Category Archives: Educational

HEALTH AND LIFESTYLE: THIS IS NOT ONE’S RESPONSIBILITY


HEALTH AND LIFESTYLE: THIS IS NOT ONE'S RESPONSIBILITY

HEALTH AND LIFESTYLE: THIS IS NOT ONE’S RESPONSIBILITY

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Watch “Leonard Cohen on Preparing for Death | The New Yorker” on YouTube


Watch “Leonard Cohen Chelsea Hotel #2 Live” on YouTube




I remember you well in the Chelsea Hotel
You were talking so brave and so sweet
Giving me head on the unmade bed
While the limousines wait in the street
Those were the reasons and that was New York
We were running for the money and the flesh
And that was called love for the workers in song
Probably still is for those of them left

Ah but you got away, didn’t you babe
You just turned your back on the crowd
You got away, I never once heard you say
I need you, I don’t need you
I need you, I don’t need you
And all of that jiving around
I remember you well in the Chelsea Hotel
You were famous, your heart was a legend
You told me again you preferred handsome men
But for me you would make an exception
And clenching your fist for the ones like us
Who are oppressed by the figures of beauty
You fixed yourself, you said, “Well never mind,
We are ugly but we have the music”
And you got away, didn’t you babe,
You just turned your back on the crowd
You got away, I never once heard you say,
I need you, I don’t need you
I need you, I don’t need you
And all of that jiving around
I don’t mean to suggest that I loved you the best
I can’t keep track of each fallen robin
I remember you well in the Chelsea Hotel
That’s all, I don’t even think of you that often
Source: LyricFind


Songwriters: Leonard Cohen
Chelsea Hotel #2 lyrics © Sony/ATV Music Publishing LLC, BMG Rights Management
I remember you well in the Chelsea Hotel
You were talking so brave and so sweet
Giving me head on the unmade bed
While the limousines wait in the street
Those were the reasons and that was New York
We were running for the money and the flesh
And that was called love for the workers in song
Probably still is for those of them left

Ah but you got away, didn’t you babe
You just turned your back on the crowd
You got away, I never once heard you say
I need you, I don’t need you
I need you, I don’t need you
And all of that jiving around

I remember you well in the Chelsea Hotel
You were famous, your heart was a legend
You told me again you preferred handsome men
But for me you would make an exception
And clenching your fist for the ones like us
Who are oppressed by the figures of beauty
You fixed yourself, you said, “Well never mind,
We are ugly but we have the music”

And you got away, didn’t you babe,
You just turned your back on the crowd
You got away, I never once heard you say,
I need you, I don’t need you
I need you, I don’t need you
And all of that jiving around

I don’t mean to suggest that I loved you the best
I can’t keep track of each fallen robin
I remember you well in the Chelsea Hotel
That’s all, I don’t even think of you that often

Source: LyricFind


Songwriters: Leonard Cohen
Chelsea Hotel #2 lyrics © Sony/ATV Music Publishing LLC, BMG Rights Management

Health and Lifestyle: THINGS ONE CANNOT CONTROL


Health and Lifestyle: THINGS I CANNOT CONTROL

Health and Lifestyle: THINGS ONE CANNOT CONTROL

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MEDICAL LIBRARY- HEALTH AND LIFESTYLE: HUMAN BRAIN


MEDICAL LIBRARY- HEALTH AND LIFESTYLE: HUMAN BRAIN

MEDICAL LIBRARY- HEALTH AND LIFESTYLE: HUMAN BRAIN

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ESL: TYPES OF VERBS


ESL: TYPES OF VERBS

ESL: TYPES OF VERBS

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Watch “Leonard Cohen – 11 – Tonight Will Be Fine (Berlin 1974) [with lyrics]” on YouTube



Sometimes I find I get to thinking of the past.
We swore to each other then that our love would surely last.
You kept right on loving, I went on a fast,
Now I am too thin and your love is too vast.
But I know from your eyes
And I know from your smile
That tonight will be fine,
Will be fine, will be fine, will be fine
For a while.

I choose the rooms that I live in with care,
The windows are small and the walls almost bare,
There’s only one bed and there’s only one prayer;
I listen all night for your step on the stair.
But I know from your eyes
And I know from your smile
That tonight will be fine,
Will be fine, will be fine, will be fine
For a while.
Oh sometimes I see her undressing for me,
She’s the soft naked lady love meant her to be
And she’s moving her body so brave and so free.
If I’ve got to remember that’s a fine memory.
And I know from her eyes
And I know from her smile
That tonight will be fine,
Will be fine, will be fine, will be fine
For a while.
Source: LyricFind


Songwriters: Leonard Cohen
Tonight Will Be Fine lyrics © Sony/ATV Music Publishing LLC

Wikipedia: List of The Blacklist characters


https://en.m.wikipedia.org/wiki/List_of_The_Blacklist_characters?wprov=sfla1

List of The Blacklistcharacters

The Blacklist is an American crime drama television series that premiered on NBC on September 23, 2013. Raymond “Red” Reddington (James Spader), a former government agent turned high-profile criminal, who had eluded capture for decades, voluntarily surrenders to the FBI, offering to cooperate on capturing a list of criminals who are virtually impossible to catch. He insists on working with a rookie profiler by the name of Elizabeth Keen (Megan Boone). The show also stars Diego Klattenhoff, Ryan Eggold and Harry Lennix. The pilot episode was written by Jon Bokenkamp and directed by Joe Carnahan. Executive producers for the series include Bokenkamp, John Eisendrath, and John Davis for Sony Pictures Television, Universal Television, and Davis Entertainment. In February 2015, The Blacklist was renewed for a third season,[1] with Hisham Tawfiq promoted to main cast.[2]

Cast overview

Actor Character Position Seasons
1 2 3 4 5 6 7
James Spader Raymond “Red” Reddington Confidential informant, FBI Main
Megan Boone Elizabeth “Liz” Keen/Masha Rostova Special Agent, FBI
Special consultant, FBI
Main
Diego Klattenhoff Donald Ressler Special agent, FBI
Director of the Counterterrorism Division, FBI
Main
Ryan Eggold Tom Keen/Jacob Phelps/Christopher Hargrave Covert operative Main
Parminder Nagra Meera Malik Field agent, CIA Main
Harry Lennix Harold Cooper Director of the Counterterrorism Division, FBI Main
Amir Arison Aram Mojtabai Computer specialist, FBI Recurring Main
Mozhan Marnò Samar Navabi Agent, Former Mossad agent Main
Hisham Tawfiq Dembe Zuma Reddington’s bodyguard Recurring Main

Main characters featured in The Blacklis

Raymond Reddington/Ilya Koslov

Raymond Reddington is portrayed by James Spader, since 2013

Portrayed by James Spader

Raymond “Red” Reddington is a former government agent, presumed to be a member of the United States Navy, and number 4 on the FBI’s Most Wanted List.[3] A U.S. Naval Academygraduate, he once worked in US counterintelligence and was being groomed for Admiral when something happened on his way home for the Christmas holidays. It is later revealed that Reddington was accused of committing treason by leaking information to the Soviet Union which led to the death of several American naval officers. Nicknamed “the concierge of crime”, Reddington is known for brokering deals between criminals. He willingly surrenders to the FBI and provides information on a roster of criminals that he refers to as The Blacklist: dangerous criminals who are so careful to avoid leaving any traces behind that the FBI has not even detected their existence. His ethics are somewhat murky, and he espouses the use of some crimes (such as extortion, counterfeiting, torture, and murder) in the service of “the greater good”. He uses his arrangement with the FBI to pursue his own secret agenda; it was revealed that he needed their help to find Berlin, a mysterious nemesis who had been attacking his organization.

He has an unexplained interest in Elizabeth Keen and knows personal secrets about her that she has never made public. He will stop at nothing to protect her and even went as far as to block her memories of the fire she was trapped in. But she finally regains them and learns that when her father attacked her mother, she killed him while still a child. Red explains that he never wanted Liz to end up like him and was trying to prevent that. He had a romantic affair with Liz’s mother, Katarina Rostova, and it is implied several times that he may be Liz’s biological father. No proof of this is ever shown, and Red himself initially denies it when directly confronted by Liz, although he does claim that he knew her father well. Red is confirmed as Liz’s father in “Dr. Adrian Shaw: Conclusion”, and in “Mr. Kaplan: Conclusion”, he finally acknowledges this to Liz after she presents him with a DNA test confirming his paternity. In “Monarch Douglas Bank”, it was revealed that Red used to be married to Naomi Hyland and has a daughter named Jennifer. In “Dr. Linus Creel”, when he confronted Naomi about her, he discovers that Jennifer left her after her marriage to Frank and hasn’t tried to make contact since then.

After the death of Alan Fitch, Reddington comes into conflict with the Director, the new head of the Cabal. The Director did not believe that Reddington had the Fulcrum, a blackmail file which Reddington had used as leverage to force a stalemate with the Cabal, and wanted to end the détente and kill Reddington. In response, Reddington urgently began seeking the Fulcrum, and managed to collect various items needed to decrypt it. Finally, after he confessed to Liz that he had initially hired Tom Keen to enter her life and watch over her, she gave him the Fulcrum, after which he was shot by the Director’s agents. However, he survived. He continued to throw obstacles into Liz’s path as she sought to find out more about her mother. When Liz was framed by the Cabal for the assassination of Senator Hawkins, Reddington countered by gathering 11 of the world’s top investigative journalists and giving them the information contained in the Fulcrum. He later helped Liz go on the run after she assassinated Attorney GeneralTom Connolly, a member of the Cabal.

Accompanied by Liz, Reddington goes on the run to gather various resources needed for his plan to bring down the Director and exonerate Liz. He eventually succeeds in forcing the Cabal to abandon the Director, and then kills him. However, Red is unable to clear Liz completely of the killing of Tom Connolly and she only returns to the taskforce as an asset like Red himself. He meets with Laurel Hitchin, who suggests he weakened the Cabal so that they would invite him to join it.

After watching Liz die in his arms Dembe convinces Red to leave the van containing her body and Ressler places his FBI windbreaker around Red’s shoulders and leads him over to the car with Dembe. As Ressler lets go of Red’s arm and Red goes to get into the car he collapses and Dembe catches him saying: “I got you.” And preceding to help Red into the car. After being told to stay away from Agnes by Tom in “Cape May”, Red goes on a self-imposed exile to get away from everything and find better means to cope with Liz’s death. He rescues a woman who attempted suicide one time and takes her back to the abandoned hotel. Only when a man talks to Red at the beach, that he realized the woman he rescued was a ghost and it was she who tells him that he did save her, through channeling his grief in losing Liz. In “The Artax Network”, Red finally visits Dom, the father of Katarina, and while he still blames him for what he done, Dom reluctantly allows Red to stay. When Aram tracks him down to try and convince Red to help them again, he refuses to leave and sends Aram on his way. Dom later convinces Red to leave and honor his word to the FBI, saying that Red’s got good people who count on him. As a token of gratitude, Red fixes a C♯ key on Dom’s piano and leaves. Red later visits Aram and tells him they have work to do.

