Aprender, Aprender Sempre ! (Lenine) ..... Olá, Diga Bom Dia com Alegria, Boa Tarde, sem Alarde, Boa Noite, sem Açoite ! E Viva a Vida, com Alegria e Fantasia (Victor Nogueira) ..... Nada do que é humano me é estranho (Terêncio)
The Art of Fugue or The Art of the Fugue (original German: Die Kunst der Fuge), BWV 1080, is an incomplete masterpiece by Johann Sebastian Bach (1685--1750). The work was most likely started at the beginning of the 1740s, if not earlier. The first known surviving version, which contained 12 fugues and 2 canons, was copied by the composer in 1745. This manuscript has a slightly different title, added afterwards by his son-in-law Johann Christoph Altnickol: Die Kunst der Fuga. Bach's second version was published in 1751 after his death. It contains 14 fugues and 4 canons. "The governing idea of the work", as the eminent Bach specialist Christoph Wolff put it, is "an exploration in depth of the contrapuntal possibilities inherent in a single musical subject."
Ouço o Concerto nº 1 para piano, de Tchaikowski. Os sons desprendem-se em cavalgada, saiem do piano pelo alto-falante, umas vezes de mansinho, outras violentamente, elevam-se, envolvem-nos, penetram em nós e arrebatam-nos. Neste momento os violinos dialogam com o piano, tentam impor-se-lhe, este assemelha-se a um riachozito saltitante. A voz daqueles eleva-se, tentam emudecê-lo. Os violinos perdem a sua delicadeza, tornam-se autoritários. Abafam o piano, o frágil, quem diria, piano! Veio a calma. Lentamente, a medo, uma flauta tenta quebrar o silêncio. Outras vozes vão-se-lhe juntando. Violinos e piano restabelecem o diálogo, secundados por outros elementos. Há uma quietude no ambiente. Uma voz grave, que não identifico, surge. O piano saltita pelo riacho, de pedra em pedra, apressa-se, corre ligeiramente pelos prados. Os outros seguem-no. Os sons misturam-se, elevam-se em cascata. O diálogo repete-se serenamente, em espiral. Termina mais uma cena.
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Silêncio. Violência. Brusquidão. Violinos e piano defrontam-se de novo. Implacavelmente o piano tenta impôr-se. Consegue, com alguma luta. Os violinos aceitam a derrota e rendem-lhe homenagem. Ele aceita-la do alto da sua vitória. Os sons ora dialogam, ora competem entre si. Os violinos são os árbitros. Parece que nada mais pode deter o piano, soltito, com ternura, com delicadeza, umas vezes, com altivez, outras. Ah! os outros silenciaram-no. Mas ele debate-se, liberta-se, corre, surdo à majestade dos violinos. Está sozinho. É perseguido, tenta fazer-se ouvir. Mas é tarde ! Este final soberbo, empolgante, arrebatador ! (NSM - 1969.01.23)
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O rádio transmite neste momento a valsa O Danúbio Azul [de J.Strauss]. E eu deixo-me levar na onda dos seus acordes, vogando liberto deste quarto deserto. Mas a valsa terminou e alguém pediu um disco dum tipo qualquer que pede à querida que relembre os momentos felizes, para que ele possa esquecer todo o seu amargor. É o programa do Matos Maia. A malta telefona, repete uma frase publicitária, pede um disco e, frequentemente antes de desligar, pergunta: "Posso dizer o meu nome?" E ficam todos felizes da costa ! ... Pobres pessoas que se contentam com tão pouco! (ASV - 1969.02.29)
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Vivaldi é um compositor muito agradável de ouvir se. A sua música é sonora, alegre, colorida! (NSF - 1969.12.12.)
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A tarde cai e do gira-discos evolam se as notas da "Dança Macabra", que de macabra nada tem. (NSF - 1970.05.17)
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A tarde está tristonha. Dos alto-falantes do gira discos saiem as notas da "Rapsódia Húngara" de Liszt. Não há dúvida que o piano é um instrumento agradável de ouvir. E a Rapsódia Húngara nº 6?! Dá uma sensação de afirmação persistente, que nunca se quebra. Mas uma das minhas composições preferidas é o "Concerto para piano, nº 1", de Tchaikowski. (NSF - 1970.03.21)
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Como sempre ouço música. Desta feita o meu amigo Vivaldi e os seus concertos, que têm algo de primaveril, recordando bosques e pássaros e riachos. (NID - 1971.04.05)
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Bach no gira discos: a calma e a harmonia do velho Johann Sebastian. O turbilhão que é o meu espírito talvez se acalme com ele. Rios tumultuosos sobem dentro de mim. Eles preferiam Zorba (1) e o delírio até à exaustão: descansar o cansaço.
