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MP3 James Robert Brasic - Les fleurs du mal [The flowers of evil] by Charles Baudelaire, Paris, France, 1861

Selections spoken in French from the controversial book of symbolist poetry by Charles Baudelaire about good, bad, and the afterlife. These groundbreaking works from the nineteenth century constitute the foundation of modernism in poetry.

2 MP3 Songs
SPOKEN WORD: Poetry, SPOKEN WORD: Audiobook

Details:
James Robert Brašić was born in Chicago, Illinois. As a child he studied flute with Robert Reidenhower and Emil Eck, and played flute and piccolo in the Youth Symphony Orchestra of Greater Chicago, Chicago, Illinois; the Students Symphony Orchestra, Chicago, Illinois; and the Prospect High School Band, Mount Prospect, Illinois.

He graduated from Boston University, Columbia University, and Washington University in Saint Louis.

He studied music composition with John MacIvor Perkins at Washington University in Saint Louis. He received a Master of Arts in music composition from Washington University in Saint Louis. His music has been choreographed by Frank C. Martin, II, South Carolina State University, Orangeburg, South Carolina, and Belinda James, New York, New York.

He began the study of ballet at the Joffrey Ballet School, New York, New York. He continued the study of ballet in New York City at the David Howard Dance Center, Steps, and the Broadway Dance Center. Injuries led to his stopping dance studies in New York.

After relocating in Maryland, James resumed the study of ballet, modern dance, and jazz dance at the Joy of Motion Dance Center in the metropolitan Washington area and the Collective at Experimental Movement Concepts and the Peabody Institute in Baltimore. He also has participated in jazz performance classes with Douglas Yeuell and Tommy Parlon at the Joy of Motion Dance Center. He performed and choreographed experimental ballets in choreography performance classes under Karen Reedy in 2006.

He performed his solos “Rose is a rose is a ?” and “The journey” at the Jack Guidone Theatre of the Joy of Motion Dance Center in Washington, DC, on June 10, 2006, and at the Red Maple, Baltimore, Maryland, on September 14, 2006. He performed his solo “Flowers of hatred” including a revision of “The journey” at the Jack Guidone Theatre of the Joy of Motion Dance Center in Washington, DC, on December 16 and 17, 2006, at the Open Marley Nite hosted by the Collective at Experimental Movement Concepts in Baltimore, Maryland, on May 12, 2007. He performed "Flowers of hatred" and "I never promised you a rose garden," a revision of "Rose is a rose is a ?" at the Choreographers'' Workshop on February 16, 2008, and at the First Annual Choreographers'' Showcase on March 7, 2008, at Mattin Cultural Arts Center of The Johns Hopkins University in Baltimore, Maryland.

In December, 2006, he founded Zauberfuchs, a company to promote and showcase the experimental works of cutting edge performing artists, in Baltimore, Maryland. He is scheduling performances by Zauberfuchs in the near future.

In 2006 and 2007, James participated with 20 other performers in the Waterfall Project, a modern dance choreographed by Jennifer Ousse-Seye, culminating in performances at From All Angles by The Collective at the Baltimore Museum of Art, Baltimore, Maryland, on March 3, 2007.

From June 11 to 16, 2007, James participated in the Adult Summer Intensive at the Maryland Youth Ballet, Silver Spring, Maryland, culminating in a showing of three pieces learned during the week including the variation of Colas from La fille mal gardée [The poorly supervised daughter] by Sir Frederic Ashton (1961).

In 2008, James participated with 20 other performers in The Community Project: Traffic Control, a modern dance choreographed by Sonia Synkowski, culminating in performances at Moving Through Transitions by The Collective at the Baltimore Museum of Art, Baltimore, Maryland, on April 5, 2008.

James continues to study ballet, pointe, and modern dance at the Joy of Motion Dance Center in Washington, DC, and at the Collective, the Peabody Institute, nd the Johns Hopkins University Modern Dance Company in Baltimore, Maryland.

