DUŠAN PRELEVIĆ PRELE - U REDU; POBEDIO SAM

Santa Maria della Salute

Oprosti, majko sveta, oprosti,
što naših gora požalih bor,
na kom se, ustuk svakoje zlosti,
blaženoj tebi podiže dvor;
prezri, nebesnice, vrelo milosti,
što ti zemaljski sagreši stvor:
Kajan ti ljubim prečiste skute,
Santa Maria della Salute.

Zar nije lepše nosit lepotu,
svodova tvojih postati stub,
nego grejući svetsku grehotu
u pepo spalit srce i lub;
tonut o brodu, trnut u plotu,
đavolu jelu a vragu dub?
Zar nije lepše vekovat u te,
Santa Maria della Salute?
 
Oprosti, majko, mnogo sam strado,

mnoge sam grehe pokajo ja;

sve što je srce snivalo mlado,
sve je to jave slomio ma';
za čim sam čezno, čemu se nado,
sve je to davno pepo i pra',
na ugod živu pakosti žute,
Santa Maria della Salute.
 
Trovalo me je podmuklo, gnjilo,
al opet neću nikoga klet;
šta god je muke na mene bilo,
da nikog za to ne krivi svet:
Jer, što je duši lomilo krilo,
te joj u jeku dušilo let,
sve je to s ove glave, sa lude,
Santa Maria della Salute!

Tad moja vila preda me granu,
lepše je ovaj ne vide vid;
iz crnog mraka divna mi svanu,
ko pesma slavlja u zorin svit;
svaku mi mahom zaleči ranu,
al težoj rani nastade brid:
Što ću od milja, od muke ljute,
Santa Maria della Salute?
 
Ona me glednu. U dušu svesnu
nikad još takav ne sinu gled;
tim bi, što iz tog pogleda kresnu,
svih vasiona stopila led,
sve mi to nudi za čim god čeznu',
jade pa slade, čemer pa med,
svu svoju dušu, sve svoje žude,
– svu večnost za te, divni trenute! –
Santa Maria della Salute.
 
Zar meni jadnom sva ta divota?
Zar meni blago toliko sve?
Zar meni starom, na dnu života,
ta zlatna voćka što sad tek zre?
Oh, slatka voćko tantalska roda,
što nisi meni sazrela pre?
Oprosti moje gršne zalute,
Santa Maria della Salute.
 
Dve se u meni pobiše sile,
mozak i srce, pamet i slast,
dugo su bojak strahovit bile,
ko besni oluj i stari hrast;
napokon sile sustaše mile,
vijugav mozak održa vlast,
razlog i zapon pameti hude,
Santa Maria della Salute.
 
Pamet me stegnu, ja srce stisnu',
utekoh mudro od sreće, lud,
utekoh od nje – a ona svisnu.
Pomrča sunce, večita stud,
gasnuše zvezde, raj u plač briznu,
strašni sud –
O, svetski slome, o strašni sude,
Santa Maria della Salute!
 
U srcu slomljen, zbunjen u glavi,
spomen je njezin sveti mi hram,
kad mi se ona odonud javi,
ko da se bog mi pojavi sam:
U duši bola led mi se kravi,
kroz nju sad vidim, od nje sve znam
zašto se mudrački mozgovi mute,
Santa Maria della Salute.
 
Dođe mi u snu. Ne kad je zove
silnih mi želja navreli roj,
ona mi dođe kad njojzi gove,
tajne su sile sluškinje njoj.
Navek su sa njom pojave nove,
zemnih milina nebeski kroj.
Tako mi do nje prostire pute,
Santa Maria della Salute.
 
U nas je sve ko u muža i žene,
samo što nije briga i rad,
sve su miline, al nežežene,
strast nam se bliži u rajski hlad;
starija ona sad je od mene,
tamo ću biti dosta joj mlad,
gde svih vremena razlike ćute,
Santa Maria della Salute.
 
A naša deca pesme su moje,
tih sastanaka večiti trag,
to se ne piše, to se ne poje,
samo što dušom probije zrak.
To razumemo samo nas dvoje,
to je u raju prinovak drag,
to tek u zanosu proroci slute,
Santa Maria della Salute.
 
A kad mi dođe da prsne glava
o tog života hridovit kraj,
najlepši san mi postaće java,
moj ropac njeno: “Evo me, naj!”
Iz ništavila u slavu slava,
iz beznjenice u raj, u raj!
U raj, u raj, u njezin zagrljaj!
Sve će se želje tu da probude,
dušine žice sve da progude,
zadivićemo svetske kolute,
bogove silne, kamoli ljude,
zvezdama ćemo pomerit pute,
suncima zasut seljenske stude,
da u sve kute zore zarude,
da od miline dusi polude,
Santa Maria della Salute.

Laza Kostić

Marsikdo od vas se že sprašuje:"Kakšno vezo ima naslov Prele s Kostićem, kdo sploh sta Prele in Kostić? 

Blagor tistim, ki vedo.

