has beautiful earrings made of flowers of kadamba-tree, Who has two beautiful cheeks, Who is the only dear One of land of Vraj. I bow to Krishna as cow-rearing-leader, Who is supreme bliss when viewed with Yashoda, Cow-rearers, and Nand.3
I bow to the son of Nanda, Whose lotus-feet is always immersed in the maan-sarovar like lake of my mind, Who has beautiful curls falling upon his face. I bow to the delight of Nand, Who is absolver of all defects (in us), Who looks after everyone in this world, and Who is the heart of every Gopa or cow-rearer.4
I bow to the heart-stealer, Who relieved earth of heavy weight² (of humans), Who is the support for us to cross the ocean of life and death, and Who is the young son of Yashoda. I bow to the son of Nand, Who has beautiful glancing eyes, Who is always accompanied by bumble-bees³, and Who appears new to His devotee, everytime, and leaves them mesmerized.5
I bow to the dear one of Gopas, Who is the abode of qualities, mercy, and happiness, and does not needs any mercy from anyone, and Who relieved the problems of demi-gods. I bow to cloud-colored beautiful one, Who is a new cowherd rearer and playful, Who is always thinking of new ways to mesmerize the mortals, and Who is wearing yellow lightening like robes.6
I bow to Krishna, Who roamed amidst the gardens of Vraj, Who is dear to every cow-rearer in Vraj, Who is the only happiness for heart, and Who has a sun like resplendent face. I bow to Krishna, Who is the leader of everyone in gardens of Vraj, Who is desireless but fulfils desire of everyone, Whose glances are like beautiful enticing arrows, and Who sings mesmerizing tunes over flute.7
I bow to The consort of Lakshmi, Who slept in the bed-like-dreams of young gopikas in Vraj, Who swallowed the forest and garden fire inside Vraj to save His fellows, Who is surrounded by the divine glow, Who is decorated in every way, and Who gave moksha to Gajendra, the elephant king×.8
O Lord! Whenever or wherever I am born, may I be immersed in Your beautiful ornate stories. Whomsoever sings the two Krishnashtaka (this one and one more by Shankaracharya), and meditates on it shall be born with Krishna bhakti in every life.9
Notes:
¹Indra sent clouds to flood and damage whole of Vraj and Krishna saved Vraj by lifting the mountain Govardhan. In yet another incident, Indra with army fought with Krishna when Krishna and Satyabhama wanted to take it away from heaven. Seeing the first pada, I presume, the last sentence refers to Govardhan incident.
² Earth gets crowded with time and Lord appears to slay off and provide salvation to numerous humans. This is called as relieving weight of earth.
³ Krishna appears with divine ornation during His incarnation. Of them, ‘‘Lakshmi-mark’’ on chest, ‘‘Kaustubh-jewel’’ in neck, ‘‘Tulsi-garland’’ in neck, blue cloud likebody, etc., are cited many times. Due to non-decaying ‘‘Tulsi-garland’’ in neck, bumble-bees always flock around it to sip on the divine nectar.
× Gajendra, an elephant, was cursed by Sage Agastya in his human body for neglecting the kingdom for seeking moksha. He was trapped by a crocodile in a river and then Vishnu (Krishna) freed him from the crocodile trap.
Poet: Adi Shankaracharya.
Source: Stotra Ratnavali— Gitapress.
© Stutimandal 2006, Mar 24.

Anandmurti Gurumaa

http://www.youtube.com/watch?v=Ojx8juW3Wh4&mode=related&search=
In this video Anandmurti Gurumaa, an enlightened woman mystic from India speaks on Bhaja Govindam , the beautiful composition of Adi Shakracharya. Our minds are full of desires, some of which we are not even aware of.The most striking desires which almost everyone has are that of wealth, children and fame. These insatiable desires become a big obstacle in a seeker's quest for truth. Gurumaaji makes us aware of our own minds and exhorts us to rise above our minds and drown into bliss with Bhaja Govindam!Explore the vast world of spirituality - Meditation Techniques, Discourses, Spiritual talks on Mind-Body-Soul by Anandmurti Gurumaa, available on www.gurumaa.com / www.mysticamusic.com

Adi Shankaracharya - the movie

http://www.youtube.com/watch?v=aaijNcidr6c&mode=related&search=Adi Shankara - Envy among disciples

http://www.youtube.com/watch?v=d3qjIvhWIKs
In this incident, Adi Shankara decries the importance of grammar and instead emphasizes the importance of a pure heart for chanting mantras.

