3 matches
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With flowers stolen from the garden of Gethsemane. And a porcelain vessel broke În the storeroom full of young cattle carcasses. The fattened calf proved to be skinny And my fingers keep wandering Between the keys of the blood coloured harpsichord. How can I feed all the relatives, Who gathered together at the wedding From the seven times seven winds? The family restaurant went bust, And one by one Hungry and thirsty, We pluck thorns from under the fingernail With which
TESTAMENT (EDIŢIA A II-A) – MARI POEŢI ROMÂNI TRADUŞI ÎN LIMBA ENGLEZĂ (1) de DANIEL IONIŢĂ în ediţia nr. 1348 din 09 septembrie 2014 by http://confluente.ro/daniel_ionita_1410216727.html [Corola-blog/BlogPost/377927_a_379256]
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entry of the subject is considered to be the final coda and is normally cadential. Johann Sebastian Bach often entered into contests where he would be given a subject with which to spontaneously improvise a fugue on the organ or harpsichord. This musical form was also apparent în chamber music he would later compose for Weimar; the famous "Concerto for Two Violins în D Minor" (BWV 1043) (although not contrapuntal în its entirety) hâș a fugal opening section to its first
Fugă (muzică) () [Corola-website/Science/304696_a_306025]
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put together some fragments from my cartoon film music: a joyful children’s chorus, a nostalgic atonal serenade, a piece of hundred-percent-guaranteed Corelli (Made in the USSR), and finally, my grandmother’s favorite tango played by my great-grandmother on a harpsichord. I am sure all these themes go together very well, and I use them absolutely seriously.” footnote>. Această sintagmă a lui Schnittke - stilul unificat -, pe lângă faptul că descifrează la modul adecvat intenția „ascunsă” a compozitorului, ne orientează și înspre termenul
Fenomenul compresiei stilistice ?n muzica european? (II) by Oleg Garaz () [Corola-journal/Science/83140_a_84465]