In “Dr. Adrian Shaw: Conclusion”, while Red is being held captive and threatened by Alexander Kirk, Red admits that he is in fact Elizabeth Keen’s father. As Kirk goes to kill him, Red whispers something to Kirk that changes his mind and the two men disappear by the time the FBI arrive. Red later tells Liz that Kirk is “gone” but doesn’t elaborate further and doesn’t tell her that he’s her father.

In “Lipet’s Seafood Company” Red is berated by Cooper for letting Alexander Kirk go, but Red tells him that Kirk is gone and won’t be coming back and moves on. Red works to meet with the President-Elect to whose campaign he contributed in exchange for his help with the Alexander Kirk situation and is eventually able to secure a Presidential pardon for Liz killing Tom Connolly. As a result, Liz is able to be reinstated as an FBI agent.

In “The Apothecary”, Red is poisoned and needs the FBI to find Asa Hightower, the man who poisoned him. When confronting Marvin Gerard for not being at the dinner, he learns that Dembe has left him.

In “Dembe Zuma” Red finds out that Dembe left his side in order to find the traitor in his syndicate. Aram helps him out by procuring one name, Kathryn Nemec, whom Red recognizes as Mr. Kaplan. When confronting the man who housed her and shot Dembe, Red and Baz discovered he wired a bomb and escaped as he died in his house.

In “Requiem”, Kaplan calls Red and he confronts her for hiding Liz from him. She tells him she needed to do what she should’ve done years ago in keeping Liz away from him and mentions that she has just begun her revenge. When Red tries to claim that she helped build his syndicate tight, Kaplan reminds him that she is the one who knows where the bodies of the people he had killed are buried and that she hid them from the FBI over the years, including that of Diane Fowler. This makes Red worried when Kaplan reveals that they can be used to not only attack his syndicate, but also destroy him from within.

In “Mr. Kaplan”, many of Red’s associates have broken rank and joined Kaplan in her plans for revenge. He also learns that Julian Gale, a rogue FBI agent, is working with her in order to procure the immunity deal between Red and the FBI. Red tries to appeal to Kaplan to end the war, but she refused, telling him that Liz needs to know the truth.

In “Mr. Kaplan, Conclusion”, Red takes Ressler to Hitchin’s cleaner, Henry Prescott, to help him find a barrel marked back two years ago. When they open it, Red tells Ressler that he had just found Reven Wright. With the evidence, he and Ressler appeal to Hitchin for help. When she tried to refuse, Red tells her that unless she wants to be held accountable for both the Task Force’s downfall and the murder of Wright, she better uphold her end of the bargain and end the indictment on the Task Force. Red tries to appeal to Kaplan again at the bridge, promising he won’t shoot her. He is shocked when she decided to jump to her own death. Later on, Red is confronted by Liz who tells him that she now knows he’s her father. At Tansi Farms, Red and Dembe discover the suitcase buried there is gone and that they must get it back before Liz discovers the truth about how her mother, Katarina Rostova, died.

In “Ian Garvey: Conclusion”, despite taking Garvey hostage and en route to collecting the skeletal remains of Katarina, Ian rams his sedan into another car, leaving Red and Dembe there as he escapes. Red later confronts Garvey after learning that the latter now knows that Liz is his daughter. Only then, Jennifer confronts Red for what he’s done and the fact that Ian saved her and Naomi’s life from their disappointment when they learned of his criminal career. Red then recognizes her from all the years. Despite Garvey shooting first, Red fires back and shoots him.

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Yoga: Namasté


Yoga: Namasté

Yoga: Namasté

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Protected: Yoga: love v like


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Lifestyle and health: Meditation and Braiwaves


Lifestyle and health: Meditation and Braiwaves

Lifestyle and health: Meditation and Braiwaves

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Brain: left v right hemisphere


Brain: left v right

Brain: left v right

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Felix Mendelssohn


https://en.wikipedia.org/wiki/Felix_Mendelssohn?wprov=sfla1

Felix Mendelssohn

This article is about the German musician. For other people with the same surname, see Mendelssohn (surname). For other uses, see Mendelssohn (disambiguation).

Stretching to the heart

Portrait of Mendelssohn by the English miniaturist James Warren Childe, 1839

Jakob Ludwig Felix Mendelssohn Bartholdy[n 1] (3 February 1809 – 4 November 1847), born and widely known as Felix Mendelssohn,[n 2] was a German composer, pianist, organist and conductor of the early Romanticperiod. Mendelssohn’s compositions include symphonies, concertos, pianomusic and chamber music. His best-known works include his overture and incidental music for A Midsummer Night’s Dream, the Italian Symphony, the Scottish Symphony, the oratorioElijah, the overture The Hebrides, his mature Violin Concerto, and his String Octet. The melody for the Christmas carol “Hark! The Herald Angels Sing” is also his. Mendelssohn’s Songs Without Words are his most famous solo piano compositions.
A grandson of the philosopher Moses Mendelssohn, Felix Mendelssohn was born into a prominent Jewish family. He was brought up without religion until the age of seven, when he was baptised as a Reformed Christian. Felix was recognised early as a musical prodigy, but his parents were cautious and did not seek to capitalise on his talent.
Mendelssohn enjoyed early success in Germany, and revived interest in the music of Johann Sebastian Bach, notably with his performance of the St Matthew Passion in 1829. He became well received in his travels throughout Europe as a composer, conductor and soloist; his ten visits to Britain – during which many of his major works were premiered – form an important part of his adult career. His essentially conservative musical tastes set him apart from more adventurous musical contemporaries such as Franz Liszt, Richard Wagner, Charles-Valentin Alkan and Hector Berlioz. The Leipzig Conservatory,[n 3] which he founded, became a bastion of this anti-radical outlook. After a long period of relative denigration due to changing musical tastes and antisemitism in the late 19th and early 20th centuries, his creative originality has been re-evaluated. He is now among the most popular composers of the Romantic era.

Life

Childhood

Felix Mendelssohn aged 12 (1821) by Carl Joseph Begas

Felix Mendelssohn was born on 3 February 1809, in Hamburg, at the time an independent city-state,[n 4] in the same house where, a year later, the dedicatee and first performer of his Violin Concerto, Ferdinand David, would be born.[4] Mendelssohn’s father, the banker Abraham Mendelssohn, was the son of the German Jewish philosopher Moses Mendelssohn, whose family was prominent in the German Jewish community.[5] Until his baptism at age seven, Mendelssohn was brought up largely without religion.[6] His mother, Lea Salomon, was a member of the Itzig family and a sister of Jakob Salomon Bartholdy.[7] Mendelssohn was the second of four children; his older sister Fanny also displayed exceptional and precocious musical talent.[8]
The family moved to Berlin in 1811, leaving Hamburg in disguise in fear of French reprisal for the Mendelssohn bank’s role in breaking Napoleon’s Continental System blockade.[9]Abraham and Lea Mendelssohn sought to give their children – Fanny, Felix, Paul and Rebecka – the best education possible. Fanny became a pianist well known in Berlin musical circles as a composer; originally Abraham had thought that she, rather than Felix, would be the more musical. But it was not considered proper, by either Abraham or Felix, for a woman to pursue a career in music, so she remained an active but non-professional musician.[10] Abraham was initially disinclined to allow Felix to follow a musical career until it became clear that he was seriously dedicated.[11]
Mendelssohn grew up in an intellectual environment. Frequent visitors to the salon organised by his parents at their home in Berlin included artists, musicians and scientists, among them Wilhelm and Alexander von Humboldt, and the mathematician Peter Gustav Lejeune Dirichlet (whom Mendelssohn’s sister Rebecka would later marry).[12] The musician Sarah Rothenburg has written of the household that “Europe came to their living room”.[13]

Surname

Abraham Mendelssohn renounced the Jewish religion prior to Felix’s birth; he and his wife decided not to have Felix circumcised, in contravention of the Jewish tradition.[14] Felix and his siblings were first brought up without religious education, and were baptisedby a Reformed Church minister in 1816,[15] at which time Felix was given the additional names Jakob Ludwig. Abraham and his wife Lea were baptised in 1822, and formally adopted the surname Mendelssohn Bartholdy (which they had used since 1812) for themselves and for their children.[6] The name Bartholdy was added at the suggestion of Lea’s brother, Jakob Salomon Bartholdy, who had inherited a property of this name in Luisenstadt and adopted it as his own surname.[16] In an 1829 letter to Felix, Abraham explained that adopting the Bartholdy name was meant to demonstrate a decisive break with the traditions of his father Moses: “There can no more be a Christian Mendelssohn than there can be a Jewish Confucius”. (Letter to Felix of 8 July 1829).[17] On embarking on his musical career, Felix did not entirely drop the name Mendelssohn as Abraham had requested, but in deference to his father signed his letters and had his visiting cards printed using the form ‘Mendelssohn Bartholdy’.[18] In 1829, his sister Fanny wrote to him of “Bartholdy […] this name that we all dislike”.[19]

Career

Musical education

Mendelssohn began taking piano lessons from his mother when he was six, and at seven was tutored by Marie Bigot in Paris.[20] Later in Berlin, all four Mendelssohn children studied piano with Ludwig Berger, who was himself a former student of Muzio Clementi.[21] From at least May 1819 Mendelssohn (initially with his sister Fanny) studied counterpoint and composition with Carl Friedrich Zelterin Berlin.[22] This was an important influence on his future career. Zelter had almost certainly been recommended as a teacher by his aunt Sarah Levy, who had been a pupil of W. F. Bach and a patron of C. P. E. Bach. Sarah Levy displayed some talent as a keyboard player, and often played with Zelter’s orchestra at the Berliner Singakademie; she and the Mendelssohn family were among its leading patrons. Sarah had formed an important collection of Bach family manuscripts which she bequeathed to the Singakademie; Zelter, whose tastes in music were conservative, was also an admirer of the Bach tradition.[23] This undoubtedly played a significant part in forming Felix Mendelssohn’s musical tastes, as his works reflect this study of Baroqueand early classical music. His fuguesand chorales especially reflect a tonal clarity and use of counterpoint reminiscent of Johann Sebastian Bach, whose music influenced him deeply.[24]

Early maturity

First page of the manuscriptof Mendelssohn’s Octet (1825) (now in the US Library of Congress)

