What Size Is A Blue Condom?

Music

"The meaning of musical emotion is a gift imagination "

Samuel Taylor Coleridge

Camille Pissarro: Boulevard Montmartre, the rain, afternoon - 1897

" Viewed from above ... I see a gray sky, skyscrapers, a wet road with a thin drizzle, the open umbrellas on the sidewalks, people are busy in their own things, distant screams, cars ...

and I look at it from somewhere.

of a sudden it seems to me to be there on the street.

are among the others, I walk a little slower.

I look around and see that I could be anywhere, in a bar, drinking a cup of coffee,

to read the newspaper,
choose to go ...

I lit another cigarette. Yes, why not ...

a stroll along the windows, looking casually, disinterested

walk again, make eye contact with strangers.

I think I could meet her. Yes, there on the street. We take two steps.

And while we talk and walk again.

English Horn I. Nostalgic and pensive. Piano
her as lively as his words that escape and slip away as demisemiquavers, and while I think I could gaze into his eyes, while closing the first damper and the lights of the evening.
And yet ... I might, I could ... all I could, but I have more time.

Now raindrops fall.

I realize that the magic dissolves.

That trill and harmony fill me refer to reality, and I still remember just the view of emotion in the mind. "

Damiano Franco

Maurice Ravel: Concerto in G - II movement (Adagio Assai)

Arturo Benedetti Michelangeli / Sergio Celibidache

Making A Wood Clothes Hamper

eyes When the Reality- show invades the Music ... The Sixth



"The success of breeding? I resent " " arrogant and never original " (Uto Ughi)

the Christmas concert of the Senate, sponsored by the Senate in which John Allevi played and directed his compositions caused a real" controversy "between the violinist Uto Ughi and the same pianist.
We report here the famous interview on December 24 last Sandro Cappelletto year for the Press by Uto Ughi:

"What a depressing sight! See the highest authorities of the State cheer this modest musician. The most ridiculous was Mr Fini was nearly throw himself on his knees in front of the star (...) (...) Pianist offended as a musician? But he also believes composer, philosopher, poet, writer. The thing that bothers me is the media that the investment was made on an original interpreter and never completely devoid of humility. Its success is the perfect thermometer of the situation of our country, always prevail appearances. "

What bothers the most Allevi: his music, his words? "The compositions are laughable, and musically this modesty of the results is accompanied by statements that highlight the alleged originality of the interpreter. If mention of the great pianists of the past, he does point out that unlike them he is "also" a composer. So the offense really great interpretations: he is a dwarf compared to Horowitz, a Rubinstein. But even with respect to Modugno and Mina. That should be clear. "
How to define his music? "cunningly put together a collage. Nothing new. Its success is a consequence of the triumph of relativism: the science of anything, as written by Claudio Magris. But we must not lose heart remember that Beethoven is not Sugar and Sugar is not Beethoven. But Sugar has a personality much more recognizable than that of Allevi (...) It pains me greatly that pollution of the truth and taste. I find that the guilty state institutions avvalorino such a misunderstanding. Clearly, the music consultant of the Senate are people of little thickness. All returns: it is also the artistic and cultural modesty of those who run some of our opera, our music and entertainment associations to allow the scary cutting culture content in the last measures of the government. Weak actors can make any mess, have blunt weapons to combat it. "
What is your opinion of
Allevi as a performer? "In other times would not have been admitted to the Conservatory."
He considers himself an heir and a profound innovator of the classical tradition. "He has no degree of kinship with the music we call classical, with neither the old nor the new. This is a misconception intolerable. And even in his field, there are pianists, singers, instrumentalists, composers far more important to him. "
But it's a media phenomenon and the very significant business. "This is an exaltation and collective acts paroxysmal behind which is clearly a strong marketing investment. I am surprised that influential newspapers grant him space, often uncritically. Even Andrea Bocelli has a great success, but never conceited when he talks about himself. As a musician, knows his limits. "
Allevi is young. Unwilling to provide any advice? 'Think three times before speaking. Be humble and cautious. But perhaps not even the real culprit of what he says. "

(Interview conducted by Sandra Cap)




The declarations of the famous violinist of Busto Arsizio successive statements of Giovanni Allevi which has defended itself by attacking Ughi and its "caste" privileged harsh words and attitude "Ecstatic" typical of the much-acclaimed talent, leaving most of us baffled in front of a vulgar show. In short, was one of the last "pearls" that the world of mass media could offer.