James has shown his films at the Creative Alliance Movie Makers Salons at Creative Alliance in Baltimore, Maryland, frequently over the past several years. He has also participated in several workshops and other educational programs of the Creative Alliance Movie Makers at Creative Alliance in Baltimore, Maryland, frequently over the past several years.

James is currently creating dance films and live performances of experimental ballets utilizing music composed by James and others.

Musical compositions

A klezmer love song (a ballet) for clarinet in A and Bb and three percussionists 2002

Four Songs for soprano, Bb clarinet, and piano 1980, a thesis presented to the Graduate School of Arts and Sciences of Washington University, Saint Louis, Missouri, in partial fulfillment of the requirements for the degree of Master of Arts

Cadmus (James Robert Brašić)
A white blossom (D. H. Lawrence Love poems and others 1913)
Chansons innocentes: I (E. E. Cummings Tulips and chimneys 1923)
Pied beauty (Gerard Manley Hopkins Poems 1918)

Performed May 3, 1977, at the Forum for Composers at the Saint Louis Community College at Forest Park, Saint Louis, Missouri, by Carolyn Gaspar, Soprano, Robert Coleman, Clarinet, and Mary Mottl, Piano, Partially funded by the Missouri State Council of the Arts and the Music Perfomance Trust Fund.

Performed April 24, 1980, in a recital in partial fulfillment of the requirements for the degree, Master of Arts in Composition, by Jan Parker, Soprano; Gary Scott, Clarinet; and Margaret Peterson, Piano; in Graham Chapel, Washington University, Saint Louis, Missouri

Termination for flute and drums 1976

Performed April 24, 1980, in a recital in partial fulfillment of the requirements for the degree, Master of Arts in Composition, by Jennifer Jo Schroeder, Flute, and Mark Lewis Tate, Percussion, in Graham Chapel, Washington University, Saint Louis, Missouri

Performed with an audiotape by Jennifer Jo Schroeder, Flute, and Mark Lewis Tate, Percussion, for Flute and Drum choreographed by Frank C. Martin, II, and danced by Catherine MacNeil and Geoff Nimmer, on April 7 and 8, 1984, in an Evening of Dances, a Choreographic Showcase of Danceworks, at the David Howard School of Ballet, Third Floor, 36 West 62nd Street, New York, New York 10023

Performed on videotape with an audiotape by Jennifer Jo Schroeder, Flute, and Mark Lewis Tate, Percussion, for Flute and Drum choreographed by Frank C. Martin, II, and danced by Catherine MacNeil and Geoff Nimmer, in 1984, in a studio in New York, New York

Performed with an audiotape by Jennifer Jo Schroeder, Flute, and Mark Lewis Tate, Percussion, for Eastern Images “Flute and Drum” choreographed by Frank C. Martin, II, with costumes by Erich Hochman and Frank C. Martin, II, and danced by Melinda Jackson and Frank C. Martin, II, on May 28, and May 29, 1986, at an open rehearsal of the American Contemporary Dance Company/Company of American Dance, at the Harkness Ballet Foundation, 4 East 75th Street, New York, New York, supported by a grant from the Harkness Ballet Foundation

Performed with an audiotape by Jennifer Jo Schroeder, Flute, and Mark Lewis Tate, Percussion, for Eastern Images “Flute and Drum” choreographed by Frank C. Martin, II, with costumes by Erich Hochman and Frank C. Martin, II, and danced by Melinda Jackson and Frank C. Martin, II, on June 4, and June 5, 1986, in an Evening of Dances in the Spring Season 1986 of the American Contemporary Dance Company/Company of American Dance, at the Harkness Ballet Foundation, 4 East 75th Street, New York, New York, supported by a grant from the Harkness Ballet Foundation

