I wrote these poems in the summer of 2015 by hand in a little black sketch book. They are mostly random but somehow stick together. A lot of them were written in the early morning after work. There is no rhyme or reason to them except for that which you the reader creates. Thank you for taking the time to read this work.
De familia aristocr tica recibi una esmerada educaci n en Viena, Oxford y Madrid. Hered el mayorazgo, pero su homosexualidad, que no se ocup en ocultar, y sus defectos, que hoy pasar an por virtudes, le convirtieron en una oveja negra para la parte menos tolerante de la buena sociedad (su madre le retirar el saludo por haber colgado en el sal n su colecci n de retratos de j venes p giles), aunque no para su amiga e introductora en el mundillo literario, Emilia Pardo Baz n.
"In principio erat rhythmus et rhythmum erat Bach" (En el principio era el ritmo y el ritmo era Bach). As , de esta manera ligeramente parafraseada y tan expl citamente contundente, se expresaba el gran pianista Hans von B low, celeb rrimo director de orquesta, alumno predilecto de Liszt, y uno de los mayores pianistas que ha dado la historia musical interpretativa del piano, acerca de la fundamental trascendencia de la figura de Johann Sebastian Bach en la historia de la m sica. Ser a en 1848 cuando el pianista y compositor h ngaro Franz Liszt, posiblemente el mayor virtuoso que hab a dado la historia de la m sica se instalar a en Weimar, dejando atr s una impresionante y prol fica carrera como virtuoso, los a os que en su biograf a habr an de llamarse Ann es de P lerinage. En Weimar, en este hist rico principado alem n, en octubre de 1842 Liszt ya hab a sido nombrado como "Kapellmeister in au erordentlichen Diensten" (Maestro de capilla de servicios extraordinarios), y seria all al fijar su residencia en 1848 donde permanecer a, siendo nombrado adem s director del gran Teatro de la pera de Weimar, la joya musical de la bell sima aunque un poco provinciana y decadente por entonces ciudad de Goethe y Schiller. En la inmortal ciudad de Weimar, que se convertir a en esos a os de estancia lisztiana en uno de los centros art sticos de peregrinaje musical de toda Europa. Liszt poco pod a sospechar que, en cierta forma, de manera inconsciente, estaba tomando el testigo e incluso el legado hist rico musical, reviviendo la gran tradici n organ stica heredada desde Bach y que llegaba hasta las pocas m ticas y oscuramente legendarias del viejo Buxtehude y del mism simo Pachebel. Ser a esta herencia a trav s de organistas (muchos de ellos alumnos propios o colaboradores de Liszt en aquellos a os de estancia en Weimar) como Alexander Winterberger, Julius Reubke, Alexander Wilhelm Gottschalg, Christian Bernhard Sulze y entre todos el gran organista y te rico Johann Gottlob T pfer, cuya influencia en Liszt ser a decisiva. Sin apenas ser consciente de ello, Liszt abrir a, a principios de la d cada de 1850, el camino y las premisas est tico-musicales de este neog tico rom ntico alem n a los autores e interpretes que posteriormente seguir an sus pasos; ya bien a trav s del rgano rom ntico; T pfer, Winterberger, Reubke, Gottschalg, Rheinberger, Gigout, Vierne, Widor, Guillou etc...o mediante un nuevo estilo pian stico que se podr a definir est ticamente como de pianismo neog tico rom ntico; Tausig, Busoni, Reger, Godowsky, Horowitz, Lewenthal, Nyiregyhazi, Feinberg etc... La Passacaglia y fuga BWV 582 es posiblemente una de las piezas compuestas para rgano del compositor alem n Johann Sebastian Bach m s dif ciles y valoradas de todo el repertorio organ stico. Se la podr a considerar, con toda justicia y tal vez junto con algunas piezas de Max Reger o de Charles-Marie Widor, como una de las piezas cumbres, y t cnicamente culminantes, de todo el cat logo escrito para rgano. Parece ser que habr a sido compuesta en una poca temprana del desarrollo art stico creativo en la carrera del m sico. Sin duda, las caracter sticas y las premisas est tico musicales de la creaci n de una escuela pian stica g tica rom ntica, y que tiene sus ra ces en la Alemania del norte y sus maestros organ sticos del pasado, y m s concretamente en la figura compositiva de Johan Sebastian Bach. Esta transcripci n que presentamos dentro de esta colecci n, est dedicada a la memoria de Ferrucio Busoni, verdadero Fausto-organ stico, quien ejemplifica a la perfecci n el ideal de artista recreador y en cierta forma creador del estilo neo-g tico pian stico. Esta transcripci n se inspira en la escritura caracter stica de las transcripciones pian stico-organ sticas del gran maestro Ferrucio Busoni.
At the age of thirty-seven, soon after Bach's wedding to Anna Magdalena on December 3, 1721, Bach presented her with a gift of his keyboard music. The Clavierb chlein of 1722 contained Bach's hand-copied manuscripts of the first five of the French Suites, as well as other of his keyboard compositions. Much of that original book has been lost, but the title page and several of the dance movements of French Suite III have survived. No other copies in Bach's hand exist today. Fortunately, a handful of manuscripts of the French Suites, often copied by Bach's pupils, have survived. Scholars of the renowned Bach-Gesellschaft created their definitive editions based on a study of all existing versions of Bach's works.This arrangement of Bach's French Suite III, BWV 814, is based on the Bach-Gesellschaft edition of his keyboard works. It contains both a fully notated score for two guitars, and individual guitar parts.