Mendelssohn probably made his first public concert appearance at the age of nine, when he participated in a chamber music concert accompanying a horn duo.[25] He was a prolific composer from an early age. As an adolescent, his works were often performed at home with a private orchestra for the associates of his wealthy parents amongst the intellectual elite of Berlin.[26] Between the ages of 12 and 14, Mendelssohn wrote 12 string symphonies for such concerts, and a number of chamber works.[27] His first work, a piano quartet, was published when he was 13. It was probably Abraham Mendelssohn who procured the publication of this quartet by the house of Schlesinger.[28] In 1824 the 15-year-old wrote his first symphonyfor full orchestra (in C minor, Op. 11).[29]
At age 16 Mendelssohn wrote his String Octet in E-flat major, a work which has been regarded as “mark[ing] the beginning of his maturity as a composer.”[30] This Octet and his Overture to Shakespeare’s A Midsummer Night’s Dream, which he wrote a year later in 1826, are the best-known of his early works. (Later, in 1843, he also wrote incidental music for the play, including the famous “Wedding March”.) The Overture is perhaps the earliest example of a concert overture – that is, a piece not written deliberately to accompany a staged performance but to evoke a literary theme in performance on a concert platform; this was a genre which became a popular form in musical Romanticism.[31]
In 1824 Mendelssohn studied under the composer and piano virtuoso Ignaz Moscheles, who confessed in his diaries[32] that he had little to teach him. Moscheles and Mendelssohn became close colleagues and lifelong friends. The year 1827 saw the premiere – and sole performance in his lifetime – of Mendelssohn’s opera Die Hochzeit des Camacho. The failure of this production left him disinclined to venture into the genre again.[33]
Besides music, Mendelssohn’s education included art, literature, languages, and philosophy. He had a particular interest in classical literature[34] and translated Terence’s Andria for his tutor Heyse in 1825; Heyse was impressed and had it published in 1826 as a work of “his pupil, F****” [i.e. “Felix” (asterisks as provided in original text)].[35][n 5] This translation also qualified Mendelssohn to study at the Humboldt University of Berlin, where from 1826 to 1829 he attended lectures on aesthetics by Georg Wilhelm Friedrich Hegel, on history by Eduard Gans.

Watch “Tchaikovsky: Swan Lake – The Kirov Ballet” on YouTube


Swan Lake

This article is about the ballet. For other uses, see Swan Lake (disambiguation).

Swan Lake (Russian: Лебеди́ное о́зеро, romanized: Lebedínoye ózero), Op. 20, is a ballet composed by Pyotr Ilyich Tchaikovsky in 1875–76. Despite its initial failure, it is now one of the most popular of all ballets.
The scenario, initially in two acts, was fashioned from Russian and German folk tales[a] and tells the story of Odette, a princess turned into a swan by an evil sorcerer’s curse. The choreographer of the original production was Julius Reisinger(Václav Reisinger). The ballet was premiered by the Bolshoi Ballet on 4 March [O.S. 20 February] 1877[1][2] at the Bolshoi Theatre in Moscow. Although it is presented in many different versions, most ballet companies base their stagings both choreographically and musically on the 1895 revival of Marius Petipa and Lev Ivanov, first staged for the Imperial Ballet on 15 January 1895, at the Mariinsky Theatre in St. Petersburg. For this revival, Tchaikovsky’s score was revised by the St. Petersburg Imperial Theatre’s chief conductor and composer Riccardo Drigo.[3]

History

Learn more

This section needs additional citations for verification.

Design by F. Gaanen for the décor of act 2, Moscow 1877

Origins of the ballet

There is no evidence to prove who wrote the original libretto, or where the idea for the plot came from. Russian and German folk tales have been proposed as possible sources, including “The White Duck” and “The Stolen Veil” by Johann Karl August Musäus, but both those tales differ significantly from the ballet.[4]
One theory is that the original choreographer, Julius Reisinger, who was a Bohemian (and therefore likely to be familiar with The Stolen Veil), created the story. Another theory is that it was written by Vladimir Petrovich Begichev, director of the Moscow Imperial Theatres at the time, possibly with Vasily Geltser, danseurof the Moscow Imperial Bolshoi Theatre (a surviving copy of the libretto bears his name). Since the first published libretto does not correspond with Tchaikovsky’s music in many places, one theory is that the first published version was written by a journalist after viewing initial rehearsals (new opera and ballet productions were always reported in the newspapers, along with their respective scenarios).
Some contemporaries of Tchaikovsky recalled the composer taking great interest in the life story of Bavarian King Ludwig II, whose life had supposedly been marked by the sign of Swan and could have been the prototype of the dreamer Prince Siegfried.[5] However, Ludwig’s death happened 10 years after the first performance of the ballet.
Begichev commissioned the score of Swan Lake from Tchaikovsky in May 1875 for 800 rubles. Tchaikovsky worked with only a basic outline from Julius Reisinger of the requirements for each dance.[6] However, unlike the instructions for the scores of The Sleeping Beauty and The Nutcracker, no written instruction is known to have survived.

Tchaikovsky’s influences

From around the time of the turn of the 19th century until the beginning of the 1890s, scores for ballets were almost always written by composers known as “specialists,” who were highly skilled at scoring the light, decorative, melodious, and rhythmically clear music that was at that time in vogue for ballet. Tchaikovsky studied the music of “specialists” such as the Italian Cesare Pugni and the Austrian Ludwig Minkus, before setting to work on Swan Lake.
Tchaikovsky had a rather negative opinion of the “specialist” ballet music until he studied it in detail, being impressed by the nearly limitless variety of infectious melodies their scores contained. Tchaikovsky most admired the ballet music of such composers as Léo Delibes, Adolphe Adam, and later, Riccardo Drigo. He would later write to his protégé, the composer Sergei Taneyev, “I listened to the Delibes ballet Sylvia … what charm, what elegance, what wealth of melody, rhythm, and harmony. I was ashamed, for if I had known of this music then, I would not have written Swan Lake.” Tchaikovsky most admired Adam’s 1844 score for Giselle, which used the Leitmotiftechnique: associating certain themes with certain characters or moods, a technique he would use in Swan Lake, and later, The Sleeping Beauty.
Tchaikovsky drew on previous compositions for his Swan Lake score. According to two of Tchaikovsky’s relatives – his nephew Yuri Lvovich Davydov and his niece Anna Meck-Davydova – the composer had earlier created a little ballet called The Lake of the Swans at their home in 1871. This ballet included the famous Leitmotif, the Swan’s Theme or Song of the Swans. He also made use of material from The Voyevoda, an opera he had abandoned in 1868. The Grand adage (a.k.a. the Love Duet) from the second scene of Swan Lake was fashioned from an aria from that opera, as was the Valse des fiancéesfrom the third scene. Another number which included a theme from The Voyevoda was the Entr’acte of the fourth scene.
By April 1876 the score was complete, and rehearsals began. Soon Reisinger began setting certain numbers aside that he dubbed “undanceable.” Reisinger even began choreographing dances to other composers’ music, but Tchaikovsky protested and his pieces were reinstated. Although the two artists were required to collaborate, each seemed to prefer working as independently of the other as possible.[7]

Composition process

Tchaikovsky’s excitement with Swan Lake is evident from the speed with which he composed: commissioned in the spring of 1875, the piece was created within one year. His letters to Sergei Taneyev from August 1875 indicate, however, that it was not only his excitement that compelled him to create it so quickly but his wish to finish it as soon as possible, so as to allow him to start on an opera. Respectively, he created scores of the first three numbers of the ballet, then the orchestration in the fall and winter, and was still struggling with the instrumentation in the spring. By April 1876, the work was complete. Tchaikovsky’s mention of a draft suggests the presence of some sort of abstract but no such draft has ever been seen. Tchaikovsky wrote various letters to friends expressing his longstanding desire to work with this type of music, and his excitement concerning his current stimulating, albeit laborious task.[8]

Performance history

Adelaide Giuri as Odette and Mikhail Mordkin as Prince Siegfried in Aleksandr Gorsky’s staging of the Petipa/Ivanov Swan Lake for the Bolshoi Theatre, Moscow, 1901. A young Vera Karalli is seen kneeling.

Moscow première (world première)

Date: 4 March (OS 20 February) 1877

Place: Bolshoi Theatre, Moscow

Balletmaster: Julius Reisinger

Conductor: Stepan Ryabov

Scene Designers: Karl Valts (acts 2 & 4), Ivan Shangin (act 1), Karl Groppius (act 3)

St. Petersburg première

Date: 27 January 1895

Place: Mariinsky Theatre, St. Petersburg

Balletmaster: Marius Petipa (acts 1 & 3), Lev Ivanov (acts 2 & 4)

Conductor: Riccardo Drigo

Scene Designers: Ivan Andreyev, Mikhail Bocharov, Henrich Levogt

Costume Designer: Yevgeni Ponomaryov[9]

Other notable productions

1880 and 1882, Moscow, Bolshoi Theatre, staged by Joseph Hansenafter Reisinger, conductor and designers as in première

1901, Moscow, Bolshoi Theatre, staged by Aleksandr Gorsky, conducted by Andrey Arends, scenes by Aleksandr Golovin (act 1), Konstantin Korovin (acts 2 & 4), N. Klodt (act 3)

1911, London, Ballets Russes, Sergei Diaghilev production, choreography by Michel Fokineafter Petipa–Ivanov, scenes by Golovin and Korovin

Original interpreters
RoleMoscow 1877Moscow 1880St. Petersburg 1895[9]Moscow 1901London 1911QueensopranoOlga NikolayevaGiuseppina CecchettiSiegfriedtenorVictor GillertAlfred BekefiPavel GerdtMikhail MordkinVaslav NijinskyBennoSergey NikitinAleksandr OblakovWolfgangWilhelm WannerGillertOdettePelageya KarpakovaYevdokiya KalmїkovaPierina LegnaniAdelaide GiuriMathilde KschessinskaVon RothbartSergey SokolovAleksey BulgakovK. KubakinOdilesopranoPierina LegnaniMathilde Kschessinska

Original production of 1877

The première on Friday, 4 March 1877, was given as a benefit performance for the ballerina Pelageya Karpakova (also known as Polina Karpakova), who performed the role of Odette, with première danseur Victor Gillert as Prince Siegfried. Karpakova may also have danced the part Odile, although it is believed the ballet originally called for two different dancers. It is now common practice for the same ballerina to dance both Odette and Odile.
The Russian ballerina Anna Sobeshchanskaya was originally cast as Odette, but was replaced when a governing official in Moscow complained about her, claiming she had accepted jewelry from him, only to then marry a fellow danseur and sell the pieces for cash.
The première was not well-received. Though there were a few critics who recognised the virtues of the score, most considered it to be far too complicated for ballet. It was labelled, “too noisy, too ‘Wagnerian’ and too symphonic.”[10] The critics also thought Reisinger’s choreography was “unimaginative and altogether unmemorable.”[10] The German origins of the story were “treated with suspicion while the tale itself was regarded as ‘stupid’ with unpronounceable surnames for its characters.”[10] Karpakova was a secondary soloist and “not particularly convincing.”[10]

The poverty of the production, meaning the décor and costumes, the absence of outstanding performers, the Balletmaster’s weakness of imagination, and, finally, the orchestra … all of this together permitted (Tchaikovsky) with good reason to cast the blame for the failure on others.