David Spero

http://www.youtube.com/watch?v=b1tkbfQw_cE&mode=related&search=
Enlightened Teacher - David Spero - Explore Conciousness

Byron Katie

http://www.youtube.com/watch?v=zHV0jzi7BBQ&mode=related&search=
On thoughts

http://www.youtube.com/watch?v=5UbVi-Q4JrY&mode=related&search=
On a father who can't get over the sadness because he gave his child away to the state and now the child is 20, 6'3, 240 lbs but with the mind of a 3 year old.

Thursday, August 9, 2007

Christianity vs. Islam

http://www.youtube.com/watch?v=oqtISZJ1A9s&mode=related&search=
Is the Koran Accurate? Ravi Zacharias explains

http://www.youtube.com/watch?v=na7ofI4MoLA
Robert Spencer on Islam: REFUTED 1of 2

http://www.youtube.com/watch?v=SDUp0pqJmvQ&mode=related&search=
The Truth About Muhammad - Robert Spencer
Robert Spencer is a scholar and has been studying Islam for over 25 years. He is the director of the website http://jihadwatch.org/ and advocates an honest look at the actual teachings of the Qu'ran and the example of Muhammad.The truth shall set you free from your illusion! Why do most of the liberal AND conservative media (and people) fail to focus on this reality. The teachings of Islam clearly sanction violence against non-believers.e.g. even a verse such as ..Whoever kills an innocent soul.. it is as if he killed the whole of mankind, And whoever saves one, it is as if he saved the whole of mankind" [The Quran, 5:32]The term Innocent soul in this case only applies to followers of Islam. So those who oppose Islam or that simply do not accept their prophet are not deemed innocent.Thanks to people like Robert Spencer we can hopefully avoid the naive views of what we are truly up against. An ideology that sanctions killing and conquest within its teachings!Refer to Britains refusal to accept the growing might and ambitions of Nazi Germany before WWII if you want a comparison.
Robert Spencer: The Truth about Muhammad
CAIR National Communications Director Ibrahim Hooper - American Muslim Reaction to Pope Benedict Comments on Islam
Debate in Malayalam

Monday, August 6, 2007

Sunday, August 5, 2007

Sri Chinmoy

http://www.youtube.com/watch?v=cdHXEZu-d00
What is meditation?

[Meditation-Silence. Listen to the silence within you and learn the ancient art of meditation. Within each of us, a tranquil inner world lies waiting to be discovered. Here, the silence, stillness and peacefulness of our deeper, spiritual nature can be experienced through meditation and flow out into every part of our life. Meditation reconnects us with the bright and positive qualities of our heart and the greater happiness and delight of our souls. "Why Do We Meditate? We meditate because this world of ours has not been able to fulfill us....It is only through meditation that we can get lasting peace, divine peace." - Sri Chinmoy]
Chinmoy TV

I Love Lucy

http://www.youtube.com/watch?v=a3YrpAqZoHg
Anniversary Waltz- Last scene

http://www.youtube.com/watch?v=dNlABs4_ve4&mode=related&search=
I Love Lucy and the dress

[This is a clip from the episode "The Diet" where Lucy is trying to get in the show and goes on to rehearse and tries on a dress and rips it. ]

Mozart

http://www.youtube.com/watch?v=0-zDH_ekIUg
Requiem (I.Introit II.Kyrie)

Requiem (Mozart)
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The Requiem Mass in D minor (K. 626) by Wolfgang Amadeus Mozart was composed in 1791. It was Mozart's last composition and is one of his most powerful and recognized works, not only for its music, but also for the debate over how much of the music Mozart managed to complete before his death, and how much was later composed by his colleague Franz Xaver Süssmayr. Even with the open debate about how much of the music was Mozart's, the Requiem has taken a prominent place as one of Mozart's most important works.
Contents[
hide]
1 Structure of the work
2 Instrumentation
3 Composition and completion
4 Modern completions
5 Myths surrounding the Requiem
6 Constanze Mozart and the Requiem after Wolfgang's death
7 The autograph at the 1958 World's Fair
8 Discography
9 Popular culture
10 External links
10.1 Downloads (scores and music)
10.2 Other links
11 References
12 Bibliography
//