“What I wanted more than anything was to be standing beside Schmidt, in concert with Schmidt, at the foot of Saint Sebastian’s Abyss along with Schmidt, hands cupped to the sides of our faces, debating art, transcendence, and the glory of the apocalypse.” Former best friends who built their careers writing about a single work of art meet after a decades-long falling-out. One of them, called to the other’s deathbed for unknown reasons by a “relatively short” nine-page email, spends his flight to Berlin reflecting on Dutch Renaissance painter Count Hugo Beckenbauer and his masterpiece, Saint Sebastian’s Abyss, the work that established both men as important art critics and also destroyed their relationship. A darkly comic meditation on art, obsession, and the enigmatic power of friendship, Saint Sebastian’s Abyss stalks the museum halls of Europe, feverishly seeking salvation, annihilation, and the meaning of belief.
George Upton's brief biography of one of the greatest classical composers of all time is written in an engaging narrative style, making it read more like a historical novel than a dry biographical text. The highlights of Bach's life and career are all here, making this a wonderful introduction for any student of music or western culture. Bach's music is wonderful on its own, but one's appreciation of it can only be enriched by gaining a sense of the character of the man who wrote it.
Anna and Sebastian opens as a much older Anna grapples with aging and a disorienting change in the relationship with her long-time lover, Sebastian. Years earlier he hired a woman who, unlike Anna, was still of child-bearing age to conceive. Now, eighteen years later, the daughter, attempting to live alone as an adult, is sexually assaulted and trafficked. At this point, the novel explores the effects of assault and trafficking not only on Sebastian’s daughter, but on Anna, who adapted to the unusual paternity, and on Sebastian, who did not bargain for the suffering he experiences as a father.
Johann Sebastian Bach (1685-1750) was a German Baroque composer and musician. Admired for his intricate and expressive compositions, he crafted masterpieces such as the Brandenburg Concertos and the Mass in B Minor. Bach's legacy endures as one of the greatest composers of all time, influencing generations with his exceptional contributions to classical music. Colorful illustrations plus photographs of meaningful sites and settings connect readers to important points in Bach's history. A timeline and B Sharp sidebars add details to the composer's life story.
This is the story of two very unlikely animals, and how they became best friends. Charlie is a young horse, and Sebastian is a young alligator. They didn't care that they were very different, and not supposed to like each other. They just wanted to be friends, and have fun. When Sebastian's mom and dad found out that they were friends they were very upset, didn't like them playing together, and were going to put a stop to it However, once they, and Charlie's mom and dad saw them playing and having fun, they changed their minds, and decided just maybe they could be friends after all.
San Sebastian, Spain. Travel and Tourism. Sunny days spent on sandy beaches and evenings strolls through the quaint Old Town are among the joys of visiting San Sebastian. Picturesquely set on the crescent-shaped Bay of Concha, this elegant town is one of Spain's most fashionable beach resorts. The expansive shoreline extends for several kilometers along a curving coastline, bookended by the Urgull and Igeldo hills. San Sebastian delights visitors with its scenic beauty and savory cuisine, and surprises with its lively ambience and cultural attractions. Visit the royal palace and its gorgeous gardens, amble along the terraced seaside promenade that overlooks the town's inspiring architecture, and then wander atmospheric cobblestone lanes in search of authentic pintxos, the Basque version of tapas. These tantalizing small bites include specialities such as seasoned olives, grilled prawns, clams in pepper-parsley sauce, marinated sardines, and salted cod omelette.
The story of George S. Tiernan Sr. (1890-1970) of New Jersey and and his fifty year slow rise from company errand boy at American Type Foundry in Jersey City, New Jersey to corporate executive at Daystom in Elizabeth New Jersey. His grandparents were famine Irish who emigrated to Monmouth County New Jersey from East Galway, Ireland. On weekends George traveled back from Jersey City to the rural farmlands of Monmouth County to work with his father John Joseph Tiernan, a tenant farmer. During the week George worked for American Type Foundry. George had his foot in both worlds while his generation transitioned from farm labor work to company jobs.
Pete Sebastian, Coach Bass pour son quipe, pensait qu'il avait toute sa vie sous contr le jusqu' ce que Jo Parker, intelligente et s duisante, obtienne ais ment un r le de dirigeant avec les Connecticut Kings. Il se mesure la jolie femme quand elle met en oeuvre de nouvelles id es pour blanchir la r putation de l' quipe. tait-elle l juste pour lui marcher sur les pieds ou tait-elle la femme qu'il cherchait?
The Suite No. 1 in G major, BWV 1007, for solo violoncello by Johann Sebastian Bach (1685-1750) belongs to a series of six suites written for the violoncello likely between the years 1717-1723 when he was Kapellmeister in K then. The Pr lude from the first suite is the first movement of a seven-movement work. It is very popularly performed not only on the violoncello, but has been transcribed and adapted for performance on many different instruments. This version is transcribed for the classical guitar, and rather than transposing it to another key, I left it in the original key of G major. Many guitarists transpose it to be performed in the key of D major, and tune the sixth string down to D. Although this isn't a bad option, the result is often that it changes the register of many of the notes. I believe that this transposition also detracts considerably from the lucidness and coherence fundamental to the Pr lude. There is frequently an alternating bass note in many guitar performances which is interesting and appealing, but not found in Bach's manuscript. Since it isn't original, and I don't believe it improves Bach's aim musically or otherwise, I elected not to pursue it in my transcription. Also included in this edition is a transcription of Wachet auf, ruft uns Stimme: IV. Zion h rt die W chter singen, BWV 140 by Johann Sebastian Bach. It comes from the cantata of the same name, and is originally scored in E-flat major. I transcribed it to E major for clarity and convenience, but one should tune all the strings down one-half step, and play it sounding in the original key (but appearing to be in the key of E major). For both works, I consulted Bach's original manuscripts and examined the scores from the Bach-Gesellschaft Ausgabe. In both cases, I believe these transcriptions to currently be the most faithful and accurate editions for the classical guitar with regards to Bach's scores and intentions.