— Modest Tchaikovsky, brother of the composer

Yet the fact remains (and is too often omitted in accounts of this initial production) that this staging survived for six years with a total of 41 performances – many more than several other ballets from the repertoire of this theatre.[11]

Tchaikovsky pas de deux 1877

Anna Sobeshchanskaya [ru] as Odette in Julius Reisinger’s original production

Pierina Legnani as Odette (1895)

During the late 1880s and early 1890s, Petipa and Vsevolozhsky discussed with Tchaikovsky the possibility of reviving Swan Lake. However, Tchaikovsky died on 6 November 1893, just when plans to revive Swan Lake were beginning to come to fruition. It remains uncertain whether Tchaikovsky was prepared to revise the music for this revival. Whatever the case, as a result of Tchaikovsky’s death, Drigo was forced to revise the score himself, after receiving approval from Tchaikovsky’s younger brother, Modest. There are major differencesbetween Drigo’s and Tchaikovsky’s Swan Lake score. Today, it is Riccardo Drigo’s revision of Tchaikovsky’s score, and not Tchaikovsky’s original score of 1877, that most ballet companies use.

Pavel Gerdt as Prince Siegfried (Mariinsky Theatre, 1895)

In February 1894, two memorial concerts planned by Vsevolozhsky were given in honor of Tchaikovsky. The production included the second act of Swan Lake, choreographed by Lev Ivanov, Second Balletmaster to the Imperial Ballet. Ivanov’s choreography for the memorial concert was unanimously hailed as wonderful.

The revival of Swan Lake was planned for Pierina Legnani‘s benefit performance in the 1894–1895 season. The death of Tsar Alexander III on 1 November 1894 and the ensuing period of official mourning brought all ballet performances and rehearsals to a close for some time, and as a result all efforts could be concentrated on the pre-production of the full revival of Swan Lake. Ivanov and Petipa collaborated on the production, with Ivanov retaining his dances for the second act while choreographing the fourth, with Petipa staging the first and third acts.

Modest Tchaikovsky was called upon to make changes to the ballet’s libretto, including the character of Odette changing from a fairy swan-maiden into a cursed mortal woman, the ballet’s villain changing from Odette’s stepmother to the magician von Rothbart, and the ballet’s finale: instead of the lovers simply drowning at the hand of Odette’s stepmother as in the original 1877 scenario, Odette commits suicide by drowning herself, with Prince Siegfried choosing to die as well, rather than live without her, and soon the lovers’ spirits are reunited in an apotheosis.[13] Aside from the revision of the libretto the ballet was changed from four acts to three—with act 2 becoming act 1, scene 2.

All was ready by the beginning of 1895 and the ballet had its première on Friday, 27 January. Pierina Legnani danced Odette/Odile, with Pavel Gerdtas Prince Siegfried, Alexei Bulgakov as Rothbart, and Alexander Oblakov as Benno. Most of the reviews in the St. Petersburg newspapers were positive.

Unlike the première of The Sleeping Beauty, Swan Lake did not dominate the repertory of the Mariinsky Theatre in its first season. It was given only sixteen performances between the première and the 1895–1896 season, and was not performed at all in 1897. Even more surprising, the ballet was performed only four times in 1898 and 1899. The ballet belonged solely to Legnani until she left St. Petersburg for her native Italy in 1901. After her departure, the ballet was taken over by Mathilde Kschessinskaya, who was as much celebrated in the rôle as was her Italian predecessor.

Later productions

The best pianist of our generation, YouTube generation: Valentina Lisitsa


https://en.m.wikipedia.org/wiki/Valentina_Lisitsa

Valentina Lisitsa

Valentina Lisitsa (Ukrainian: Валенти́на Євге́нівна Лиси́ця, romanized: Valentýna Jevhénivna Lysýcja, IPA: [wɐlenˈtɪnɐ jeu̯ˈɦɛn⁽ʲ⁾iu̯nɐ lɪˈsɪtsʲɐ]; Russian: Валентина Евгеньевна Лисица, romanized: Valentina Evgen’evna Lisica, IPA: [vɐlʲɪnˈtʲinə jɪvˈɡʲenʲɪvnə lʲɪˈsʲitsə]; born 25 March 1973) is a Ukrainian-American[1] pianist. She previously resided in North Carolinabefore moving to Canada, and then to France.[2][3]

Valentina Lisitsa

Background informationBorn25 March 1973(age 46)
Kiev, Ukrainian SSR, Soviet UnionGenresClassicalOccupation(s)Classical pianistInstrumentsPianoYears active1977-presentWebsitevalentinalisitsa.com
Lisitsa is among the most frequently viewed pianists on YouTube – particularly her renderings of Romantic Era virtuoso piano composers, including Franz Liszt, Frédéric Chopin and Sergei Rachmaninoff.[4][5] Lisitsa independently launched her career on social media, without initially signing with a tour promoter or record company.[4][5]

Life and career

Lisitsa was born in Kiev, Ukraine, in 1973. Her mother, also named Valentina, is a seamstress and her father, Evgeny, was an engineer.[4] Her older brother Eugene died in 2009.[6][4]
She started playing the piano at the age of three, performing her first solo recital at the age of four.[7] She is of Russian and Polish descent.[8]
Despite her early aptitude for music, her dream at that point was to become a professional chess player.[9]Lisitsa attended the Lysenko music school and, later, the Kiev Conservatory,[10] where she and her future husband, Alexei Kuznetsoff, studied under Dr. Ludmilla Tsvierko.[11]When Lisitsa met Kuznetsoff, she began to take music more seriously.[12] In 1991, they won the first prize in The Murray Dranoff Two Piano Competition in Miami, Florida.[10][13]That same year, they moved to the United States to further their careers as concert pianists.[4] In 1992 the couple married.[4] Their New York debut was at the Mostly Mozart Festival at Lincoln Center in 1995.[11]

Lisitsa posted her first YouTube video in 2007. Her set of Chopin etudes reached the number-one slot on Amazon’s list of classical video recordings, and became the most-viewed online collection of Chopin etudes on YouTube.[14][15]

To advance her career, in 2010 Lisitsa and her husband put their life savings into recording a CD of Rachmaninoff concertos with the London Symphony Orchestra.[4] In the spring of 2012, before her Royal Albert Hall debut, Lisitsa signed with Decca Records, who later released her Rachmaninoff CD set.[4] By mid-2012 she had logged nearly 50 million views of her YouTube videos.[5]
Lisitsa has performed in various venues around the world, including Carnegie Hall, David Geffen Hall, Benaroya Hall, Musikverein and the Royal Albert Hall. She is well known for her online recitals and practicing streams. She has also collaborated with violinist Hilary Hahn at various recital engagements.[10]

Controversy

Lisitsa has received criticism for her opposition to the Ukrainian government and support of pro-Russian separatists since the 2014 pro-Russian unrest in Ukraine and the ensuing armed conflict.[16] In April 2015, the Toronto Symphony Orchestra cancelled concerts with Lisitsa, citing her “provocative” online remarks on her Twitter account; the orchestra initially did not specify which tweets or other commentary it believed crossed a line.[17][18] Later, on 8 April 2015, the CEO of Toronto Symphony, Jeff Melanson provided a PDF document of seven pages listing the most “offensive” tweets. Melanson alleged that the document would “help people understand why we made this decision, and understand as well how this is not a free speech issue, but rather an issue of someone practicing very intolerant and offensive expression through Twitter.”[19]
In response, the Toronto Star criticized the orchestra’s decision in an editorial, noting that, “Lisitsa was not invited to Toronto to discuss her provocative political views. She was scheduled to play the piano. And second, banning a musician for expressing “opinions that some believe to be offensive” shows an utter failure to grasp the concept of free speech.”[20] Lisitsa said that the orchestra threatened her if she spoke about the cancellation.[21]
According to Paul Grod, then president of the Ukrainian Canadian Congress: “Ms. Lisitsa has been engaged in a long campaign on social media belittling, insulting and disparaging the people of Ukraine as they face direct military aggression at the hands of the Russian Federation”. Grod elaborated that “Most disturbing are Ms. Lisitsa’s false allegations that the government of Ukraine is “Nazi”, and stating that the Government of Ukraine is setting up ‘filtration camps.'” The New Jersey-based Ukrainian Weekly has described her postings as “anti-Ukraine hate speech.”[8][17] In response she commented that “satire and hyperbole [are] the best literary tools to combat the lies”.[8][17]

DiscographyEdit

Lisitsa has recorded six CDs for Audiofon Records, including three solo CDs and two discs of duets with her husband Alexei Kuznetsoff; a Gold CD for CiscoMusic label with cellist DeRosa; a duet recital on VAI label with violinist Ida Haendel; and DVDs of Frédéric Chopin’s 24 Études and Schubert-Liszt Schwanengesang.[22]
Her recording of the four sonatas for violin and piano by composer Charles Ives, made with Hilary Hahn, was released in October 2011 on Deutsche Grammophon label. Her album Valentina Lisitsa Live at the Royal Albert Hall (based on her debut performance at that venue 19 June 2012) was released 2 July 2012.
Lisitsa has reproduced several compositions by various artists, including Sergei Rachmaninoff, Franz Liszt, Frédéric Chopin and Ludwig van Beethoven. Decca Records released her complete album of Rachmaninoff concertos in October 2012.[23] An album of Liszt works was released in October 2013 on Decca label in 2 formats – CD and 12″ LP which was cut unedited from analog tape. An even more recent album comprises a number of works of the composer and pianist Philip Glass.[24] As of July 2019, her latest release on Decca records is a 10CD set titled Tchaikovsky: The Complete Solo Piano Works.

ReferencesEdit

^ Everett-Green, Robert (7 December 2012). “Valentina Lisitsa: Playing the odds – by way of Rachmaninoff”. The Globe and Mail. Toronto. Retrieved 8 April 2015.

^ “Valentina Lisitsa and Alexei Kuznetsoff”. Southern Arts Federation. Retrieved 12 July2009.

^

Watch “Rachmaninov: The Isle of the Dead, Symphonic poem Op. 29 – Andrew Davis” on YouTube, painting Isle of the Dead, by Arnold Böecklin


FROM WIKIPEDIA

Isle of the De (Rchmaninoff)

A black and white reproduction of Isle of the Dead by Arnold Böcklin was the inspiration for the piece.

