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K.527
Jul 30, 2010 9:40:50 GMT
Post by gaurinathan on Jul 30, 2010 9:40:50 GMT
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K.527
Aug 2, 2010 2:46:09 GMT
Post by gaurinathan on Aug 2, 2010 2:46:09 GMT
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K.527
Aug 11, 2010 1:03:31 GMT
Post by gaurinathan on Aug 11, 2010 1:03:31 GMT
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K.527
Aug 15, 2010 12:36:43 GMT
Post by gaurinathan on Aug 15, 2010 12:36:43 GMT
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K.527
Aug 17, 2010 22:48:23 GMT
Post by gaurinathan on Aug 17, 2010 22:48:23 GMT
www.youtube.com/watch#!v=fQCQPoXKAro&feature=related"From the moment my soul was first overwhelmed in wonder at Mozart’s music and bowed down to it in humble admiration, it has often been my cherished and rewarding pastime to reflect upon how that happy Greek view that calls the world κοσμος because it manifests itself as an orderly whole, a tasteful and transparent adornment of the spirit that works upon and in it, how that happy view repeats itself in a higher order of things, in the world of ideals, how it may be a ruling wisdom there too, admirable in particular for joining together that which belongs: Axel with Valborg, Homer with the Trojan War, Raphael with Catholicism, Mozart with Don Juan. There is a wretch unbelief which seems to contain much healing power. It thinks such a connection fortuitous and sees in it no more than a lucky concurrence of the different forces at play in life. It thinks it an accident that the lovers get each other, an accident that they love each other; there were a hundred other girls he could have been just as happy with, whom he could have loved just as deeply. It thinks many a poet has existed who would have been just as immortal as Homer, had that marvelous material not been seized on by him, many a composer just as immortal as Mozart had only the opportunity offered. Now this wisdom contains much solace and comfort to all mediocre minds since it lets them and like-minded spirits fancy that it is merely a confusion of fate, a mistake on the part of the world that they have not become as excellent as the excellent. A most convenient optimism produces this way. To every high-minded soul, to every optimate who does not feel bound to save himself in such a pitiable manner, but by losing himself in contemplation of the great, it is of course repugnant; while his soul delights and it is his holy joy to see united those things that belong together. This is the fortunate, not in the fortuitous sense, and therefore it presupposes two factors whereas the fortuitous consists in the inarticulate interjections of fate. This is the fortunate in history, the divine confluence of historical forces, the heyday of historical time. The fortuitous has only one fact: the accident that the most remarkable epic theme imaginable fell to Homer’s lot in the shape of the history of the Trojan wars. The fortunate has two: it is fortunate that the most remarkable epic material came to the lot of Homer. The accent lies here on Homer as much as on the material. In this lies the profound harmony that resounds in every work of art we call classic. And so it is with Mozart: it is fortunate that what in a deeper sense is perhaps the only true musical subject was granted to – Mozart."
(From A's papers, The Immediate Erotic Stages or the Musical Erotic, Platitudinous Introduction)
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K.527
Aug 22, 2010 2:03:57 GMT
Post by gaurinathan on Aug 22, 2010 2:03:57 GMT
(A Spaniard serenading his señorita)
"The immediate Don Juan has to seduce 1003, the self-aware one has just to seduce one, and what takes us in is how he does that. The self-aware Don Juan's seduction is a sleight-of-hand every single little step of which has its special significance; the musical Don Juan's seduction is a flick of the wrist, the matter of a moment, quicker done than said. I am reminded of a tableau I once saw. A pretty young fellow, really a ladies' man, was playing with a number of young girls who were all at that dangerous age when they are neither grown-up nor children anymore. Among other things they were amusing themselves by jumping over a ditch. He stood at the edge and helped them jump by taking them around the waist, lifting them lightly into the air, and then set them down on the other side. It was a charming sight; I enjoyed him as much as the girls. Then I thought of Don Juan. They fling themselves into his arms, these girls; then he grabs them, and just as briskly sets them down on the other side of life's ditch."
(From A's papers, Third Stage, 2. Other adaptations of Don Juan, considered in relation to the musical interpretation)
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