This is a remarkable story and musical piece by Mozart.
The story involves a couple unaware they will play a vital role in the perpetuation of a BrothThis is a remarkable story and musical piece by Mozart.
The story involves a couple unaware they will play a vital role in the perpetuation of a Brotherhood.
He is prince Tamino; he’s been contacted to save Pamina: daughter of the Queen of the Night. The latter is bent on the destruction of the Brotherhood led by (“evilish”, we’re misled to think at the beginning) Sarastro, the father of Pamina.
Tamino is told that Sarastro is holding Pamina captive. Plus, to accomplish Pamina’s liberation, Tamino is empowered by a golden flute; he’s joined by a simple-minded fellow called Papageno, who, too, gets a kind of flute and magic bells. Tamino's flute can "melt the coldest heart to love" and "turn grief into joy".
It turns out Sarastro sponsors/loves the couple. Tamino is admitted to the Brotherhood but has to undergo different types of initiatory tests. Of course, those magic instruments will do the trick. Even Pamina on the border of suicide and burdened by rejection feelings,… gets saved.
Surely, the defeated one is the Queen of the Night.
In the end “the sun dominates the night”. Simple minded Papageno,the bird-catcher, who accompanied Tamino, gets to meet Papagena,…and their progeny results: great.
Maybe this Brotherhood has got a Masonic character. I’ve watched Ingmar Bergman’s 1975 adaptation to cinema (The Magic Flute) and both voice and text are marvelously accomplished. ...more
Geniuses amongst us don’t really live here; their minds soar high, reaching out to other spheres…
In the first scenes of the movie of Bernard RoseGeniuses amongst us don’t really live here; their minds soar high, reaching out to other spheres…
In the first scenes of the movie of Bernard Rose “Immortal Love” (dedicated to Beethoven) we may witness greedy and inquisitive people wondering about the genius' estate and legacy. Beethoven’s brother holds the master’s will stating: “my brothers the heirs of my fortune”; yet, Herr Schindler, a friend of Beethoven, has just discovered a letter of Beethoven addressed to “my angel...”all my music and estate shall go to my sole heir “; “she”, the “immortal beloved”.
The movie also depicts the funeral of Beethoven and the praising words, but also the negative side of his existence: “he lived alone”, “withdrawn from his fellowmen”.…for some viewed as “hostile”.
-Who was she? Well, the movie will hint, tell, disclose bit by bit, starting with an “illegible” signature… by “she”.
The point is that Beethoven’s brother may be plainly right: “we have his music”… though he seems resigned. I agree with him: Beethoven’s has left his very best (his music) to us all, to cherish…at the cost of a click or two,... now in the 21st century.
The composer had a prolific musical commentary/critics life. This book is just an assembly of several essays on music, maybe the main ones approaching the 9 symphonies of Beethoven. But before the symphonies, there’s an essay on “What’s music” , very pertinent, though polemic.
To Berlioz, music is not something for everybody, but it requires both “knowledge” and “feeling”…to be truly appreciated. Not really a democratic guy, you may think.
The essay approaches several of the effects music may have on the listener; Berlioz mentions a Danish king who murdered his servants after hearing a musical piece. Berlioz says about himself:”I feel a delicious pleasure with which reason has no connection”. Truly, music is addressed to emotion.
Next, the essay discusses the question of whether HARMONY was known by the ancients (primarily by the Greeks). According to the author there's enough evidence for a “yes” .Regarding oriental music, Berlioz is short:”we have nothing”. Sadly.
Some lines are dedicated to the enunciation of the 8 prevalent modes of action of “modern” music (harmony, modulation, rhythm...) ,yet (good anticipation!) the author admitted, in the future, other modes (check on atonal music!) would show up.
Without being technical ,and Berlioz gets into it, I will enumerate each of the symphonies, with a short commentary, obviously mixing my view with Berlioz’.