Isle of the Dead (Russian: Остров мёртвых), Op. 29, is a symphonic poem composed by Sergei Rachmaninoff, written in the key of A minor. He concluded the composition while staying in Dresden in 1908.[1] It is considered a classic example of Russian late-Romanticism of the beginning of the 20th century.

The piece was inspired by a black and white reproduction of Arnold Böcklin‘s painting, Isle of the Dead, which Rachmaninoff saw in Paris in 1907. Rachmaninoff was disappointed by the original painting when he later saw it, saying, “If I had seen first the original, I, probably, would have not written my Isle of the Dead. I like it in black and white.”[2]

The music begins by suggesting the sound of the oars as they meet the waters on the way to the Isle of the Dead. The slowly heaving and sinking music could also be interpreted as waves. Rachmaninoff uses a recurring figure in 5/8 time to depict what may be the rowing of the oarsman or the movement of the water, and as in several other of his works, quotes the Dies Irae plainchant, an allusion to death. In contrast to the theme of death, the 5/8 time also depicts breathing, creating a holistic reflection on how life and death are intertwined.

In 1929, Rachmaninoff conducted the Philadelphia Orchestra in a recording of the music for the Victor Talking Machine Company, which was purchased by RCA that same year and became known as RCA Victor. This recording was made in the Academy of Music in Philadelphia, using one microphone, and was later reissued on LP and CD by RCA Victor.

References

  1. ^ Wehrmeyer (2006:51)
  2. ^ Tarasti, Eero (2012). Semiotics of Classical Music: How Mozart, Brahms and Wagner Talk to Us. Berlin/Boston: Walter de Gruyter GmbH & Co., KG. p. 385. ISBN .

BibliographyEdit

External links

Watch “Immortal Music: Schubert Piano Quintet D667/The Trout/Jacqueline du Pré, Barenboim, Perlman, Pinchas” on YouTube


From WIKIMEDIA

Trout Quintet

The Trout Quintet (Forellenquintett) is the popular name for the Piano Quintet in A major, D. 667, by Franz Schubert. The piano quintet was composed in 1819,[1] when he was 22 years old; it was not published, however, until 1829, a year after his death.[2]

Rather than the usual piano quintet lineup of piano and string quartet, the Trout Quintet is written for piano, violin, viola, cello and double bass. The composer Johann Nepomuk Hummel had rearranged his own Septet for the same instrumentation,[3]and the Trout was actually written for a group of musicians coming together to play Hummel’s work.

Nickname

The piece is known as the Troutbecause the fourth movement is a set of variations on Schubert’s earlier LiedDie Forelle” (“The Trout”). The quintet was written for Sylvester Paumgartner, of Steyr in Upper Austria, a wealthy music patron and amateur cellist, who also suggested that Schubert include a set of variations on the Lied.[1] Sets of variations on melodies from his Lieder are found in four other works by Schubert: the Death and the Maiden Quartet, the “Trockne Blumen” Variations for Flute and Piano (D. 802), the Wanderer Fantasy, and the Fantasia for Violin and Piano in C major (D. 934, on “Sei mir gegrüßt”).

Music

The quintet consists of five movements:

The rising sextuplet figure from the song’s accompaniment is used as a unifying motif throughout the quintet, and related figures appear in four out of the five movements – all but the Scherzo. As in the song, the figure is usually introduced by the piano, ascending.[1]

I. Allegro vivace

The first movement is in sonata form. As is commonplace in works of the Classical genre, the exposition shifts from tonic to dominant; however, Schubert’s harmonic language is innovative, incorporating many mediants and submediants. This is evident from almost the beginning of the piece: after stating the tonic for ten bars, the harmony shifts abruptly into F major (the flatted submediant) in the eleventh bar.

The development section starts with a similar abrupt shift, from E major (at the end of the exposition) to C major. Harmonic movement is slow at first, but becomes quicker; towards the return of the first theme, the harmony modulates in ascending half tones.

The recapitulation begins in the subdominant, making any modulatorychanges in the transition to the second theme unnecessary, a frequent phenomenon in early sonata form movements written by Schubert.[1] It differs from the exposition only in omitting the opening bars and another short section, before the closing theme.

II. Andante

This movement is composed of two symmetrical sections, the second being a transposed version of the first, except for some differences of modulation which allow the movement to end in the same key in which it began. Tonal layout (with some intermediate keys of lower structural significance omitted) as follows:

III. Scherzo: Presto

This movement also contains mediant tonalities, such as the ending of the first section of the Scherzo proper, which is in C major, the flattened mediant, or the relative major of the parallel minor (A minor).

IV. Andantino – Allegretto

The fourth movement is a theme and variations on Schubert’s Lied Die Forelle“. As typical of some other variation movements by Schubert (in contrast to Beethoven’s style),[4] the variations do not transform the original theme into new thematic material; rather, they concentrate on melodic decoration and changes of mood. In each of the first few variations, the main theme is played by a different instrument or group. In the fifth variation, Schubert begins in the flat submediant (B major), and creates a series of modulations eventually leading back to the movement’s main key, at the beginning of the final sixth variation.

A similar process is heard in three of Schubert’s later compositions: the Octet in F major, D. 803 (fourth movement); the Piano Sonata in A minor, D. 845 (second movement); and the Impromptu in B major, D. 935 No. 3. The concluding variation is similar to the original Lied, sharing the same characteristic accompaniment in the piano.

V. Allegro giust

The Finale is in two symmetrical sections, like the second movement. However, the movement differs from the second movement in the absence of unusual chromaticism, and in the second section being an exact transposition of the first (except for some changes of octave register). A repeat sign is written for the first section: if one adheres meticulously to the score, the movement consists of three lengthy, almost identical repeats of the same musical material. Performers sometimes choose to omit the repeat of the first section when playing.

Although this movement lacks the chromaticism of the second movement, its own harmonic design is also innovative: the first section ends in D major, the subdominant. This is contradictory to the aesthetics of the Classical musical style, in which the first major harmonic event in a musical piece or movement, is the shift from tonic to dominant (or, more rarely, to mediant or submediant – but never to the subdominant).[5][6]

Musical significance

Compared to other major chamber works by Schubert, such as the last three string quartets and the string quintet, the Trout Quintet is a leisurely work, characterized by lower structural coherence, especially in its outer movements and the Andante. These movements contain unusually long repetitions of previously stated material, sometimes transposed, with little or no structural reworking, aimed at generating an overall unified dramatic design (“mechanical” in Martin Chusid’s words[1]).

The importance of the piece stems mainly from its use of an original and innovative harmonic language, rich in mediants and chromaticism, and from its timbral characteristics. The Trout Quintet has a unique sonority among chamber works for piano and strings, due mainly to the piano part, which for substantial sections of the piece concentrates on the highest register of the instrument, with both hands playing the same melodic line an octave apart (having been freed to do so by the inclusion of both cello and bass in the ensemble). Such writing also occurs in other chamber works by Schubert, such as the piano trios, but to a much lesser extent,[1][3] and is characteristic of Schubert’s works for piano four-hands,[3] one of his most personal musical genres. Such timbral writing may have influenced the works of Romantic composers such as Frédéric Chopin, who admired Schubert’s music for piano four-hands.[7]

The quintet forms the basis of Christopher Nupen‘s 1969 film The Trout, in which Itzhak Perlman, Pinchas Zukerman, Jacqueline du Pré, Daniel Barenboim and Zubin Mehtaperform it at Queen Elizabeth Hall in London.[8]

Other Uses

The song, in MIDI format, is used on modern Samsung washers and dryers to indicate that the wash or dry cycle is complete. [9]

References

  1. ^ a b c d e f Chusid, Martin (April 1997). “Schubert’s chamber music: before and after Beethoven”. In Christopher H. Gibbs (ed.). The Cambridge Companion to Schubert. Cambridge Companions to Music. United Kingdom: Cambridge University Press. pp. 174–192. ISBN 978-0-521-48424-4.
  2. ^ Gibbs, Christopher H. (April 1997). “German reception: Schubert’s ‘journey to immortality“. In Christopher H. Gibbs (ed.). The Cambridge Companion to Schubert. Cambridge Companions to Music. United Kingdom: Cambridge University Press. pp. 241–253. ISBN 978-0-521-48424-4.
  3. ^

Watch “Ludwig van Beethoven Symphony No. 6, (Full version)” on YouTube


Published on Mar 30, 2017

I (0:00)

II (10:56)

in (24:10)

W (29:21)

v (32:22)

Ludwig van Beethoven Symphony No. 6, (Full version) I. Happy Arrival 0:00

It. By the Brook 10:56

III.

V. Shepherd’s Song 32:22

Conducted by Frans Briiggen (Orchestra of the 18th Century) I’m happy for you all. Thank you for watching this nice symphony. Beethoven’s 6th Symphony (Pastoral) A Love of Nature The Pastoral Symphony is a charming masterpiece which both paints a picture of nature and describes man’s feelings towards it. Beethoven‘s great love of nature, the delight in strolling through the countryside in Vienna, the fact that he always found his equilibrium in the heart of nature, all these inspired him to create his sixth symphony. Beethoven’s 6th Symphony is filled with colorful sounds, simple folk tunes. nice development, and a feeling of calm beauty. It contains meaningful emotional aspect which reflects mankind’s feelings towards the natural world. Beethoven began sketching out his 6th symphony in 1802 and finished it in 1808. ‘How happy I am to be able to walk among the shrubs. the trees, the woods, the grass and the rocks! For the woods, the trees and the rocks give man the resonance he needs.‘ Beethoven said in the summer of 1808. The premiere of the 6th Symphony was probably the grandest musical event in Beethoven’s life. It was a massive conceit packed with lndelible moments of brand new Beethoven music! This programmatic endeavor is clearly expressed through the suggestive title of the symphony, as well as through the titles of each movement. When Beethoven found refuge in the midst of nature, he jotted down themes inspired by the trill of birds, the trickling of creeks or the rustle of leaves. In a notebook from 1803 was found an outline of a river’s trickling with the additional note: ‘The greater the river, the more grave the tone.’-Beethoven spread out the sympho-y into five movements and gave each movement a little subtitle explaining what it was about. I. ‘Happy Arrival’ (Awakening of cheerful feelings upon arrival in the country) The Pastoral symphony opens with warmth and calm, setting the scene as we arrive in the countryside. This has a programmatic indication. In this movement, we find a genuine popular sonority through the choice of instruments neatly weaved together. [Allegro ma non troppo]

II. ‘By the Brook’ (T he natural scene of the stream) This slow movement is a beautiful depiction of the delicate nature of… nature itself. It is a wonderful scene of nature with exceptionally musical themes in the pure pastoral air. You can almost breathe the fresh country air! It is more of a description of sensations rather than images. Towards the end, we find the onomatopoeic sounds of birds. [Andante molto mosso]

III. ‘Merrymaking’ (Joyful gathering of countryfolk) Now we turn our attention to the loud, jolly peasants who live in the countryside. Here we see them celebrate with a joyful dance. Of course. these are simple folks, so the music itself is simple, but very energetic. [Allegro]

IV. ‘ThunderStorm’ (Heavy rumblings of natural forces) 29.21 With no pause between the previous movement and this movement, there is a dramatic surprise, hinting at trouble ahead. Yes, a storm is brewing! Beethoven inserts fantastic lightning crashes and a whirl of wind. He renders the stages of the storm as it unravels on the horizon and moves closer more and more threatening.