[edit] Structure of the work
The
Requiem is in fourteen movements, with the following structure:
Introit Requiem Aeternam
Kyrie
Sequence:
Dies irae
Tuba mirum
Rex tremendae majestatis
Recordare
Confutatis
Lacrimosa
Offertory:
Domine Jesu Christe
Hostias
Sanctus
Benedictus
Agnus Dei
Communion Lux Aeterna

[edit] Instrumentation
The Requiem is scored for 2
basset horns in F, 2 bassoons, 2 trumpets in D, 3 trombones (alto, tenor & bass), timpani (2 drums), organ, and strings.

[edit] Composition and completion
This section does not cite any
references or sources.Please help improve this article by adding citations to reliable sources. (help, get involved!)Unverifiable material may be challenged and removed.This article has been tagged since July 2006.
The work is scored for
soprano, alto, tenor, and bass soloists and choir, and a small classical orchestra comprising two basset horns (a type of alto (actually tenor) clarinet much favoured by Mozart throughout his career), two bassoons, two trumpets, three trombones, timpani, violins, viola and basso continuo (cello, double bass and organ). At the time of Mozart's death on 5 December 1791 he had only completed the opening movement (Requiem aeternam) in all of the orchestral and vocal parts. The following Kyrie (a double fugue), and most of the Sequence (from Dies Irae to Confutatis), is complete only in the vocal parts and the continuo (the figured organ bass), though occasionally some of the prominent orchestral parts have been briefly indicated, such as the violin part of the Confutatis and the musical bridges in the Recordare. The last movement of the Sequence, the Lacrimosa, breaks off after only eight bars and was unfinished. The following two movements of the Offertorium were again partially done -- the Domine Jesu Christe in the vocal parts and continuo (up until the fugue, which contains some indications of the violin part) and the Hostias in the vocal parts only.
In the 1960s a sketch for an Amen fugue was discovered, which some musicologists (Levin, Maunder) believe belongs to the Requiem at the conclusion of the Sequence after the Lacrimosa.
H.C. Robbins Landon argues that this Amen fugue was not intended for the Requiem, rather that it "may have been for a separate unfinished Mass in D minor" of which the Kyrie K341 also belonged. There is, however, compelling evidence placing the "Amen Fugue" in the Requiem based on current Mozart scholarship. Firstly, the principal subject is comprised of the main theme of the requiem (stated at the beginning, and throughout the work) in strict inversion. Secondly, it is found on the same page as a sketch for the Rex Tremendae (together with a sketch for the overture of his last opera The Magic Flute), and thus surely dates from late 1791. The only place where the word 'Amen' occurs in anything that Mozart wrote in late 1791 is in the Sequence of the Requiem. Thirdly, as Levin points out in the forward to his completion of the Requiem, the addition of the Amen Fugue at the end of the Sequence results in an overall design that ends each large section with a fugue.
The eccentric count
Franz von Walsegg commissioned the Requiem from Mozart anonymously though intermediaries acting on his behalf. The count, an amateur chamber musician who routinely commissioned works by composers and passed them off as his own, wanted a Requiem mass he could claim he composed to memorialize the recent passing of his wife. Mozart received only half of the payment in advance, so upon his death his widow Constanze was keen to have the work completed secretly by someone else, submit it to the count as having been completed by Mozart and collect the final payment. Joseph von Eybler was one of the first composers to be asked to complete the score, and had worked on the movements from the Dies irae up until the Lacrimosa. In addition, a striking similarity between the openings of the Domine Jesu Christe movements in the requiems of the two composers suggests that Eybler at least looked at later sections. Following this work, he felt unable to complete the remainder, and gave the manuscript back to Constanze Mozart.
The task was then given to another composer,
Franz Xaver Süssmayr, who had already helped the ailing Mozart in writing the score, since in his final days the composer's limbs had become extremely swollen. Süssmayr borrowed some of Eybler's work in making his completion, and added his own orchestration to the movements from the Dies Irae onward (the Kyrie was orchestrated before either Süssmayr or Eybler began their work) , completed the Lacrimosa, and added several new movements which a Requiem would normally comprise: Sanctus, Benedictus, and Agnus Dei. He then added a final section, Lux aeterna by adapting the opening two movements which Mozart had written to the different words which finish the Requiem Mass, which according to both Süssmayr and Mozart's wife was done according to Mozart's directions. Whether or not that is true, some people consider it unlikely that Mozart would have repeated the opening two sections if he had survived to finish the work completely. However, the fact that the work ends with a recapitulation of the first movement creates a work which, overall, displays characteristics of sonata form, which may help to authenticate the idea for the repetition of the first movement as the final movement. As has often been stated, Mozart was not the only composer to do this, and many requiems written before his repeat the first movement as the last. (In regular Masses a similar practice existed where the last movement, the Agnus Dei, was indicated only by the words "ut Kyrie", "as the Kyrie".)
Other composers may have helped Süssmayr. The elder composer
Maximilian Stadler is suspected of having completed the orchestration of the Domine Jesu for Süssmayr. The Agnus Dei is suspected by some scholars[citation needed] to have been based on instruction or sketches from Mozart because of its similarity to a section from the Gloria of a previous Mass (K.220) by Mozart, as was first pointed out by Richard Maunder. Many of the arguments dealing with this matter, though, center on the perception that if part of the work is high quality, it must have been written by Mozart (or from sketches), and if part of the work contains errors and faults, it must have been all Süssmayr's doing. A frequent meta-debate is whether or not this is a fair way to judge the authorship of the parts of the work.
Another controversy is the suggestion that Mozart left explicit instructions for the completion of the Requiem on "little scraps of paper." It is commonly believed this claim was made by Constanza Mozart after it was public knowledge that the Requiem was actually completed by Süssmayr as a way to increase the impression of authenticity.
The completed score, initially by Mozart but largely finished by Süssmayr, was then dispatched to Count Walsegg complete with a counterfeited signature of Mozart and dated 1792. The various complete and incomplete manuscripts eventually turned up in the 19th century, but many of the figures involved did not leave unambiguous statements on record as to how they were involved in the affair. Despite the controversy over how much of the music is actually Mozart's, the commonly performed Süssmayr version has become widely accepted by the public. This acceptance is quite strong, even when alternate completions provide logical and compelling solutions for the work. A completion dating from 1819 by Sigismund Neukomm has recently been recorded under the baton of Jean-Claude Malgoire. Salzburg-born Neukomm, a student of
Joseph Haydn, provided a concluding Libera me, Domine for a performance of the Requiem on the feast of St Cecilia in Rio de Janeiro at the behest of Nunes Garcia.