Performed and videotaped for Opus 17 (“Composition for Flute and Drum”) choreographed by Frank C. Martin, II, with dance costumes by Shirley Fields, performed by Lisa Arkis, flute, Michael Osrowitz, percussion, and danced by Kimberliegh Jordan and Al Itoka, at the Movement – Music – Voice Program of the American Contemporary Dance Company, Merkin Concert Hall, Abraham Goodman House, New York, New York, on November 15, 1988

Performed for Opus 17 (“Composition for Flute and Drum”). Choreographed by Frank C. Martin, II, with dance costumes by Shirley Fields, performed by Lisa Arkis, flute, Jim Baker, percussion, and danced by Kimberliegh Jordan and Frank Martin, at Dance Conversations, American Contemporary Dance Company, Merkin Concert Hall, Abraham Goodman House, New York, New York, October 24, 1989

Performed and recorded on videotape at the Gaylord Music Library, Saint Louis, Missouri, to an audiotape by Jennifer Jo Schroeder, flute, and Mark Lewis Tate, percussion, for Metamorphosis choreographed by Belinda Sue James, with costumes by Belinda Sue James costumes assisted by Carol Etkin and Ed Sandford, danced by James DeVille and Belinda Sue James, lighting designed by Terry Carter, and with sound technician by Shawn Murray, at Raven Renault and Colleagues (Artistic Director: Raven Renault, Ravenworks, Production Assistant: Alexandra Honeckman, Lighting Designer: Terry Carter, Stage Manager: Glen Parker, Sound Technician: Shawn Murray, General Assistant: Kim Siansky) at the Mid Day Concert Series, Mark Goodson Theatre, New York City Department of Cultural Affairs, 2 Columbus Circle, New York, New York, December 17, 1990.

Performed with an audiotape by Jennifer Jo Schroeder, Flute, and Mark Lewis Tate, Percussion, for Metamorphosis choreographed by Belinda Sue James, danced by Benjamin Bowman, Jonathan Phelps, and Gregory Wolverton, at A First Peoples’ Thanksgiving, The Cathedral Church of Saint John the Divine, New York, New York, November 18, 2000. Recorded on videotape at the Gaylord Music Library, Washington University, Saint Louis, Missouri

Performed with an audiotape by Jennifer Jo Schroeder, Flute, and Mark Lewis Tate, Percussion, for Metamorphosis choreographed by Belinda Sue James, danced by Jonathan Phelps and Gregory Wolverton, Lighting by David Hein, at Color Pointes, The Souls of Our Feet: People of Color Dance Festival 2001, Triangle Theater, Thelma Hill Performing Arts Center, Long Island University, Brooklyn, New York, June 23 and 24, 2001. Recorded on June 24, 2001, on videotape with camera by Richard Michaels and editing by Neculai Burghelea

Presented on January 24, 2003, at Winter Words, a concert of music and the spoken word, by the Baltimore Composers Forum, at the Creative Alliance, 413 South Conkling Street, Baltimore, Maryland, on a videotape of Flute and Drum choreographed by Frank C. Martin, II, danced by Catherine MacNeil and Geoff Nimmer, in a studio in New York, New York, in 1984, to an audiotape recorded in 1980, by Jennifer Jo Schroeder, Flute, and Mark Lewis Tate, Percussion.

Presented on January 24, 2003, at Winter Words, a concert of music and the spoken word, by the Baltimore Composers Forum, at the Creative Alliance, 413 South Conkling Street, Baltimore, Maryland, on a videotape of Opus 17 (“Composition for Flute and Drum”) choreographed by Frank C. Martin, II, with dance costumes by Shirley Fields, performed by Lisa Arkis, flute, Michael Osrowitz, percussion, Kimberliegh Jordan, dancer, and Al Itoka, dancer, at the Movement – Music – Voice Program of the American Contemporary Dance Company, Merkin Concert Hall, Abraham Goodman House, New York, New York, on November 15, 1988.