Laza Kostić je veliki srbski pesnik, Dušan Prelević Prele pa veliki srbski pevec.

Prilagam njegovo interpretacijo Kostićeve pesmi Santa Maria Della Salute. To je zadnja skladba, ki jo je Prele posnel. Labodji spev, kot pravimo temu.
Priporočam vam pa tudi ogled odličnega dokumentarca Dušan Prelević Prele - U Redu, Pobedio Sam.
Tu se skriva začetek.
Obilo užitkov. 




 

ZAPUSTIL NAS JE DAVID AXELROD

Nedelja 5 Februar Žalosten Dan. 

Ne bom veliko pisal, ker sem že medtem, ko je živel.

ŽIVEL AXE!

http://runjoeteka.blogspot.si/2009/07/david-axelrod.html

http://runjoeteka.blogspot.si/2012/10/david-axelrod-complete-discography.html

David Axelrod, Influential Producer and Composer, Dead at 83

David Axelrod, the composer and producer whose arrangements would provide fertile ground for generations of hip-hop artists, died at the age of 83.

David Axelrod, the composer and producer whose layered arrangements would later provide fertile ground for sampling for generations of hip-hop artists and enthusiasts, died Sunday at the age of 83. No cause of death was provided. DJ Shadow, a friend of Axelrod who frequently sampled the producer, confirmed his death on Twitter.
Axelrod's music could be heard on songs like Dr. Dre and Snoop Dogg's "The Next Episode," De La Soul's "I Am I Be," UNKLE's "Rabbit in Your Headlights" and Ghostface Killah's "Stay True" as well as productions by DJ Premier, Madlib, Swizz Beatz and hundreds more.



Following news of Axelrod's death, many in the hip-hop community paid tribute to the immensely influential producer.
"So sad to hear about the passing of musician/composer #DavidAxelrod," Questlove wrote on Instagram. "He was so immersed in creativity and so pure with his arrangements he WAS hip hop. And understood and appreciated hip hop culture (most cats would get guarded about time moving on & easily take the 'NO!!!!!!!!' disposition if they aren't informed. David embraced and often reached out to producers and beatmakers for cool collabos). [His] appreciation for music and his ability to recognize musicianship is what I'll take from him."
DJ Shadow tweeted of Axelrod, "I'll never forget meeting him for the first time in 1998. We asked him to do a remix for 'Rabbit In Your Headlights' off the Unkle album. David could be incredibly intimidating, & he did not suffer fools...but if he liked & respected you, he was the most loyal friend on earth. So honored to have known you David, you are a bonafide hero to an entire generation of hip-hop kids and musical dreamers."
The Los Angeles-born Axelrod entered the music business as a session musician before transitioning to the other end of the studio, serving as a producer and arranger for a diverse slate of artists that included garage rockers the Electric Prunes, soul legend Lou Rawls and renowned jazz saxophonist Cannonball Adderley, who once said of Axelrod's work, "there's a layer of violence [to his music] no matter how pretty it is."
In the mid-Sixties, Axelrod piloted four jazz-funk LPs by The Man From U.N.C.L.E. actor/musician David McCallum. Axelrod's arrangement for McCallum's "The Edge" provided Dr. Dre with the foundation for his 2000 single "The Next Episode." At a rare performance in 2004 documented on Live at the Royal Albert Hall, Axelrod said of being sampled by Dre, "This allows you to have ‘screw you’ money! Thank you Dre."

Under Axelrod, Mass in F Minor, the Electric Prunes' third album released in 1968, became one of the year's oddest release. Axelrod stripped the group of their garage-rock leanings to create a psychedelic rock opera containing Latin and Greek singing. While the group members were unable to perform Axelrod's technically complex arrangements – studio musicians were brought in to finish the album – it remains a psych-rock classic.

In addition to his production work, Axelrod crafted his own solo albums starting with 1968's pioneering Song of Innocence, a concept album based on the writings of William Blake that featured a kaleidoscopic amalgamation of different musical genres. The album, and its standout cut "Holy Thursday," would routinely be plundered by hip-hop producers throughout the 1990s and 2000s. 1969's Songs of Experience and 1970's Earth Rot are similarly highly regarded.

According to RBMA, following the death of Adderley in 1975, Axelrod's production work ceased and the rapidity of his own solo catalog slowed, but Axelrod's later albums continued to provide future hip-hop producers with loops and beats; "Terri's Tune," an ode to Axelrod's wife off of 1977's Strange Ladies, would transform into Ghostface Killah's "Stay True" and Inspectah Deck's "Elevation."

Axelrod, disappointed by the reception of his 1993 LP Requiem: The Holocaust, stepped away from the music industry in the early Nineties; however, soon after, his career was reinvigorated by the rush of crate-digging hip-hop producers discovering his work.
Axelrod's last studio album was a 2001 self-titled LP released on the Mo' Wax label, a collection of decades-old, unheard Axelrod tracks that the producer himself reshaped and remixed for release.

English Text by Daniel Kreps for Rolling Stone Magazin
Slovenski tekst in izbor glasbe by RunJoe



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