[edit] Modern completions
Since the 1970s several musicologists, dissatisfied with the traditional "Süssmayr" completion, have attempted alternative completions of the Requiem. These include
Franz Beyer, Duncan Druce, C. Richard F. Maunder, H.C. Robbins Landon, and Robert D. Levin. Each version follows a distinct methodology for completion; for example, the Beyer edition makes revisions to Süssmayr's orchestration in an attempt to create a more Mozartean style, whereas Robbins Landon has chosen to orchestrate parts of the completion using the partial work by Eybler, thinking that Eybler's work is a more reliable guide of Mozart's intentions. Maunder's edition dispenses completely with the parts known to be written by Süssmayr, but retains the Agnus Dei after discovering an extensive paraphrase from an earlier Mass (Kv.220). Levin's version retains the structure of Süssmayr while adjusting orchestration, voice leading and in some cases rewriting entire sections in an effort to make the work more Mozartean. For example, in the Levin version, the Sanctus fugue is completely rewritten and reproprortioned and the Benedictus is restructured to allow for a reprise of the Sanctus fugue in the key of D (rather than Süssmayr's use of B flat).
Both Maunder and Levin use the sketch for the Amen fugue discovered in the 1960s to compose a longer and more substantial setting to the words "Amen" at the end of the Sequence. In the Süssmayr version, "Amen" is set to the last two chords of the Lacrimosa. Maunder and Levin recompose the ending of the Lacrimosa to lead to an entire movement with "Amen" as the text. Other authors have attempted the completion, but most have failed miserably
[citation needed]. One example is Geoffrey McNeely, who in 1991 wrote his own version. His work was greatly ridiculed due to the lack of continuity between his work and Mozart's[citation needed].