The blame for all this is, in my opinion, the music critics. Giovanni Allevi acquitted him. Especially when sitting at the piano or when trying to conduct the orchestra. After all an artist can not be held responsible for the ignorance of others. The only downside of having the pianist is placed on the pedestal of classical music, often with bizarre assertions, autoesaltanti and almost prophetic. " He invaded a world that was not his and he did it with the innocence (he and his producers) those who do not realize that there is about a world (in this case the music) is now in turmoil and tired of the cultural insignificance of this country. Music Critics

should carry out tasks broader than what normally takes place. Certainly not realized exclusively in the professional paid by any newspaper to write reviews on music heard. In a society like today, that eagerly consumes and so more and more music, the duty of a critical attention should be primarily the "dissemination" (etymologically speaking it should act as a mediator between the vulgus and the world of artists), ie dissemination of knowledge and opinions on music. Disclosure filtered of course, not all the crap that passes by the media today!

Nell 'age of print (and I think the nineteenth century), the music critics faced with commitment and often a very valuable the daunting task that you felt the need to educate the ear. Objective journalism music criticism was to create a social fabric in which the music is welcome meet the expectations of its creators. Mostly satisfied that need, felt a bit 'all, to overthrow a system in which music, as reserved aristocratic elite, addressed an audience composed exclusively of very limited and people who had a remarkable dimistichezza with practice and musical language. The result has been far from bankruptcy.

But we are talking about a century ago ... it's been a while.

The twentieth century, with the advent of new media, has done nothing but erode what had been previously built.

The media have gradually abandoned the idea of \u200b\u200braising the cultural level of the population, mostly adapted to become promotional tools in the service of a cultural industry in need of a market readily available to their sales strategies.

In fact today, in newspapers, radio broadcasting and television, music criticism was literally replaced by a journalism Music that apparently operates independently, but in fact acting on the intrinsic level, in a mostly propaganda from the object it covers.

In Italy, by now, the preference shown to the daily presentation of the event instead of the review is presumably established this line of marketing of the news. So, to review the editorial choices disappears. Also disappears because it is out of trouble, nobody cares, then why the journalists did not have the authority to defend and protect their independence.

contrast, when the review is, it is almost useless. In the world of classical music, for example, is ineffective, because it amounts to only and only in attention to the text and interpretation, when you need something else. It fails from the outset if we are only concerned to investigate a work or any musical event just from aesthetic point of view, effectively ignoring the cultural aspect of ethics and even the musical phenomenon that entails. (I do not want to talk about the ' lack of critical reviewer).

How do you forget the perverse mechanism set in motion by the media on the occasion of the famous stick of Luciano Pavarotti in the 92/93 season of the Teatro alla Scala in Milan?

It was a shameful episode. All ready to talk about a miserable failure caused by a drop of mucus mercilessly soiled It is his nature. And it is the case which supports our argument, that the "smallness" of a musical criticism aimed at providing "futile" news (in this case is precisely the implementation of poor Pavarotti) for the sole purpose of selling. Because it is obvious that in the days after the episode, all the best newspapers spoke exclusively of the cue, not the Don Carlos. But yes. And who cares about Don Carlos! Returning

episode Ughi-Allevi, the thing that disgusts me most is the fact that a musician as Uto Ughi has replaced the missing critical and even more that he did so in a resounding, satisfying, in fact, the mechanism advertising marketing of the news. Because if there's one thing for certain is that, of all the controversy, the only thing that matters to most is the bickering between the two musicians. It saddens me but it is. A worry about the value of music that few farmers are really only experts: composers, pianists, and some lovers of music. the rest of the Italians followed the story on the front page in newspapers, the news on the web, with the curiosity of watching a stupid reality shows. Of course, journalists are at the forefront of this great piece of Italian. And the reason we have already said. Surely I'm not surprised if some television broadcast ever burst Ughi and the one sitting Allevi facing each other. You know that audience! The other

Gordian knot, all too often been silent, however, is another, is the wrong formation of the macro-environment (general public), that is a recipient of music. The lack of an adequate education Italian music education has certainly contributed to that process raises awareness of the music so-called "educated", so it's no wonder that today it is exchanged for Giovanni Allevi a great composer of classical music contemporary "(as he calls himself the way). I'm not surprised at all.