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Bach é agora um hino à alegria. Se fosse traduzir por imagens o que ele me desperta falaria de flores cujas pétalas se abrem lentamente, ao retardador, de qualquer coisa de esvoaçante, de saltitante, duma sensação de leveza. Bach permitiu que se rompessem os diques feitos das recusas, das negações, das violências destes dias de exames, calor e frustração. (MCG - 1972.07.14)
Zorba the Greek 1964. The great Irene Papas is the widow looking for her goat. Giorgos Foundas is smoking in the cafe. Alan Bates offers his umbrella to Irene and Anthony Quinn is sitting outside with him. Walter Lassally won the Oscar for the cinematography. Mikis Theodorakis wrote the music and Michael Cacoyannis directed. Based on a novel by Nikos Kazantzakis. Shot on the island of Crete. .
Zorba the Greek 1964. Lila Kedrova is Madame Hortence, a faded glory, who "does not have the bugs" and can still put on, a scaled down, show. Lila won the Oscar award for best actress for Zorba.
Topic impossible to circumvent of the B.O. " the TIME OF GITANS " arrangements of GORAN BREGOVIC are small rare pearls TALIJANSKA is a traditional Italian, but the heart of the BALKANS is inside. Usually played on accordion piano touches. here these is the SALTARELLE which gives a small particular colouring partition PDF:
Pod niebem Paryza", akordeon solo Miroslaw Marks.
"Sous Le Ciel De Paris" valse musette (Hubert Giraud/Jean Drejac 1950), Miroslaw Marks, accordéon.´"Under Paris skies" musette waltz, (Hubert Giraud/Jean Drejac), performed by Miroslaw Marks, accordion solo. "Sous le ciel de Paris" Musette Walzer (Giraud/ Drejac, 1950), gespielt von Miroslaw Marks, Akkordeon Solo.
Fugue from Prelude and Fugue BWV 548 in e minor. Shows off the bass registers of the instrument well. Ask yourself who on earth allowed the makers to shove a mirror over the Oberwerk.
260 years ago today, Johann Sebastian Bach passed away. His final resting place is in Leipzig's Thomaskirche (St. Thomas Church). Today, thousands of people around the world are paying tribute to one of the greatest composers to have ever lived. I've been informed that tonight the entire town of Leipzig will be awash with the sound of ringing church bells from its every steeple. If only I could be in Germany now. I'm sure in the days ahead, many videos and pictures will be uploaded to the web, at which point I'll be sure to post links.
While in school, Bach studied orthodox Lutheranism, logic, rhetoric, Latin and Greek, arithmetic, history, geography and German poetry.
Bach was a keyboard virtuoso. He mastered organ and later harpsichord.
Although Bach received formal lessons, his virtuosity was self-taught.
Bach's Family Background:
Bach's father, Johann Ambrosius, married Maria Elisabeth Lämmerhirt on April 8, 1668. They had eight children, five of which survived; Johann Sebastian (the youngest), his three brothers and his sister. Bach's father worked as a houseman and a musician in the ducal court of Saxe-Eisenach. Bach's mother died in 1694 and a few months later, Bach's father married Barbara Margaretha. Unfortunately, three months into his second marriage, he died of a serious illness.
Childhood:
When Bach was 9 years old, he attended his oldest brother's (Johann Christoph) wedding where he met Johann Pachelbel, composer of the famous Pachelbel Canon. When Bach's father died, he and his brother were adopted by Christoph. Christoph was an organist at St. Michaels church in Ohrdruf. Bach received his first lessons in organ from Christoph, but became "a pure and strong fuguist" by himself.
Teenage Years:
Bach attended Lyceum until 1700. While at Lyceum, he learned reading, writing, arithmetic, singing, history, natural science, and religion. He was forth in his class when he finished his schooling. He then left school and went to Lüneburg. Bach learned a bit about organ building while staying with his brother in Ohrdruf; due entirely to the frequent repairs of the church organs.