[edit] Myths surrounding the Requiem
This section does not cite any
references or sources.Please help improve this article by adding citations to reliable sources. (help, get involved!)Unverifiable material may be challenged and removed.This article has been tagged since May 2007.
The "Requiem" has a complex history riddled with deception and manipulation of public opinion. It was commissioned by a Count who wanted to pass off the work as his own, so the circumstances of the commission were kept secret. Upon Mozart's death, Constanze had the work completed by other composers, but to receive the final payment, the assistance of others had to remain a secret. At the same time, Constanze wanted to promote that the piece was actually written by Mozart (to completion) so she should receive some revenue from the work. When it became known that others had a hand in writing the "Requiem", Constanze tried to convey that Mozart left explicit instructions for the work's completion.
With all of these levels of deceptions and secrets, it is inevitable that many myths would emerge with respect to the circumstances of the work's completion. One series of myths surrounding the Requiem involves the role Antonio Salieri played in the commissioning and completion of the Requiem and in Mozart's Death altogether. While the most recent retelling of this myth is
Peter Shaffer's play Amadeus and the movie made from it, it is important to note that the source of mis-information was actually a 19th century play by Alexander Pushkin, Mozart and Salieri, which was turned into an opera by Rimsky-Korsakov and subsequently used as the framework for "Amadeus".
While "Amadeus" was never intended to be historically accurate, many people have taken it as fact, re-awakening the myth started in the 19th century. The following paragraphs explore myths surrounding the Requirem.
Some of the most commonly held myths about Mozart's Requiem are:
Myth: Antonio Salieri commissioned the Requiem from Mozart so it could be played at Mozart's own funeral after Salieri poisoned the composer.
Reality: The Requiem was actually commissioned by
Franz von Walsegg so he could pass it off as his own to memorialize the death of his wife. Count Walsegg, an amateur musician, often commissioned works by composers and performed them with friends in musicales as his own. The count took the extra step of using a messenger to take extra precautions to maintain confidentiality, given that this event was much more public than the private musicales that he was accustomed to using for representing "his" works.
Myth:
Antonio Salieri helped to complete the Requiem on the deathbed of Mozart.
Reality: At Mozart's death, Constanze took on the responsibility of the Requiem, engaging a series of composers to attempt the completion, the last of which was Süssmayr. There is nothing to suggest that Salieri had anything to do with any part of the Requiem. This myth was incorporated into Pushkin's play, and in turn, the film and stage play versions of "Amadeus".
Myth: Mozart actively worked on the Requiem up to the moment he died.
Reality: In the last days of his life he had become too sick (his hands were swollen) to work on it any more. He did have the Requiem (as far as it went) sung to him on one of his last days (reportedly the Lacrimosa moved him to tears), and there is a report of him trying to voice drum parts at the very end of his life, but the notion of Mozart working through the night just before he died is not accurate.
Myth: It was played at Mozart's funeral.
Reality: Mozart had a small funeral on
December 6, 1791, and was buried in an unmarked grave. A memorial service on December 10, 1791 was organized by Mozart's friend and librettist, Emanuel Schikaneder, at which one of the completed movements (the Introït) might have been performed; we do not know what music was in fact played.
Myth: Everything after the Lacrimosa was composed by Süssmayr.
Reality: Although the Lacrimosa breaks off incomplete after 8 bars, as noted above, the vocal and continuo of the Domine Jesu and the vocal parts of the Hostias are in Mozart's hand. The complexity of the Domine Jesu, with its frequent use of counterpoint and three fugues, would be very unlikely as the work of Süssmayr, given the nature of the Hosanna fugue which he did compose.
Myth: Mozart gave Süssmayr detailed instructions on how to complete the Requiem.
Reality: This myth was started by Constanze when the fact that Mozart left the Requiem unfinished at his death became public knowledge. To maximize the value of the Requiem, and improve Constanze's security, the public had to believe that Mozart somehow guided the entire work. Exactly what Mozart might have told Süssmayr about the Requiem is not clear. Both Constanze and Süssmayr created the myth of Mozart leaving "scraps of paper" with "detailed instructions", but it was ultimately determined that was not at all true.
Myth: Süssmayr was Mozart's pupil.
Reality: As with the "scraps of paper" claim, Constanze promoted Süssmayr as a pupil of Mozart to maximize the perceived value of the Requiem after it became known that Mozart left the Requiem unfinished at his death. Süssmayr was more of a colleague and friend to the Mozarts and even accompanied Constanze on her spa trips in 1791. Süssmayr did not study with Mozart. There is discussion in some of the sources cited in this article of the possibility that Süssmayr was actually having an affair with Constanze, and that Constanze's initial reluctance to engage Süssmayr to complete the Requiem upon Wolfgang's death was due to a "lover's quarrel".
Myth: The movie "Amadeus" created all of the confusion surrounding the history of the Requiem
Reality: The confusion between myth and reality regarding the events surrounding the commission, composition, completion and release of the Requiem stem from much earlier than the theater and movie production of Amadeus. First of all, Amadeus in both its movie and play forms, was based on Alexander Pushkin's play Mozart and Salieri, which contained many of the fallacies that were ultimately passed on in Amadeus.