Nocturne for flute and piano 1975

Performed April 24, 1980, in a recital in partial fulfillment of the requirements for the degree, Master of Arts in Composition, by Jennifer Jo Schroeder, Flute, and Margaret Peterson, Piano, in Graham Chapel, Washington University, Saint Louis, Missouri

Orientale I, II, III, and IV (E. E. Cummings Tulips and chimneys 1923) for mixed chorus (SATB) and percussion 1980

String quartet 1980

th for flute and piano 1980

Performed April 24, 1980, in a recital in partial fulfillment of the requirements for the degree, Master of Arts in Composition, by Jennifer Jo Schroeder, Flute, and Margaret Peterson, Piano, in Graham Chapel, Washington University, Saint Louis, Missouri

Triad (Adelaide Crapsey) for bass voice, flute, and piano 1974

Performed April 24, 1980, in a recital in partial fulfillment of the requirements for the degree, Master of Arts in Composition, by Nicholas Solomon, Bass, Jennifer Jo Schroeder, Flute, and Margaret Peterson, Piano, in Graham Chapel, Washington University, Saint Louis, Missouri

Choreography

“The journey” and “Rose is a rose is a ?” performed by James Robert Brašić at the Jack Guidone Theatre of the Joy of Motion Dance Center in Washington, DC, on June 10, 2006, and at the Red Maple, Baltimore, Maryland, on September 14, 2006.

“Flowers of hatred” including a revision of “The journey” performed by James Robert Brašić at the Jack Guidone Theatre of the Joy of Motion Dance Center in Washington, DC, on December 16 and 17, 2006, at the Open Marley Nite hosted by the Collective at Experimental Movement Concepts in Baltimore, Maryland, on May 12, 2007, at the Choreographers'' Workshop on February 16, 2008, at Mattin Cultural Arts Center of The Johns Hopkins University in Baltimore, Maryland, at the First Annual Choreographers'' Showcase on March 7, 2008, at Mattin Cultural Arts Center of The Johns Hopkins University in Baltimore, Maryland, and at Open Marley Night Hosted by The Collective on May 17, 2008, at Experimental Movement Concepts in Baltimore, Maryland.

"I never promised you a rose garden," a revision of "Rose is a rose is a ?" performed by James Robert Brašić at the Choreographers'' Workshop on February 16, 2008, at Mattin Cultural Arts Center of The Johns Hopkins University in Baltimore, Maryland, at the First Annual Choreographers'' Showcase on March 7, 2008, at Mattin Cultural Arts Center of The Johns Hopkins University in Baltimore, Maryland, and at Open Marley Night Hosted by The Collective on May 17, 2008, at Experimental Movement Concepts in Baltimore, Maryland.
.

Spoken word

Les fleurs du mal [Flowers of evil] (2008) is an audio recording of the sound track of the French version of the ballet "Flowers of hatred" utilizing segments of the 1861 edition of the book of poetry published by Charles Baudelaire in Paris, France.

May 22, 2008

Les fleurs du mal [The flowers of evil] by Charles Baudelaire, Paris, France, 1861
Spoken words and translation from French to [English] by James Robert Brašić
Text modified from: Charles Baudelaire. Les fleurs du mal [The flowers of evil] 1861 version, Paris, France.
Times on first track on CD Dédicace [Dedication]
0:06 AU POÈTE IMPECCABLE [To the impeccable poet]
0:11 AU PARFAIT MAGICIEN ÈS LETTRES FRANÇAISES [To the perfect magician of French letters]
0:16 A MON TRÈS-CHER ET TRÈS-VÉNÉRÉ [To my very dear and very venerated]
0:22 MAITRE ET AMI [Master and friend]
0:24 THÉOPHILE GAUTIER [Théophile Gautier]
0:28 AVEC LES SENTIMENTS [With the sentiments]
0:30 DE LA PLUS PROFONDE HUMILITÉ [Of the most profound humility]
0:35 JE DÉDIE [I dedicate]
0:38 CES FLEURS MALADIVES [These sickly flowers]

Au lecteur [To the reader]
0:59 La sottise, l’erreur, le péché, la lésine, [Foolishness, mistake, sin, stinginess,]
1:05 Occupent nos esprits et travaillent nos corps, [Live in our spirits and work on our bodies,]
1:12 Et nous alimentons nos aimables remords, [And we feed on our kind remorse,]
1:17 Comme les mendiants nourrissent leur vermine. [Like beggars feed on their scum.]