We laugh about.

Damiano Franco

License Plate Mount For Front Bumper Honda Pilot

: Beethoven and his world more intimate

This post is dedicated to myself. I thought

an afternoon in the sun, in the quiet countryside, everything got from listening to one of the most beautiful and moving musical pages that were ever written in music history: the Sixth Symphony in F major "Pastorale .

For this symphony as for all other works of Beethoven, not just a whole blog, but I'll talk about it imposes limits, hoping not to get bored.

I will tell you the truth. I love Pastoral. I think the most representative among the compositions of Beethoven, but not the composer but of man-Beethoven Beethoven. The Ninth Symphony, with the famous Ode to Joy on the verses of Schiller, the celebrated "pact of brotherhood, of joy and solidarity among men. But the Sixth Symphony has something incredibly more intimate. It 's his diary in which he writes and speaks, using the universal language, is the pact with nature that is, at first sight, indeed cruel to him as often happens to men, but always and unequivocally Mother. And it is in fact in Nature that Beethoven escapes to find himself, is that Beethoven Nature speaks, and it is that it has pinned its hopes more intimate. A few nights ago I reread some of his letters, and this impressed me, especially in some passages that show the passion of Beethoven for the country life.

The letter is addressed Therese Malfatti, a noblewoman and friend "intimate" of the composer.

Vienna, May 1810

(...) I lead a very lonely and quiet life. There are yes, here and there, the lights would wake up, but since all of them have gone away from Vienna, I feel a void in me that can not be bridged and that even my art, which usually is faithful to me, (...) What can make me forget She was lucky, which is already in the country have gone so soon.
I can not enjoy such bliss until the day 8, but already I am delighted as a child just thinking about it. As I will be happy to potermene go around for a while between the hedges and woods, trees, grasses and rocks. There is nobody who can love the country as I do. From the woods, trees, rocks rises the echo which man wants to hear. Ludwig van Beethoven

And yes. Before I wrote the cruel nature.

Deafness, whose first symptoms he felt around 1795, became final in 1818 (this is the year that he began to use conversation books, through which to communicate with his audience). In the Heiligenstadt Testament, (October 6, 1802), he already shows that it has accepted, after many intense suffering, its sad fate. Her profound loneliness, is justified by the need to shut himself in his world, not because he was a gruff, (how many times have we read about bad biographies of his life this nonsense!) But because he could not officially reveal his condition of ill health his fellows.

was the greatest paradox of excellence for a musician.

The Symphony No. 6 in F major "Pastorale" Op.68, which I suggest you listen, it was written in 1808, almost parallel to the Fifth, in a period of time ranging from summer 1807 to ' summer 1808.

The two symphonies are very different in spirit. While the fifth is symbolic action and the human struggle, but the Sixth fully embodies the ideal of the contemplative life and is the exception in the composer's symphonic output.

I have not posted the entire symphony, but only a part. My favorite.

Last Movement: "Song of the Shepherds. Feelings of joy and gratitude after the storm"

Beethoven translates into music the feelings of the shepherds. The first topic on which almost all the movement comes from a simple tune, similar to the "Ranz des vaches" or "Kuhreihen " (singing Vaccai-that is a classic song of pastors that do not is provided assistance).

The video starts by presenting the first complete theme given to the first violins, the tone is typically "pastoral" in F major, imitated by the latter, while the third series of dense winds contend. Immediately after the entire orchestra will be involved in this song of praise to the Creator.

(remember that Beethoven was a pantheist, nature / = created the image and likeness of the Creator)

Just after we hear echoes themes of the first movement (a combination of the pace in eighth-sixteenth notes) and the stream of the scene (in the drawing of the arches ).

(What resending the previous movements of the Symphony is an act of composition pioneered by Beethoven, not surprisingly considered the precursor of cyclic Symphony). After that we have a small episode in alternating waves of sound based on agreements in "very strong".