Symphony n.er 1 in C major
The main point is that “this is not Beethoven”, yet. Berlioz sees in it a strong influence of Mozart. It’s a piece marked by “sobriety of harmony and instrumentation”.
Symphony n.er 2 in D
“All noble, energetic and stately”. I like the “energetic”, because it’s a hallmark for life in Beethoven’s work.
Symphony n.er 3 in E flat, The “Eroica”.
It’s a well known fact: for some time Beethoven was an admirer of Napoleon, he wanted that symphony to be dedicated to the French ruler; yet, things changed, and the symphony just became a “memory of a great man”; sort of “funeral rites”. Berlioz has found in it "a remarkable rhythm…and rude dissonances" (that evoke “fear”)”; voices of “despair” and “rage”. Some papers of the time were harsh:”the choral symphony of Beethoven is a monstrosity”…”and incoherent work”. Well, by this time Beethoven’s deafness had started to ensue. The symphony is long, much the beauty of it yet issues from this “struggle …(via dissonances)… and affirmation”.
Symphony n.er 4 in B flat
I “see” it as a “somber introit”. Berlioz concludes Beethoven had abandoned “elegy and ode”, and went back to the 2nd symphony “style”; “saw” in it “furious and foaming waterfalls” .The second movement is plentiful of “joy”. I “see” in it “a locomotive” rush.
Symphony n.er 5 in C minor
To Berlioz, it’s the “most celebrated” of all . Of course I disagree (let’s wait for the 9th!). Berlioz sees it as truly "Beethovean". Imagination has got free rein; Beethoven was a Homer reader; paraphrasing Horace: “nocturna versate manu versate diurna”. I “see” in it moments of great “sweetness”…and “horse-ride” moments.
Symphony n.er 6 in F; The “Pastoral”.
Quite appropriately Berlioz saw in it a “landscape” of Poussin and Michael Angelo. A piece describing the “calm” of the country side, with moments of contemplation, the reproduction of the birds songs…Nature in all its magnificence; man only sometimes intervenes. Berlioz viewed the piece as going far beyond the limits of poetry; so he wrote: “you are conquered great poets”.
Symphony n.er 7 in A.
The piece has got four movements….much celebrated for its “alegrato”. Berlioz doubts about the “7th “; implying it’s the “mere order of publication”, and not a great development occurring. Nevertheless he “sees” “phrases of” “freshness and coquetry”, much opposed to the “cavalier-spirit” of Gluck’s theme…in the “finale”.
Symphony n.er 8 in F.
Some commented that by this time Beethoven was in search for the cure of his deafness, a very turbulent time for the master, yet with some optimism regarding his romantic life (the “immortal love”). Berlioz commented: its’ “all curious and …sparkles with life”, …but “modulating in the expected manner”.
Symphony n.er 9 in D, “the Coral”.
Obviously, my preferred one. Deafness was almost absolute,and yet he made it.Berlioz recognized the virtuosity of the “junction of vocal and instrumental forces”…the “most magnificent expression of B. genius”. Yet by his time some considered it a “monstrous folly”. Berlioz acknowledged: ”analysis is difficult”…and “dangerous”. He saw in the piece: “increasing pomp and grandeur and éclat”; I fully agree. As to the lyrics, it’s based on Schiller’s “Ode to joy”. At some moment the music transforms that joy : “joy is now religious, grave and immense”; again, way beyond poetry. But the words are eternally powerful: “…as the suns revolve in the vast heavenly expense, so brethren, follow your way full of joy, like the hero who marches to victory….
Ah. There’s a final essay entitled “Beethoven in the ring of Saturn”. I can only return to my introductory phrase…and complete it: … >“Their minds soar high, reaching to other spheres…”:… Mozart lives in Jupiter…Beethoven in Saturn. Better: in one of Saturn’s ring. “Superior worlds". Heavenly spheres.“
AH!! Music for all: check on how the earthlings react to the tunes of B; the elder, the young, the children: how do they react; …nearly 200 years on,I would say it’s in our genes, it’s a world legacy,…. world-liked,...loved.