The instruments with grave chords cellos and double basses through their sounds announce the storm, then the staccato sounds of the violins render the falling raindrops, and through the timpani and the flutes we sense the thunder and lightning. Then comes the rainbow. Above all these images, we feel the tense disposition that captures man facing the realities of nature. There is an urgent sense of human fear since humanity is powerless against the forces of nature. When the storm is over, all living creatures come to the surface, taking their place in the natural cycle. This is rendered by a choral of flutes which come as a sunray. [Allegro]

V. ‘Shepherd‘s Song’ (Expression of thanks when the storm is over) As the storm fades away, all the animals emerge, and there‘s a general feeling of relief. Sunshine reappears, and everyone’s mind is relaxed aqain. This is
the song of gratitude towards nature. It is a calm movement, full of mind is relaxed again. This is the song of gratitude towards nature. It is a calm movement, full of grace. It starts out quiet, but quickly gets faster and happier. The music is fairly simple. but this makes Its emotions of gratitude endearing. [Allegretto]

Beethoven’s Pastoral Symphony, through its simplicity. is just sincere and natural.

‘IV. Allegro (Storm and tempest) (extract)’ by Roger Norrington

ESL: OPPOSITE WORDS


ESL: OPPOSITE WORDS

https://pin.it/gvbhugjlp5dguz

ESL: OPPOSITE WORDS


ESL: OPPOSITE WORDS

ESL: OPPOSITE WORDS

https://pin.it/gfwl327yno6rah

Watch “Miles Davis – Smoke gets in your eyes” on YouTube


Watch “The Blacklist ( Best of Raymond Reddington ) part 2” on YouTube


Watch “The Blacklist ( Best of Raymond Reddington ) part 1” on YouTube


Mr. Tambourine Man (Live at the Newport Folk Festival. 1964)” on YouTube


Mr. Tambourine Man
Song by Bob Dylan

Hey! Mr. Tambourine man, play a song for me
I’m not sleepy and there is no place I’m going to
Hey! Mr. Tambourine man, play a song for me
In the jingle jangle morning I’ll come following you
Though I know that evening’s empire has returned into sand
Vanished from my hand
Left me blindly here to stand but still not sleeping
My weariness amazes me, I’m branded on my feet
I have no one to meet
And the ancient empty street’s too dead for dreaming
Hey! Mr. Tambourine man, play a song for me
I’m not sleepy and there is no place I’m going to
Hey! Mr. Tambourine man, play a song for me
In the jingle jangle morning I’ll come following you
Take me on a trip upon your magic swirling ship
My senses have been stripped
My hands can’t feel to grip
My toes too numb to step
Wait only for my boot heels to be wandering
I’m ready to go anywhere, I’m ready for to fade
Into my own parade
Cast your dancing spell my way, I promise to go under it
Hey! Mr. Tambourine man, play a song for me
I’m not sleepy and there is no place I’m going to
Hey! Mr. Tambourine man, play a song for me
In the jingle jangle morning I’ll come following you
Though you might hear laughing, spinning, swinging madly across the sun
It’s not aimed at anyone
It’s just escaping on the run
And but for the sky there are no fences facing
And if you hear vague traces of skipping reels of rhyme
To your tambourine in time
It’s just a ragged clown behind
I wouldn’t pay it any mind
It’s just a shadow you’re seeing that he’s chasing
Hey! Mr. Tambourine man, play a song for me
I’m not sleepy and there is no place I’m going to
Hey! Mr. Tambourine man, play a song for me
In the jingle jangle morning I’ll come following you
And take me disappearing through the smoke rings of my mind
Down the foggy ruins of time
Far past the frozen leaves
The haunted frightened trees
Out to the windy beach
Far from the twisted reach of crazy sorrow
Yes, to dance beneath the diamond sky
With one hand waving free
Silhouetted by the sea
Circled by the circus sands
With all memory and fate
Driven deep beneath the waves
Let me forget about today until tomorrow
Hey! Mr. Tambourine man, play a song for me
I’m not sleepy and there is no place I’m going to
Hey! Mr. Tambourine man, play a song for me
In the jingle jangle morning I’ll come following you
Source: LyricFind
Songwriters: Bob Dylan
Mr. Tambourine Man lyrics © Audiam, Inc

Watch “El Condor Pasa ” If I Could ” | Guitar and Pan Flute” on YouTube


I’d rather be a sparrow than a snail
Yes I would, if I could, I surely would
I’d rather be a hammer than a nail
Yes I would, if I only could, I surely would

Away, I’d rather sail away
Like a swan that’s here and gone
A man gets tied up to the ground
He gives the world its saddest sound
Its saddest sound
I’d rather be a forest than a street
Yes I would, if I could, I surely would
I’d rather feel the earth beneath my feet
Yes I would, if I only could, I surely would
Source: LyricFind
Songwriters: Paul Simon / Jorge Milchberg / Daniel Alomia Robles
El Condor Pasa (If I Could) lyrics © Universal Music Publishing Group

Quote: Socrates


Quote: Socrates

Quote: Socrates

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Haiku: Twenty five hours days (© poetic thought by GeorgeB @ euzicasa)


Haiku: Twenty five hours days

Twenty five hours days

Are unlike twenty three hours

In autumn and spring.

(© poetic thought by GeorgeB @ euzicasa)

Quote: Albert Einstein


https://pin.it/bxaqrhwmsxtl3g

ESL: “TAKE” IN SENTENCES


ESL:

ESL: “TAKE” IN SENTENCES

https://pin.it/jbgh7ea4a4x4fk

Watch “Jim James – State Of The Art (A.E.I.O.U.)” on YouTube



Daylight come
Daylight go
How far will it reach?
Ain’t nobody know
And when the dawn breaks
The cradle will fall
And down come baby
Cradle and all
Now I know you need the dark
Just as much as the sun
But you signin’ on forever
When you ink it in blood

A.E.I.O.U.
E.I.O.U.
A.E.I.O.U.
I, I use my state of the art
Technology
Supposed to make for better living
Are we better human beings?
We’ve got our wires all crossed
The tubes are all tied
And I’m straining to remember
Just what it means to be alive
A life worth living
Now you can feel it in your chest
Buildin’ like little birds
Just building up the nest
And you build it up strong
And you fill it up with love
And you pray for good rain
All from the lord above
A.E.I.O.U.
E.I.O.U.
A.E.I.
I use my state of the art
Technology
Now don’t you forget it
It ain’t using me
‘Cause when the power’s goes out
I got over me
‘Cause the power’s goin’ out
I think the power’s goin’ out
I mean it, the power’s goin’ out
I really mean it the powers goin’ out
Source: LyricFind


Songwriters: James Edward Olliges Jr.
State of the Art (A.E.I.O.U.) lyrics © Words & Music A Div Of Big Deal Music LLC

Watch “Schubert: Complete String Quartets” on YouTube


https://en.m.wikipedia.org/wiki/Category%3AString_quartets_by_Franz_Schubert

Category:String quartets by Franz Schubert

Watch “Keith Jarrett & Chick Corea – Play MORZART #12” on YouTube


Watch “JOHN COLTRANE , STAN GETZ Autumn in New York” on YouTube


ESL: “COME” IN SENTENCES


ESL:

ESL: “COME” IN SENTENCES

https://pin.it/4ub2nqnemf3vis

Watch “The Doors – Riders On The Storm (ORIGINAL!) – driving with Jim” on YouTube


The Doors Lyrics

“Riders On The Storm”

Riders on the storm
Riders on the storm
Into this house we’re born
Into this world we’re thrown
Like a dog without a bone
An actor out on loan
Riders on the storm

There’s a killer on the road
His brain is squirmin’ like a toad
Take a long holiday
Let your children play
If you give this man a ride
Sweet family will die
Killer on the road, yeah

Girl, you gotta love your man
Girl, you gotta love your man
Take him by the hand
Make him understand
The world on you depends
Our life will never end
Gotta love your man, yeah

Riders on the storm
Riders on the storm
Into this house we’re born
Into this world we’re thrown
Like a dog without a bone
An actor out on loan.
Riders on the storm

Riders on the storm
Riders on the storm
Riders on the storm
Riders on the storm
Riders on the storm

Watch “The Doors The End” on YouTube


“The End”

This is the end
Beautiful friend
This is the end
My only friend

The end
Of our elaborate plans
The end
Of everything that stands
The end
No safety or surprise
The end
I’ll never look into your eyes
Again

Can you picture what will be
So limitless and free
Desperately in need of some stranger’s hand
In a desperate land

Lost in a Roman wilderness of pain
And all the children are insane
All the children are insane
Waiting for the summer rain, yeah

There’s danger on the edge of town
Ride the king’s highway, baby
Weird scenes inside the gold mine
Ride the highway west, baby

Ride the snake, ride the snake
To the lake
The ancient lake
Baby

The snake is long, seven miles
Ride the snake
He’s old
And his skin is cold

The west is the best
The west is the best
Get here, and we’ll do the rest

The blue bus is callin’ us
The blue bus is callin’ us
Driver, where you taking us

The killer awoke before dawn, he put his boots on
He took a face from the ancient gallery
And he walked on down the hall
He went into the room where his sister lived, and…then he
Paid a visit to his brother, and then he
He walked on down the hall, and
And he came to a door…and he looked inside
“Father?” “Yes, son.” “I want to kill you.”
“Mother, I want to…”

C’mon babe

C’mon baby, take a chance with us
C’mon baby, take a chance with us
C’mon baby, take a chance with us
And meet me at the back of the blue bus
Doin’ a blue rock
On a blue bus
Doin’ a blue rock
C’mon, yeah

Fuck, fuck-ah, yeah
Fuck
Fuck
Fuck, fuck
Fuck, fuck, fuck, yeah
C’mon, yeah, c’mon, yeah
Fuck me, baby, fuck yeah
Fuck, fuck, fuck, yeah!
Fuck, yeah! C’mon, baby
Fuck me, baby, fuck, fuck, yeah
Whoa, whoa, yeah, fuck, baby
C’mon, yeah, huh, huh, huh, huh, yeah
All right

Kill, kill, kill, kill, kill, kill

This is the end
Beautiful friend
This is the end
My only friend, the end

It hurts to set you free
But you’ll never follow me
The end of laughter and soft lies
The end of nights we tried to die