[edit] Constanze Mozart and the Requiem after Wolfgang's death
The confusion surrounding the circumstances of the Requiem's composition was created in a large part by Mozart's wife, Constanze. Constanze had a difficult task in front of her. She had to keep secret the fact that the Requiem was unfinished at Mozart's death, so she could collect the final payment from the commission. For a period of time, she also needed to keep secret the fact that Mozart had anything to do with the composition of the Requiem at all in order to allow Count Walsegg the impression that he wrote the work. Once she received the commission, she needed to carefully promote the work as Mozart's so she could continue to receive revenue from the work's publication and performance. During this phase of the Requiem's history, it was still important that the public accepted that Mozart wrote the whole piece, as it would fetch larger sums from publishers and the public if it were completely by Mozart.
It is Constanze's efforts that created the flurry of half-truths and myths almost instantly after Mozart's death. Source materials written soon after Mozart’s death contain serious discrepancies which leave a level of subjectivity when assembling the "facts" about Mozart’s composition of the Requiem. For example, at least three of conflicting sources, both dated within two decades following Mozart’s death, cite
Constanze Mozart (Wolfgang’s wife) as their primary source of interview information. In 1798, Friedrich Rochlitz, the German biographical author and amateur composer, published a set of Mozart anecdotes which he claimed to have collected during his meeting with Constanze in 1796.[1] The Rochlitz publication makes the following statements:
Mozart was unaware of his commissioner’s identity at the time he accepted the project.
He was not bound to any date of completion of the work
He stated that it would take him around four weeks to complete.
He requested, and received, 100 ducats at the time of the first commissioning message.
He began the project immediately after receiving the commission.
His health was poor from the outset; he fainted multiple times while working
He took a break from writing the work to visit the Prater with his wife.
He shared with his wife that for certain he was writing this piece for his own funeral.
He spoke of "very strange thoughts" regarding the unpredicted appearance and commission of this unknown man.
He noted that the departure of Leopold to Prague for the coronation was approaching.
The most highly disputed of these claims is the last one, the chronology of this setting. According to Rochlitz, the messenger arrives quite some time before the departure of Leopold for the coronation, yet we have record of his departure occurring in mid-July 1791. However, Constanze was in Braden during all of June to mid-July, she would not have been present for the commission or the drive they were said to have taken together.
[1] Furthermore, The Magic Flute (except for the Overture and March of the Priests) was completed by mid-July. La Clemenza Di Tito was commissioned by mid-July.[1] There was no time for Mozart to work on the Requiem on the large scale indicated by the Rochlitz publication in the time frame provided.
Also in 1798, Constanze is noted to have given another interview to Franz Xaver Niemetschek
[2], another biographer looking to publish a compendium of Mozart's life. He published his biography in 1808, containing the following claims about Mozart’s receipt of the Requiem commission:
Mozart received the commission very shortly before the Coronation of
Emperor Leopold, and before he received the commission to go to Prague.
He did not accept the messenger’s request immediately; he wrote the commissioner and agreed to the project stating his fee, but urging that he could not predict the time required to complete the work.
The same messenger appeared later, paying Mozart the sum requested plus a note promising a bonus at the work’s completion.
He started composing the work upon his return from Prague.
He fell ill while writing the work
He told Constanze "I am only too conscious," he continued, "my end will not be long in coming: for sure, someone has poisoned me! I cannot rid my mind of this thought."
Constanze thought that the Requiem was overstraining him; she called the doctor and took away the score.
On the day of his death he had the score brought to his bed.
The messenger took the unfinished Requiem soon after Mozart’s death.
Constanze never learned the commissioner’s name.
This account, too, has fallen under scrutiny and criticism for its accuracy. According to letters, Constanze most certainly knew the name of the commissioner by the time this interview was released in 1800.
[2] Additionally, the Requiem was not given to the messenger until some time after Mozart’s death.[1] This interview contains the only account of the claim that Constanze took the Requiem away from Wolfgang for a significant duration during his composition of it from Constanze herself[1]. Otherwise, the timeline provided in this account is historically probable. However, the most highly accepted text attributed to Constanze is the interview to her second husband, Georg Nikolaus von Nissen.[1] After Nissen’s death in 1826, Constanze released the biography of Wolfgang (1828) that Nissen had compiled, which included this interview. Nissen states:
Mozart received the commission shortly before the coronation of Emperor Leopold and before he received the commission to go to Prague.
He did not accept the messenger’s request immediately; he wrote the commissioner and agreed to the project stating his fee, but urging that he could not predict the time required to complete the work.
The same messenger appeared later, paying Mozart the sum requested plus a note promising a bonus at the work’s completion.
He started composing the work upon his return from Prague.
The Nissen publication lacks information following Mozart’s return from Prague.
[1]
From the various accounts of Constanze’s words, historians try to assemble the details of Mozart’s “Requiem” commission and completion.