Can you tell (guess at) the feelings the Amazonian Indian is going through, while listening to Mozart’s?... what about the goings-on of his imagin
Can you tell (guess at) the feelings the Amazonian Indian is going through, while listening to Mozart’s?... what about the goings-on of his imagination? ...pleasurable? or...
This book is about the experience of beauty while listening to music; certainly classical music, because it was written by 19th century Czech author/reviewer E. Hanslick. To me,it is a kind of a good seminal work,of which theme today's Psychology of Music and Music Therapy can address a lot better.
(Eduard Hanslick adulating the statue of Saint Johannes Brahms)
By that time, Hanslick was pondering on the aesthetical experience of music, so sui generis an experience (music the most ethereal of the arts!... if you compare it to other arts: sculpture, painting, poetry…).
Hanslick was contending against a current of his time: “music as a main arouser of sensations,… or feelings”. Take a look at this elucidating quote:
"THE CONNECTION BETWEEN A PIECE OF MUSIC AND OUR CHANGES OF FEELING IS NOT AT ALL ONE OF STRICT CAUSATION;...
Evidence for this is the extraordinary difference between the reactions of Mozart's,Beethoven's, and Weber's contemporaries to their compositions and our own reaction today.How many works by Mozart were declared in his time to be the most passionate,ardent,and audacious within the reach of musical mood-painting.At that time people contrasted the tranquility and wholesomeness of Haydin's symphonies with the outbursts of vehement passion, bitter struggle,and piercing agony of Mozart's.Twenty or thirty years later,they made exactely the same comparison between Mozart and Beethoven. Mozart's position as representative of violent, inspired passion was taken over by Beethoven,and Mozart was promoted to Haydn's Olympian classicism....THUS THE CONNECTION BETWEEN MUSICAL WORKS AND SPECIFIC FEELINGS DOES NOT APLLY ALWAYS, IN EVERY CASE AND NECESSARILY,AS AN ABSOLUTE IMPERATIVE".
To him music was directly linked to the arousal of “states of mind”, being “imagination” (the organ of pure contemplation) the function at stake.
It sounds a bit of “internal viewing” and there are those who defend that through music you can have access to colors and landscapes: sinesthesy.
Anyway, Hanslick didn’t deny the role of emotions: you can derive knowledge from them; feelings in their turn may give rise to images in the mind.
One the friends of Hanslick was, for some time, Wagner; but Hanslick revealed to be a conservative; Wagner was innovative: maybe advanced for his time, his music classified as “music of the future”. Later on they got apart, in different positions…but maybe due to the Jewishness of Hanslick: who thought Wagner’s view becoming increasingly “obscure”.
(The critic Eduard Hanslick and Richard Wagner Silhouette)
The purpose of the book was to clarify the “nexus” that unites musical works and “states of mind”. It reads like a philosophical approach.
I see the experience of beauty in music as a rather idiosyncratic, individual issue. My view....more
"Music was the first thing I was aware of. I cannot remember a time when there was no music in my life. The earliest influence upon me was the sound o
"Music was the first thing I was aware of. I cannot remember a time when there was no music in my life. The earliest influence upon me was the sound of the elements. I hated sight-reading, or being taught any of the grammar of music. From the age of three, I used to improvise. We had little concerts, my maternal grandfather and I: he would pretend to be an audience, he would clap, and I remember I made the sound of rain, the sound of wind, the sound of thunder — elemental sounds on the piano: God knows what they sounded like. So it was with improvisation that I started.
He passed away on the last 12th of November 2013; but I will always be on time for a few thankful words.
At 3 years old,he had the sense of "ritual",thanks to his father. By the age of 6, he wrote "melodic lines".