This is the end

Watch “Léo Ferré – Avec le temps (enregistrement TRS)” on YouTube



Avec le temps
Avec le temps va tout s’en va
On oublie le visage et l’on oublie la voix
Le cœur quand ça bat plus
C’est pas la peine d’aller chercher plus loin
Faut laisser faire et c’est très bien

Avec le temps
Avec le temps va tout s’en va
L’autre qu’on adorait, qu’on cherchait sous la pluie
L’autre qu’on devinait au détour d’un regard
Entre les mots, entre les lignes et sous le fard
D’un serment maquillé qui s’en va faire sa nuit
Avec le temps tout s’évanouit
Avec le temps
Avec le temps va tout s’en va
Même les plus chouettes souvenirs ça t’as une de ces gueules
À la Galerie j’farfouille dans les rayons d’la mort
Le samedi soir quand la tendresse s’en va toute seule
Avec le temps
Avec le temps va tout s’en va
L’autre à qui l’on croyait pour un rhume pour un rien
L’autre à qui l’on donnait du vent et des bijoux
Pour qui l’on eût vendu son âme pour quelques sous
Devant quoi l’on s’traînait comme traînent les chiens
Avec le temps va tout va bien
Avec le temps
Avec le temps va tout s’en va
On oublie les passions et l’on oublie les voix
Qui vous disaient tout bas les mots des pauvres gens
Ne rentre pas trop tard surtout ne prend pas froid
Avec le temps
Avec le temps va tout s’en va
Et l’on se sent blanchi comme un cheval fourbu
Et l’on se sent glacé dans un lit de hasard
Et l’on se sent tout seul peut-être mais peinard
Et l’on se sent floué par les années perdues
Alors vraiment
Avec le temps on n’aime plus
Translate to English

Source: Musixmatch


Songwriters: Leo Ferre
Avec le temps lyrics © Les Nouvelles EDI.MERIDIAN, Editorial Avenue, Les Nouvelles Editions Meridian, La Memoire Et La Mer, Editions Chanson Music, S D R M, MATHIEU FERRE ET CIE, MERIDIAN ED

ESL: PREPOSITIONS OF MOVEMENT IN ENGLISH GRAMMAR


ESL: PREPOSITIONS OF MOVEMENT IN ENGLISH GRAMMAR

ESL: PREPOSITIONS OF MOVEMENT IN ENGLISH GRAMMAR

https://pin.it/qshq7ylqsgssb6

ESL: COLLECTIVE NOUNS


ESL: COLLECTIVE NOUNS

ESL: COLLECTIVE NOUNS

https://pin.it/fdtnocbsdx326n

Watch “Charlotte Church – The Lord’s Prayer (Live From Jerusalem 2001)” on YouTube


https://en.m.wikipedia.org/wiki/Lord%27s_Prayer

Lord’s Prayer

Read in another language
Watch this page
Edit

For other uses, see Lord’s Prayer (disambiguation), Our Father (disambiguation) and Pater Noster (disambiguation).
James Tissot—The Lord’s Prayer (Le Pater Noster)—Brooklyn Museum

The Lord’s Prayer, also called the Our Father (Latin, Pater Noster), is a venerated Christian prayer which, according to the New Testament, Jesus taught as the way to pray:

Pray then in this way … (Matthew 6:9 NRSV)
When you pray, say … (Luke 11:2 NRSV)

Two versions of this prayer are recorded in the gospels: a longer form within the Sermon on the Mount in the Gospel of Matthew, and a shorter form in the Gospel of Luke when “one of his disciples said to him, ‘Lord, teach us to pray, as John taught his disciples.'” (Luke 11:1 NRSV). Lutheran theologian Harold Buls suggested that both were original, the Matthean version spoken by Jesus early in his ministry in Galilee, and the Lucan version one year later, “very likely in Judea”.[1]

The first three of the seven petitions in Matthew address God; the other four are related to human needs and concerns. The Matthew account alone includes the “Your will be done” and the “Rescue us from the evil one” (or “Deliver us from evil”) petitions. Both original Greek texts contain the adjective epiousios, which does not appear in any other classical or Koine Greek literature; while controversial, “daily” has been the most common English-language translation of this word. Protestants usually conclude the prayer with a doxology, a later addendum appearing in some manuscripts of Matthew.
Matthew 6:9-13 (NRSV) Luke 11:2-4 (NRSV)
Our Father in heaven, Father, [Other ancient authorities read Our father in heaven]
hallowed be your name. hallowed be your name.
Your kingdom come. Your kingdom come.
[A few ancient authorities read Your Holy Spirit come upon us and cleanse us.]
Your will be done, on earth as it is in heaven. [Other ancient authorities add Your will be done, on earth as in heaven]
Give us this day our daily bread. [Or our bread for tomorrow] Give us each day our daily bread. [Or our bread for tomorrow]
And forgive us our debts, as we also have forgiven our debtors. and forgive us our sins, for we ourselves forgive everyone indebted to us.
And do not bring us to the time of trial, [Or us into temptation] but rescue us from the evil one. [Or from evil] And do not bring us to the time of trial. [Or us into temptation. Other ancient authorities add but rescue us from the evil one (or from evil)]
[Other ancient authorities add, in some form, For the kingdom and the power and the glory are yours forever. Amen.]

Initial words on the topic from the Catechism of the Catholic Church teach that it “is truly the summary of the whole gospel”.[2] The prayer is used by most Christian churches in their worship; with few exceptions, the liturgical form is the Matthean. Although theological differences and various modes of worship divide Christians, according to Fuller Seminary professor Clayton Schmit, “there is a sense of solidarity in knowing that Christians around the globe are praying together … and these words always unite us.”[3]

In biblical criticism, the prayer’s absence in the Gospel of Mark together with its occurrence in Matthew and Luke has caused scholars who accept the two-source hypothesis (against other document hypotheses) to conclude that it is probably a logion original to Q.[4]
Text
Analysis
Use as a language comparison tool
Relation to Jewish prayer
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In popular culture
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References
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Content is available under CC BY-SA 3.0 unless otherwise noted.

Watch “Christopher Walken reads The Raven”, by Edgar Allan Poe, on YouTube


“’Tis some visitor,” I muttered, “tapping at my chamber door—
Only this and nothing more.”
Ah, distinctly I remember it was in the bleak December;
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow;—vainly I had sought to borrow
From my books surcease of sorrow—sorrow for the lost Lenore—
For the rare and radiant maiden whom the angels name Lenore—
Nameless here for evermore.
And the silken, sad, uncertain rustling of each purple curtain
Thrilled me—filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
“’Tis some visitor entreating entrance at my chamber door—
Some late visitor entreating entrance at my chamber door;—
This it is and nothing more.”
Presently my soul grew stronger; hesitating then no longer,
“Sir,” said I, “or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you”—here I opened wide the door;—
Darkness there and nothing more.
Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before;
But the silence was unbroken, and the stillness gave no token,
And the only word there spoken was the whispered word, “Lenore?”
This I whispered, and an echo murmured back the word, “Lenore!”—
Merely this and nothing more.
Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
“Surely,” said I, “surely that is something at my window lattice;
Let me see, then, what thereat is, and this mystery explore—
Let my heart be still a moment and this mystery explore;—
’Tis the wind and nothing more!”
Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately Raven of the saintly days of yore;
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door—
Perched upon a bust of Pallas just above my chamber door—
Perched, and sat, and nothing more.
Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
“Though thy crest be shorn and shaven, thou,” I said, “art sure no craven,
Ghastly grim and ancient Raven wandering from the Nightly shore—
Tell me what thy lordly name is on the Night’s Plutonian shore!”
Quoth the Raven “Nevermore.”
Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning—little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door—
Bird or beast upon the sculptured bust above his chamber door,
With such name as “Nevermore.”
But the Raven, sitting lonely on the placid bust, spoke only
That one word, as if his soul in that one word he did outpour.
Nothing farther then he uttered—not a feather then he fluttered—
Till I scarcely more than muttered “Other friends have flown before—
On the morrow he will leave me, as my Hopes have flown before.”
Then the bird said “Nevermore.”
Startled at the stillness broken by reply so aptly spoken,
“Doubtless,” said I, “what it utters is its only stock and store
Caught from some unhappy master whom unmerciful Disaster
Followed fast and followed faster till his songs one burden bore—
Till the dirges of his Hope that melancholy burden bore
Of ‘Never—nevermore’.”
But the Raven still beguiling all my fancy into smiling,
Straight I wheeled a cushioned seat in front of bird, and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore—
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
Meant in croaking “Nevermore.”
This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom’s core;
This and more I sat divining, with my head at ease reclining
On the cushion’s velvet lining that the lamp-light gloated o’er,
But whose velvet-violet lining with the lamp-light gloating o’er,
She shall press, ah, nevermore!
Then, methought, the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
“Wretch,” I cried, “thy God hath lent thee—by these angels he hath sent thee
Respite—respite and nepenthe from thy memories of Lenore;
Quaff, oh quaff this kind nepenthe and forget this lost Lenore!”
Quoth the Raven “Nevermore.”
“Prophet!” said I, “thing of evil!—prophet still, if bird or devil!—
Whether Tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted—
On this home by Horror haunted—tell me truly, I implore—
Is there—is there balm in Gilead?—tell me—tell me, I implore!”
Quoth the Raven “Nevermore.”
“Prophet!” said I, “thing of evil!—prophet still, if bird or devil!
By that Heaven that bends above us—by that God we both adore—
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels name Lenore—
Clasp a rare and radiant maiden whom the angels name Lenore.”
Quoth the Raven “Nevermore.”
“Be that word our sign of parting, bird or fiend!” I shrieked, upstarting—
“Get thee back into the tempest and the Night’s Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken!—quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!”
Quoth the Raven “Nevermore.”
And the Raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon’s that is dreaming,
And the lamp-light o’er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted—nevermore!

Lifestyle: purpose chart


Lifestyle: purpose chart

Lifestyle: purpose chart

https://pin.it/abumdskkvi7xlc

YOGA: NAMASTE


YOGA: NAMASTE

YOGA: NAMASTE

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American Suite – Wikipedia


https://en.m.wikipedia.org/wiki/American_Suite

The American Suite in A major (Czech: Suita A dur), Op. 98b, B. 190, is an orchestral suite written in 1894–1895 by Czech composer Antonín Dvořák.

BackgroundEdit

MovementsEdit

The suite is written in five movements, each with a marked rhythm:

  1. Andante con moto
  2. Allegro
  3. Moderato (alla pollacca)
  4. Andante
  5. Allegro

Analysis and receptionEdit

As often is the case with
Dvořák, the orchestral version gives the work a new breadth. The cyclic
aspects of Dvořák’s composition are apparent, in that the principal
theme of the first movement recurs during the conclusion of the work.
This opening theme is marked by his American-influenced style. It is difficult to determine whether it comes from the typical folk music of the New World or simply from the music of the Czech emigrants, to which the Dvořák liked to listen during his stay in the United States.