Early Adult Years:
In 1707, Bach was hired to play for special services at a church in Mühlhausen; Bach composed the music in which he was to play. Shortly there after, his uncle died and left him 50 gulden. This provided him with enough money to marry Maria Barbara. In 1708, Bach received and accepted a job offering with a higher salary from the Duke of Weimar, Wilhelm Ernst, to play in his court.
Mid Adult Years:
While in Weimar, Bach was appointed court organist, and it is supposed that he wrote much of his organ music there. Much to the Dukes liking, along with Bach's salary increases, he earned the title of Konzertmeister (concert master). Six of Bach's children were born in Weimar. After seeking the more prestigious title of Kappelmeister (chapel master), he accepted an offer from Prince Leopold of Cöthen in 1717.
Late Adult Years:
After his days in Cöthen, Bach accepted the job as Kantor at the Thomasschule. He was in charge of arranging the music of the four main churches in the town. Bach became extremely involved and composed much of his music in Leipzig. Bach spent the rest of his days there and in 1750, he died of a stroke.
AfrikiSun 22 de Agosto de 2009 .
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Johann Sebastian Bach~Bist du bei mir from Notenbüchlein für Anna Magdalena Bach
Ingrid Kertesi~Soprano
Camerata budapest
László Kovacs
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6/Mar 20:00
E diz:
One of the greatest composers of all time. Bach wrote hundreds of pieces for organ, choir, as well as many other instruments. He spent most of his life as a church organist and a choir director. His music combines profound expression with clever musico-mathematical feats, like fugues and cannons in which the same melody is played against itself in various ways.
Composition Date:
1722/5
Composition Info:
This very popular melody is believed to have been in fact composed by Gottfried Heinrich St�lzel (1690-1749). It appeared in Bachs Clavier-B�chlein f�r Anna Magdalena Bach (BWV 508).
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http://www.8notes.com/scores/2893.asp
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Bist du bei mir
From Wikipedia, the free encyclopedia
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Bist du bei mir (en: "Be thou with me") (BWV 508) is an aria by the German composer Gottfried Heinrich Stölzel. The piece is often mistakenly attributed to Johann Sebastian Bach due to its inclusion in the 1725 Notebook for Anna Magdalena Bach. The aria was part of the Stölzel opera Diomedes, oder die triumphierende Unschuld that was performed in Bayreuth on November 16, 1718. The opera score is lost. The aria had been part of the Berlin Singakademie music library and was considered lost in the Second World War, until it was rediscovered in 2000 in the Kiev Conservatory. The continuo part of BWV 508 is more agitated and continuous in its voice leading than the Stölzel aria; it is uncertain who provided it, as the entry in the Notebook is by Anna Magdalena Bach herself. In an essay in the Bach-Jahrbuch 2002, Andreas Glöckner speculates that either she obtained the song from the inventory of the Leipzig Opera that had gone bankrupt in 1720, or that it simply was a favourite known to nearly everybody in Leipzig that was particularly suitable for Hausmusik.[1]
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The sheet music of the Stölzel aria is made available as a microfiche.[2]
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The piece has become a very popular choice for wedding ceremonies and other such occasions. It was featured in the 2005 French film Joyeux Noël, accompanied by piano, violins, and cello.
Bist du bei mir, geh' ich mit Freuden
zum Sterben und zu meiner Ruh'.
Ach, wie vergnügt wär' so mein Ende,
es drückten deine lieber Hände
mir die getreuen Augen zu!
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English translation:
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Be Thou with me, then I will go gladly
unto [my] death and to my rest.
Ah, what a pleasant end for me,
if your dear hands be the last I see,
closing shut my faithful eyes to rest!
The Angelic Conversation is a 1985 arthousedrama film directed by Derek Jarman. Its tone is set by the juxtaposition of slow moving photographic images and Shakespeare's sonnets read by Judi Dench. The film consists primarily of images of homosexuality and opaque landscapes through which two men take a journey into their own desires.
Jarman himself described the film as:
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"a dream world, a world of magic and ritual, yet there are images there of the burning cars and radar systems, which remind you there is a price to be paid in order to gain this dream in the face of a world of violence."
The soundtrack to the film was composed and performed by Coil, and it was released as an album of the same title. In 2008 Peter Christopherson of Coil (with David Tibet and Ernesto Tomasini) performed a new live soundtrack to the movie during a special screening at the Turin Lesbian and Gay Film Festival.