1:24 Nos péchés sont têtus, nos repentirs sont lâches; [Our sins are stubborn, our repentances are lax;]
1:31 Nous nous faisons payer grassement nos aveux, [We get paid comfortably for our confessions,]
1:37 Et nous rentrons gaiement dans le chemin bourbeux, [And we merrily go back into the muddy path,]
1:44 Croyant par de vils pleurs laver toutes nos taches. [Believing that crocodile tears will wash away all our stains.]

1:52 Sur l’oreiller du mal c’est Satan Trismégiste [On the pillow of evil there is thrice greatest Satan]
1:57 Qui berce longuement notre esprit enchanté, [Who soothes for a long period of time our enchanted spirit,]
2:04 Et le riche métal de notre volonté [And the rich metal of our will]
2:09 Est tout vaporisé par ce savant chimiste. [Is completely vaporized by this knowing chemist.]

2:16 C’est le Diable qui tient les fils qui nous remuent! [It is the Devil who holds the strings that make us move!]
2:22 Aux objets repugnants nous trouvons des appas; [To loathsome objects we find allurements;]
2:27 Chaque jour vers l’Enfers nous descendont un pas, [Each day we descend a step towards Hell,]
2:33 Sans horreur, à travers des ténèbres qui puent. [Without horror, across the stinking darkness.]

2:41 Ainsi qu’un débauché pauvre qui baise et mange [As a poor debauchee who kisses and eats]
2:48 Le sein matyrisé d’une antique catin, [The martyred breast of an ancient whore,]
2:55 Nous volons au passage un plaisir clandestin [On the way we steal a clandestine pleasure]
3:00 Que nous pressons bien fort comme une vieille orange. [That we squeeze very strongly like an old orange.]

3:07 Serré, fourmillant, comme un million d’helminthes, [Tightly, swarming, like a million wormlike parasites,]
3:14 Dans nos cerveaux ribote un peuple de Démons, [In our brains a nation of Demons is making a feast,]
3:20 Et, quand nous respirons, la Mort dans nos poumons [And, when we breathe, Death in our lungs]
3:27 Descend, fleuve invisible, avec de sourdes plaintes. [Descends, invisible river, with muffled moans.]

3:37 Si le viol, le poison, le poignard, l’incendie, [If the rape, the plague, the dagger, the fire,]
3:45 N’ont pas encore brodé de leurs plaisants dessins [Have not yet embellished with their pleasant designs]
3:51 Le canevas banal de nos piteux destins, [The banal canvas of our pitiable destinies,]
3:56 C’est que notre âme, hélas! n’est pas assez hardie. [It is that our soul, alas! is not bold enough.]

4:05 Mais parmi les chacals, les panthères, les lices, [But among the jackals, the panthers, the bitches,]
4:11 Les singes, les scorpions, les vautours, les serpents, [The monkeys, the scorpions, the vultures, the serpents,]
4:16 Les monstres glapissants, hurlants, grognants, rampants, [The monsters yelping, howling, growling, crawling,]
4:22 Dans la ménagerie infâme de nos vices, [In the despicable menagerie of our vices,]