This mix of American influence with Slavic tradition is also
perceptible in the rhythm of the “alla Polacca” third movement, and in
the last movement’s themes native to the Far East, played by flute and oboe in unison, where the orchestra passes easily from the minor theme to the major one.

Far from any exoticism, the art of Dvořák’s orchestral work is in the field of pure music, and it is undoubtedly for this reason that Brahms
appreciated it. Even in New York, when Dvořák encouraged his pupils to
work on their own folk melodies, it was authentic recreation of the
popular folk musics that he called for.

Appearances in popular cultureEdit

Along with several other works by Dvořák (including some of the Slavonic Dances and the second movement of the New World Symphony), the first movement, Andante con moto is part of the sound track to Sid Meier’s Civilization IV.
The allegro was used in the trailer for The Elder Scrolls II Daggerfall.

NotesEdit

  1. Klaus Döge, Grove

References and further readingEdit

  • Döge, Klaus: “Antonín Dvořák”, Grove Music Online, ed. L. Macy (Accessed December 16, 2006), (subscription access)

See also

External links

Symphony No. 6 (Beethoven) – Wikipedia


https://en.m.wikipedia.org/wiki/Symphony_No.6%28Beethoven%29

Symphony No. 6 (Beethoven)

The Symphony No. 6 in F major, Op. 68, also known as the Pastoral Symphony (German: Pastorale[1]), is a symphony composed by Ludwig van Beethoven and completed in 1808. One of Beethoven’s few works containing explicitly programmatic content,[2] the symphony was first performed in the Theater an der Wien on 22 December 1808[3] in a four-hour concert.[4]

Symphony No. 6
by Ludwig van Beethoven
Beethoven sym 6 script.PNG

Part of a sketch by Beethoven for the symphony

Other namePastoral SymphonyKeyF majorOpusOp. 68PeriodClassical periodFormSymphonyBased onNatureComposed1802–1808DedicationPrince Lobkowitz
Count RazumovskyDurationAbout 40 minutesMovementsFiveScoringOrchestraPremiereDateDecember 22, 1808LocationTheater an der Wien, ViennaConductorLudwig van Beethoven

Background

Instrumentation

Form

In film

Notes

References

External links

https://www.npr.org/templates/story/story.php?storyId=5478661

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MUSIC
Beethoven’s Symphony No. 6 in F Major, Op. 68
June 12, 200610:39 AM ET
Audio will be available later today.
Hear an Interview with Conductor Christoph Eschenbach
“Pastoral”

Composed in 1808

Premiered December 1808

Published 1809 in Leipzig

Many of Beethoven’s works are titled, yet many of these names came from friends or from those to whom the pieces were dedicated. The Sixth Symphony, however, is one of only two symphonies Beethoven intentionally named. Beethoven’s full title was “Pastoral Symphony, or Recollections of Country Life.” Although it was composed in the same time period and dedicated to the same people as the Fifth, the works have many differences. The “Pastoral” is known as a “characteristic” symphony and closely resembles “Le musical de la nature” by Rheinish composer Justin Heinrich Knecht. Beethoven publicly declared the piece’s “extramusical” purpose: an expression of nature. His affinity for nature and his love for walks through the country outside Vienna were captured in the Sixth, as well as in the notes scribbled on sketches of the symphony.

Notes on Beethoven’s Sixth Symphony
CHRISTOPHER H. GIBBS

Most of the familiar titles attached to Beethoven’s works were put there by someone other than the composer. Critics, friends, and publishers invented the labels “Moonlight,” “Tempest,” and “Appassionata” for popular piano sonatas. Prominent patrons’ names—Archduke Rudolph, Count Razumovsky, Count Waldstein—became wedded to compositions they either commissioned or that are dedicated to them, thereby winning a sort of immortality for those who supported the composer.

Beethoven himself crossed out the heading “Bonaparte” from the title page of the Third Symphony, but later wrote in “Sinfonia eroica” (Heroic Symphony), and it is his only symphony besides the Sixth to bear an authentic title. To be sure, stories about “fate knocking at the door” in the Fifth and the choral finale of the Ninth have encouraged programmatic associations for those works, beginning in Beethoven’s own time. But, in the end, it is the Sixth Symphony, the “Pastoral,” that stands most apart from his others, and indeed from nearly all of Beethoven’s instrumental and keyboard music, in its intentional, publicly declared, and often quite audible extramusical content. Beethoven’s full title is: “Pastoral Symphony, or Recollections of Country Life.”

“More an Expression of Feeling Than Painting”

And yet the Sixth Symphony does not aspire to the level of musical realism found in a work like Berlioz’s Symphonie fantastique or in Richard Strauss’s later tone poems. In the program for its premiere, Beethoven famously noted that the “Pastoral” contained “more an expression of feeling than painting.” He had earlier objected to some of the musical illustration in Haydn’s oratorios The Creation (1798) and The Seasons (1801), with their imitations of storms, frogs, and other phenomena. He probably would not have cared much for what the “New German School” of Berlioz, Liszt, and Wagner would later advocate and create.

Beethoven’s “Pastoral” Symphony belongs to a tradition, going back to the previous century, of “characteristic” symphonies. Indeed, the titles for the movements that Beethoven provided closely resemble those of “Le Portrait musical de la nature,” written nearly 25 years earlier by the Rheinish composer Justin Heinrich Knecht. (It is doubtful Beethoven knew the music of the piece, but he did know the titles.) Scattered comments that Beethoven made in his sketches for the Symphony are revealing: “The hearers should be allowed to discover the situations / Sinfonia caracteristica—or recollection of country life / All painting in instrumental music is lost if it is pushed too far / Sinfonia pastorella. Anyone who has an idea of country life can make out for himself the intentions of the composer without many titles / Also without titles the whole will be recognized as a matter more of feeling than of painting in sounds.”

Regardless of the musical and aesthetic implications that the “Pastoral” Symphony raises with respect to the program music—a key issue for debate over the rest of the century—it unquestionably offers eloquent testimony to the importance and power of nature in Beethoven’s life. The composer reveled in walking in the environs of Vienna and spent nearly every summer in the country. When Napoleon’s second occupation of the city in 1809 meant that he could not leave, he wrote to his publisher: “I still cannot enjoy life in the country, which is so indispensable to me.” Indeed, Beethoven’s letters are filled with declarations of the importance of nature in his life, such as one from 1810: “How delighted I will be to ramble for awhile through the bushes, woods, under trees, through grass, and around rocks. No one can love the country as much as I do. For surely woods, trees, and rocks produce the echo that man desires to hear.”

Companion Symphonies

Beethoven wrote the “Pastoral” primarily during the spring and fall of 1808, although some sketches date back years earlier. Its composition overlapped in part with that of the Fifth Symphony, which might be considered its non-identical twin. Not only did both have the same period of genesis and the same dedicatees (Count Razumovsky and Prince Lobkowitz), but they were also published within weeks of one another in the spring of 1809 and premiered together (in reverse order and with their numbers switched).

The occasion was Beethoven’s famous marathon concert of December 22, 1808, at the Theater an der Wien, and was the only time he premiered two symphonies together. Moreover, the program also included the first public performance of the Fourth Piano Concerto, two movements from the Mass in C, the concert aria Ah! perfido, and the “Choral” Fantasy. Reports indicate that all did not go well, as musicians playing after limited rehearsal struggled their way through this demanding new music, and things fell apart during the “Choral” Fantasy. Although the Fifth and Sixth symphonies are extremely different from one another in overall mood, there are notable points of convergence, such as the innovations in instrumentation (the delayed and dramatic introduction of piccolo and trombones in the fourth movements) and the splicing together of the final movements.

A Closer Look

Beethoven’s descriptive movement titles for the “Pastoral” were made public to the audience before the premiere. The first movement, “Awakening of cheerful feelings upon arriving in the country,” engages with a long musical tradition of pastoral music. From the opening drone of an open fifth in the lower strings to the jovial coda, the leisurely and often repetitive pace of the movement is far from the intensity of the Fifth Symphony. The second movement, “Scene by the brook,” includes the famous birdcalls: flute for the nightingale, oboe for the quail, and two clarinets for the cuckoo (Berlioz copied the effect for two of the birds in the pastoral third movement of his Symphonie fantastique).

This is Beethoven’s only symphony with five movements and the last three lead one into the next. The third is entitled “Merry gathering of peasants” and suggests a town band of limited ability playing dance music. The dance is interrupted by a “Tempest, storm” that approaches from afar as ominous rumblings give way to the full fury of thunder and lightning. The storm is far more intense than other well-known storms—such as by Vivaldi and Haydn—and presages later ones by Berlioz and Wagner. Just as the storm had approached gradually, so it passes, leaving some scattered moments of disruption before the “Shepherds’ hymn—Happy and thankful feelings after the storm” brings the work to its close. Regardless of Beethoven’s declared intentions, this music seems to function on both descriptive and expressive levels, therein fueling arguments about the issue ever since his time.

Program note © 2006. All rights reserved. Program note may not be reprinted without written permission from The Philadelphia Orchestra Association.

Web Resources
The Philadelphia Orchestra’s Site
Philadelphia Orchestra
Ludwig van Beethoven
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ESL: FIGURATIVE LANGUAGE


ESL: FIGURATIVE LANGUAGE

ESL: FIGURATIVE LANGUAGE

https://pin.it/xewq43xel44oeg

ESL: FIGURATIVE LANGUAGE


ESL: FIGURATIVE LANGUAGE

ESL: FIGURATIVE LANGUAGE

https://pin.it/4ksdhppfc2azn2

Haiku: Roberta Flack (© poetic thought by GeorgeB @ euzicasa)


Haiku: Roberta Flack

(© poetic thought by GeorgeB @ euzicasa)

Killing me softly

with her voice, like the wind

In the dry corn, rows.

Unpainting…a perfectly painted tableau ( ©poetic thought by GeorgeB @euzicasa)


Unpainting…a perfectly painted tableau

( ©poetic thought by GeorgeB @euzicasa)

Everyday I…I efface another color

of my perfectly painted tableau,

accomplishment of the day past…

I aim for a unicolor, a pure black or white, I can’t make up my mind…

So, every morning, seated at my easel, I use the widest paintbrush, and chose, today will be white over black, to cover the painting behind, to hide yesternight hard work, to start anew,

a new memory, painted over an older one,

no holidays,

weekends,

only Monday Mornings,

nonstop,

in perpetuity,

forever Amen!

Haiku | Academy of American Poets


https://poets.org/glossary/haiku

Haiku | Academy of American Poets

Haiku | Academy of American Poets

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