[edit] The autograph at the 1958 World's Fair
The autograph of the Requiem was placed on display at the World's Fair in
1958 in Brussels. At some point during the fair, someone was able to gain access to the manuscript, tearing off the bottom right-hand corner of the second last page (folio 99r/45r), containing the words "Quam olim d: C:" (an instruction that the "Quam olim" fugue of the Domine Jesu was to be repeated "da capo", at the end of the Hostias). To this day the perpetrator has not been identified and the fragment has not been recovered.
If the most common authorship theory is true, then "Quam olim d: C:" might very well be the last words Mozart wrote before he died. It is probable that whoever stole the fragment believed that to be the case.

[edit] Discography
Selected recordings, alphabetically by conductor:
Claudio Abbado conducting the Berlin Philharmonic Orchestra. Recorded live in 1999 and released in 1999 by Deutsche Grammophon.
Daniel Barenboim conducting the Paris Symphony Orchestra and Paris Symphony Chorus. Released in 1990 by EMI Classics. Soloists are Kathleen Battle (Soprano), Ann Murray (Mezzo Soprano), David Rendall (Tenor), Matti Salminen (Bass).
Frieder Bernius conducting the Stuttgart Baroque Ensemble. Recorded in 2000 and released in 2002 by Carus-verlag.
Leonard Bernstein conducting the Bavarian Radio Symphony Orchestra. Recorded in 1986 and released in 1989 by Deutsche Grammophon.
Karl Böhm conducting the Vienna Philharmonic Orchestra. Recorded in 1971 and released in 1983 by Deutsche Grammophon.
Sergiu Celibidache conducting the Munich Philharmonic Orchestra. Recorded live in 1995 and released in 2004 by EMI Classics
John Eliot Gardiner conducting the English Baroque Soloists. Released in 1990 by Philips.
Carlo Maria Giulini conducting the Philharmonia Orchestra and Chorus(London). Released in 1979 by Angel.
Nikolaus Harnoncourt conducting the Vienna Concentus Musicus. Recorded in 2003 and released in 2004 by Deutsche Harmonia Mundi.
Philippe Herreweghe conducting the Orchestre des Champs Elysees. Recorded live in 1994 and released in 1997 by Harmonia Mundi.
Christopher Hogwood conducting the Academy of Ancient Music Chorus & Orchestra, and Westminster Cathedral Boys Choir. Recorded in 1983 and released in 1984 by Editions de L'Oiseau-Lyre.
Herbert von Karajan conducting the Berliner Philharmoniker. Recorded in 1975 on September 27 and 28 and released on Deutsche Grammophon.
Ton Koopman conducting the Amsterdam Baroque Orchestra. Recorded live in 1989 and released in 1990 by Erato-Disques.
Zdenek Kosler conducting the Slovak Philharmonic Orchestra. Recorded in 1985 and released in 1986 by OPUS.
Sir
Neville Marriner conducting the Academy of St. Martin in the Fields. Recorded in 1990 and released in 1991 by Philips.
Riccardo Muti conducting the Berlin Philharmonic Orchestra. Recorded in 1987 and released in 1987 by EMI Classics. Awarded a "Timbre de Platine".
Peter Schreier conducting the Dresden State Orchestra. Recorded in 1987 and released in 1990 by Philips.