4:28 Il en est un plus laid, plus méchant, plus immonde! [There is one uglier, more evil, more unclean!]
4:31 Quoiqu’il ne pousse ni grands gestes ni grands cris, [Though he lets out neither large actions nor large cries,]
4:34 Il ferait volontiers de la terre un débris [He would be pleased to turn the earth into a debris]
4:38 Et dans un bâillement avalerait le monde; [And in a yawn would swallow the world;]

4:42 C’est l’Ennui! --- l’œil chargé d’un pleur involontaire, [It is Boredom! --- the eye full of involuntary tears,]
4:47 Il rêve d’échafauds en fumant son houka, [He dreams of scaffolds while smoking his houka,]
4:52 Tu le connais, lecteur, ce monstre délicat, [Reader, you know him, this delicate monster,]
4:59 --- Hypocrite lecteur, --- mon semblable, --- mon frère! [--- Hypocritical reader, --- my fellow creature, --- my brother!]
The Journey
Times on second track on CD
0:09 Là, tout n’est qu’ordre et beauté, [There, all is nothing but order and beauty,]
0:14 Luxe, calme et volupté. [Splendor, tranquility, and voluptuousness.]

0:24 Mon enfant, ma sœur, [My child, my sister,]
0:28 Songe à la douceur [Dream of the sweetness]
0:32 D’aller là-bas vivre ensemble! [To go there to live together!]
0:37 Aimer à loisir, [To love at leisure,]
0:40 Aimer et mourir [To love and die]
0:43 Au pays qui te ressemble! [In the country that resembles you!]
0:47 Les soleils mouillés [The wet suns]
0:50 De ces ciels brouillés [Of those murky skies]
0:52 Pour mon esprit ont les charmes [For my spirit have the charms]
0:55 Si mystérieux [So mysterious]
0:57 De tes traîtres yeux, [Of your vicious eyes,]
0:59 Brillant à travers leurs larmes. [Shining through their tears.]

1:04 Là, tout n’est qu’ordre et beauté, [There, all is nothing but order and beauty,]
1:09 Luxe, calme et volupté. [Splendor, tranquility, and voluptuousness.]

1:17 Des meubles luisants, [Shining furniture,]
1:19 Polis par les ans, [Polished by the years,]
1:22 Décoreraient notre chambre; [Would decorate our bedroom;]
1:26 Les plus rares fleurs [The rarest flowers]
1:28 Mêlant leurs odeurs [Mixing their odors]
1:30 Aux vagues senteurs de l’ambre, [With the vague scents of dusk,]
1:35 Les riches plafonds, [The rich ceilings,]
1:37 Les miroirs profonds, [The deep mirrors,]
1:40 La splendeur orientale, [The oriental splendor,]
1:43 Tout y parlerait [All there would speak]
1:46 A l’âme en secret [To the soul in secret]
1:48 Sa douce langue natale. [Her sweet mother tongue.]

1:53 Là, tout n’est qu’ordre et beauté, [There, all is nothing but order and beauty,]
1:57 Luxe, calme et volupté. [Splendor, tranquility, and voluptuousness.]

2:06 Vois sur ces canaux [See on those canals]
2:08 Dormir ces vaisseaux [Those sleeping boats]
2:11 Dont l’humeur est vagabonde; [Of vagabond humor;]
2:14 C’est pour assouvir [It is to satiate]
2:16 Ton moindre désir [Your smallest desire]
2:18 Qu’ils viennent du bout du monde. [That they come from the ends of the world.]
2:22 --- Les soleils couchants [--- The setting suns]
2:25 Revêtent les champs, [Dress the fields,]
2:26 Les canaux, la ville entière, [The canals, the entire town,]
2:30 D’hyacinthe et d’or; [In hyacinth and gold;]
2:32 Le monde s’endort [The world falls asleep]
2:34 Dans une chaude lumière. [In a warm light.]

2:40 Là, tout n’est qu’ordre et beauté, [There, all is nothing but order and beauty,]
2:46 Luxe, calme et volupté. [Splendor, tranquility, and voluptuousness.]

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