Sir John Tavener was a passionate admirer of Mozart since the age of 12, when his godmother took him for a hearing of “The Magic flute". Mozart revealed “Paradise” to Tavener. He couldn’t find any other composer that could match “the perfection” of Mozart; though, he acknowledged recently that, Beethoven was comforting while he was recovering from illness, in Switzerland.
The British composer developed over the years a very unique kind of (especially choral) music. Drawing from his own studies of the Hindu, Islam and Buddhist traditions…but especially from his conversion to the Orthodox Church in 1977, Tavener's music became spiritual, divine.
You may say he’s found his divine state, now that he’s departed from the living. Let’s be silent, while “SHÛNIA”* plays on. Let us assume he’s returned to Nirvana.
"Those who sing, pray twice" Saint Augustine _______________ *a composition of 2004; it's a Tibetan word; it means "Void";it relates to the "just stand still" state of Nirvana....more
It all started with Pythagoras: music as expression of celestial Harmony, the Divine. Then Renaissance and later Romanticism, and things started chan
It all started with Pythagoras: music as expression of celestial Harmony, the Divine. Then Renaissance and later Romanticism, and things started changing?...especially due to the increasing role of Science?...and the Divine got silenced? Maybe.
Under scrutiny great names of Science: Newton,Kepler and Einstein...;
but also great Music masters: Mozart,Beethoven,Bach,Haendel...and Schoenberg,Stravinsky,Cage and Glass.
(Karl F. Schinkel's stage-set for Die Zauberflöte (Act II, Scene 7) of Mozart).
And some "societies": the Freemasons,namely.
And some key concepts: Hermetism...yes, of Hermes Trimegistus....more
Of the factual domain: her parents were of Suggia name (on the father’s side, Spanish and Italian descent), she was born in Oporto in 1885; she studieOf the factual domain: her parents were of Suggia name (on the father’s side, Spanish and Italian descent), she was born in Oporto in 1885; she studied music in Leipzig; she had a life in London and got famous, as a cellist, throughout Europe (Russia included!) ; so much of a celebrity as to be called “PAGANINA”. She married the not less famous medical doctor Carteado Mena (at the Pasteur Institute). She died in 1950.
The book is a good collection of family photos, and of Suggia and other meaningful characters, namely of: Pablo Casals and the British maestro Malcolm Sargent. Some caricatures also; one by Amadeo S. Cardoso.
Of the romance domain is the rest,… to be read. Mario Claudio is a fine documentalist. ...more
Since the dawn of times it is well known: sound can have a healing effect. Sound and creation were connected....
The author of the book elaborates (c
Since the dawn of times it is well known: sound can have a healing effect. Sound and creation were connected....
The author of the book elaborates (calculates too) a lot on the first premise. He starts with the Western approach to sound/music and soon includes those traditions of the East, to explain the healing power of different sound frequencies.
In 1939, in London, was set the “concert pitch standard” which is 440 Hertz; a value which is “not in harmony with the pitches of India and China”. After an approach to different musical instruments and the different frequencies each note and octaves elicit, Cousto presents some interesting correspondences between those scales/notes and different colors; the solar system tones are advanced (the vibration frequency for each planet). The author claims to have found in 1981 the “tone of the sun"; “unknown” till that date.
The OM symbol is sung in ‘C’ sharp” (136.10 Hz);it’s the fundamental tone (“sa” or “sadja”).
Drawing from eastern texts and traditions (Yoga and Acupuncture, namely) his healing view allows him to affirm: “music composed in G is also stimulating and is therefore not recommended for Roman Catholic priests”. And: “If you want to treat that point [Ren-mai meridian related to “increase in strength and joy of life”], with C sharp, hold the shaft of the tuning-fork against it until it ceases to vibrate”.
At times a bit too technical (especially in calculations in determining the frequencies) the book looks interesting as a scientific approach to the healing aspects of sound. Even relations to the DNA molecule are included.
PS I've seen elsewhere different correspondences color/musical notes; they may not coincide with Cousto's