Mikhail "Misha" Shtangrud conducted the Burbank Chorale and a twenty-two piece orchestra on a 2006 recording released by the Burbank Chorale.
Helmuth Rilling conducting the Bach-Collegium Stuttgart. Released in 1979/1987 by CBS Schallplatten GmbH/CBS Records and in 2000 by Hanssler Classic.
Robert Shaw conducting the Atlanta Symphony Orchestra. Recorded in 1986 and released in 1990 by Telarc.
Sir
Georg Solti conducting the Vienna Philharmonic Orchestra. Recorded in 1991 and released in 1992 by Decca.
Jos van Veldhoven conducting The Netherlands Bach Society. Recorded live in 2001 and released in 2002 by Channel Classics.
Bruno Walter conducting the Vienna Philharmonic Orchestra. Recorded in 1937. First 20th-century recording.
Bruno Walter conducting the Vienna Philharmonic Orchestra. Recorded live in 1956 and released in 1996 by Orfeo.
Franz Welser-Möst conducting the London Philharmonic Choir & Orchestra. Recorded in 1989 and released in 1990 by EMI Classics.

[edit] Popular culture
Main article:
Mozart's Requiem in Popular Culture
Mozart's Requiem is used in many popular films and music videos, usually to announce a dark or tragic event. The Dies Irae portion of the Requiem is the most often used.

[edit] External links

[edit] Downloads (scores and music)
Full Recording featuring Maximianno Cobra directing the Europa Philharmonia Budapest Orchestra & Choir
Free scores of this work in the Choral Public Domain Library (ChoralWiki)
Requiem: Free scores at the International Music Score Library Project.
The Requiem manuscript in The European Library (third item on page)
Requiem (MIDI)
Collegium Musicum of Columbia University recordings

[edit] Other links
Mozart's Requiem text with English translation
Two trombonists discuss readings of the "Requiem"
Unattributed work at Caltech on Mozart's Requiem.
Main information on: www.requiemsurvey.org: a website about nearly 2000 requiem composers
The Mozart Project
Requiem Mass in D Minor Performance Video

[edit] References
^
a b c d e f g Landon, H. C. Robbins (1988). 1791: Mozart's Last Year. New York: Schirmer Books.
^
a b Steve Boerner (December 16, 2000). K. 626: Requiem in D Minor. The Mozart Pronect.

[edit] Bibliography
C. R. F. Maunder (1988). Mozart's Requiem: On Preparing a New Edition. Oxford: Clarendon Press.
ISBN 0-19-316413-2.
Christoph Wolff (1994). Mozart's Requiem: Historical and Analytical Studies, Documents, Score. Berkeley: University of California Press.
ISBN 0-520-07709-1.
Brendan Cormican (1991). Mozart's death - Mozart's requiem : an investigation. Belfast, Northern Ireland: Amadeus Press.
ISBN 0-951-03570-3.
Heinz Gärtner (1991). Constanze Mozart : after the Requiem. Portland, Oregon: Amadeus Press.
ISBN 0-931-34039-X.
Retrieved from "
http://en.wikipedia.org/wiki/Requiem_%28Mozart%29"
Categories: Articles lacking sources from July 2006 All articles lacking sources Articles with unsourced statements since February 2007 All articles with unsourced statements Articles with unsourced statements since May 2007 Articles lacking sources from May 2007 Compositions by Wolfgang Amadeus Mozart Musical compositions completed by others Requiems