Записи с темой: music (список заголовков)
15:45 

Lika_k
Искусствоед
The others had stolen away to bed hours before. The third bottle of Langenlois was empty and we stood up too. He paused in front of a glass case in which a bright-eyed and enormous stuffed trout was swimming urgently through a tangle of tin water-weed. “It’s a pity you didn’t go on over the hills from St. Florian,” he said. “You would have got to the little town of Steyr, and the Enns valley”—this was the green tributary I had watched curling out of the hills opposite Mauthausen—“It’s only half a dozen miles. Schubert wrote the Trout quintet there. He was on a walking tour, like you.” He whistled the tune as we strolled along the snow-covered quay, with Dick bounding ahead and sliding comically out of control on the concealed ice. The steeple of Ybbs stood clear above the roofs and the tree-tops the other side. Above the roofs of our own shore, almost inevitably, a large baroque castle soared into the starlight. “You see the third window on the left?” the polymath asked. “It’s the room where Karl, our last Emperor, was born.” After a pause, he went on whistling the tune of The Trout. "I always think of streams running down to the Danube," he saud, "whenever I hear it."



Patrick Leigh Fermor - "A Time of Gifts" (1977)

@темы: youtube, schubert, music, history, geography, fermor, patrick leigh, english-british, 20, 19

15:52 

Lika_k
Искусствоед
Влюбленному в искусство пения, нерешительному, как клоун в опере Леонкавалло, ему трудно было сделать выбор между театром и жизнью, и он, робкий и взыскательный, самолюбивый и страшно неуверенный в себе, лучшие годы жизни тщетно пытался добиться безукоризненного исполнения знаменитой арии Якопо Фиеско в опере «Симон Бокканегра» Верди. С восемнадцати до пятидесяти лет он каждое утро, отложив помазок и бритву, отворачивался от зеркала и с намыленными щеками грозил кулаком запертым дверям мраморного дворца, что напротив генуэзского собора Святого Лаврентия, и рокотал: «A te l’estremo addio, palaggio altero!», чтобы обрести мягкость в голосе при переходе к словам «II lacerato spirito del mesto genitore…» и затем опуститься в заключительном хрипе до самой низкой ноты (фа-диез большой октавы) в последних словах молитвы «Prega, Maria, per me».

Ария эта не трудная, но она требует исключительно зрелого голоса, тогда как в молодости старый господин свой голос достаточно зрелым не считал. Незрелый бас — все равно, что незрелый, несъедобный плод. Годы шли быстро, новые квартиры, казармы, гостиницы, пансионы, клиники, больницы и съемные комнаты сотрясали слова проклятья, голос созрел, зазвучал свободно, утратил натужность, но в один прекрасный день лишился тембра и густоты. Старый господин (тогда еще не такой старый) знал, что необходимо, ловя момент, вцепиться в те немногие дни совершенства, о которых он мечтал, поразить всех знаменитыми словами проклятья и затем погрузиться навсегда в гордое молчание.

Эудженио Монтале, II lacerato spirito (из книги "Динарская бабочка"), 2010 пер. Евг. Солонович

@темы: verdi, giuseppe, v, opera, music, montale, eugenio, m, italian, 20

15:49 

Lika_k
Искусствоед
В то время едва ли не единственным, с кем ассоциировалась музыка будущего, был Вагнер, к которому уже достаточно терпимо относилось большинство меломанов. Но такой музыки, как у синьора Ребилло, состоящей из одних скрипучих диссонансов, никто еще не слышал. Кем он был, этот Ребилло — гением или сумасшедшим? Если судить по названиям его сочинений (я помню «Умирающую кувшинку», поданную как «музыкальный натюрморт»), должен признать, что он был, по меньшей мере, предвестником. Но понять это тогда мне было труднее, нежели теперь.

Эудженио Монтале, Успех (из книги "Динарская бабочка"), 2010 пер. Евг. Солонович

@темы: wagner, richard, w, music, montale, eugenio, m, italian, 20

20:58 

Lika_k
Искусствоед
I thought it curious and moving that Martin, a retardate, should have this great passion for Bach. Bach seemed so intellectual - and Martin was a simpleton. What I did not realise, until I started bringing in cassettes of the cantatas, and once of the Magnificat, when I visited, was that for all his intellectual limitations Martin's musical intelligence was fully up to appreciating much of the technical complexity of Bach; but, more than this - that it wasn't a question of intelligence at all. Bach lived for him, and he lived in Bach.
Martin did, indeed, have 'freak' musical abilities - but they were only freak - like if removed from their right and natural context.
What was central to Martin, as it had been central for his father, and what had been intimately shared between them, was always the spirit of music, especially religious music, and of the voice as the divine instrument made and ordained to sing, to raise itself in jubilation and praise.

Oliver Sacks, The Man Who Mistook His Wife for a Hat and Other Clinical Tales, 1985

@темы: baroque, music, psychology, s, sacks, oliver

20:57 

Lika_k
Искусствоед
At such times - in the oratorios and passions most of all, but also in the humbler church choirs and chorales - as he soared up into the music Martin forgot that he was 'retarded', forgot all the sadness and badness of his life, sensed a great spaciousness enfold him, felt himself both a true man and a true child of God.

Oliver Sacks, The Man Who Mistook His Wife for a Hat and Other Clinical Tales, 1985

@темы: 20, english: anglo-american, music, psychology, s, sacks, oliver

20:56 

Lika_k
Искусствоед
As Mrs O'C. and Mrs O'M. suffered from 'reminiscence', a convulsive upsurge of melodies and scenes-a sort of hyper-mnesis and hyper-gnosis-our amnesic-agnosic patients have lost (or are losing) their inner melodies and scenes. Both alike testify to the essentially 'melodic' and 'scenic' nature of inner life, the 'Proustian' nature of memory and mind.

Oliver Sacks, The Man Who Mistook His Wife for a Hat and Other Clinical Tales, 1985

@темы: s, psychology, proust, marcel, p, music, memoria, english-american, 20, sacks, oliver

20:55 

Lika_k
Искусствоед
The month after I saw Mrs O'M. there was an article in the New York Times entitled 'Did Shostakovich Have a Secret?' The 'secret' of Shostakovich, it was suggested-by a Chinese neurologist, Dr Dajue Wang-was the presence of a metallic splinter, a mobile shell-fragment, in his brain, in the temporal horn of the left ventricle. Shostakovich was very reluctant, apparently, to have this removed:
Since the fragment had been there, he said, each time he leaned his head to one side he could hear music. His head was filled with melodies-different each time-which he then made use of when composing.
X-rays allegedly showed the fragment moving around when Shostakovich moved his head, pressing against his 'musical' temporal lobe, when he tilted, producing an infinity of melodies which his genius could use. Dr R.A. Henson, editor of Music and the Brain (1977), expressed deep but not absolute scepticism: 'I would hesitate to affirm that it could not happen.

Oliver Sacks, The Man Who Mistook His Wife for a Hat and Other Clinical Tales, 1985

@темы: sacks, oliver, s, psychology, music, english: anglo-american, 20

19:03 

Lika_k
Искусствоед
In The World as Representation and Will, Schopenhauer speaks of music as 'pure will'. How fascinated he would have been by Dr P., a man who had wholly lost the world as representation, but wholly preserved it as music or will.
And this, mercifully, held to the end-for despite the gradual advance of his disease (a massive tumour or degenerative process in the visual parts of his brain) Dr P. lived and taught music to the last days of his life.

Oliver Sacks, The Man Who Mistook His Wife for a Hat and Other Clinical Tales, 1985

@темы: sacks, oliver, s, psychology, non-fiction, music, english: anglo-american, 20

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