After the reappearance of the first subject entrusted to the wind, here is the return of the hymn (1:44), always the first violins, but this time accompanied by a slight upward movement of the second violins.

A new tune, fervent and ecstatic at the same time, appears in the records of clarinets and bassoons (readily be placed in the video.) Subsequently, the first theme reappears in the minor (2:42), the intervals are modificati.Potremmo say that it is the only example of "development" of the whole movement, the intention is to Beethoven, probably to create an analogy between the form adopted and the singing ministry that does not comply with any taxation structure (hence the lack of development, which is certainly unusual considering we're talking about Beethoven, but this is justified because of what I said earlier , that this symphony spiritualmnete differs from the others and therefore can not be taken as a compositional procedure development that Beethoven always takes the meaning of "battlefield ).

Finally, the movement has more and more characteristics of a theme and variations. The theme will be changed again by the violins (3:23), then by the cellos (3.52), while the orchestra explodes into agreements that seem to suggest the power and the charm of a nature now "tamed", peaceful, after the concerns of the time (4 th movement) and that starts at sunset.

Enjoy.

Damiano Franco

Herbert von Karajan directing the Berlin Philharmonic Orchestra.
5 ° Movement: Allegretto

When To Stop Shaving Before A Wax

signs, sounds, history and emotion ...

" starts from false premises if you think it is my intention to modernize the works. On the contrary, cleaning up the dust of tradition I try to restore their youth, presenting them as played for the public When the first spurt of the mind and pen of the composer.
The Pathetique sonata was almost revolutionary in his day and should sound revolutionary. Do not put enough passion nell'Appassionata, who was in his time the summit of the expression of passion. When I play Beethoven trying to reach freedom, the nervous energy and humanity that are the peculiar signs of his compositions, in contrast with those of their predecessors.
Referring to the character of the man and what Beethoven is said of his playing, I have built an ideal that was wrongly called modern and in fact is nothing but life. I do the same with Liszt, and many strangely I approve in this case as I condemn in the "

Busoni plays Liszt - Transcendental Study No. 5" Feux Follets "

These are the words written in 1902 by Ferruccio Busoni Marcel Rémy. So it defends itself from attack caused by his criticism of piano performance. Unfortunately, recordings of Busoni there are not many, but few records, its revisions and the controversies they provoked, reflect a trend typical of the Italian pianist, which is to "rewrite" piano composition. And 'known that he used various strategies to intervene on the perception of the listener using, for example, the damper pedal, pressing the touch, the tone, developing a real sound engineering which will be followed later by V. Horowitz.

Karl Nef said of him: " Busoni is a Croesus in the nuances of touch " and he said: " and the piano has something that is exclusively his own, inimitable half, a photograph of the sky, a ray of light Lunar: the pedal. The effects pedal is still far from being exhausted, because I was still a slave to a harmonic theory petty and unreasonable, it is the pedal as if you wanted to reduce air and water to geometric shapes " (Appreciate the piano, 1910).

sound reason for this research was the desire to reproduce the original effect of music is not as it was perceived at the time of the author, but as it was mentally grasped by listeners of the past. In the era of codification of the tradition, and scholarly research, Busoni, Liszt tried to keep the concept of perpetual rediscovery of the emotional value of the original music, taking it away from the historical context; attempt that could not remain isolated and do not appear provocative at a time even that was beginning to adopt again redesigned and the antique instruments for the implementation of past treaties, and was pointing to the correct philological restoration.

As noted Piero Rattalino well in his "History the piano, "the reconciliation of the aspirations of Busoni and Schnabel and Backhaus's historicism is due to Fischer, the supreme pianist whose greatness lies in having to respect the reasons of history (just consider the fact that he used editions of texts classical philological completely right), while giving new life to the compositions, vitality, and individuality of interpretation aimed at the rediscovery of the artist creator psychic.

Here is a summary of his thinking about running Beethoven:

" may be wrong, but I have this impression, we have become too sophisticated, too educated (...) We distinguish the subtle differences in running shape and color different eras, when Beethoven was still, and after he became deaf, we know this, but the volcanoes, which were emerging suffer Beethoven, the only ones who enlightens him, the cries that broke his heart, no shaking. And here are the sources of the future: forget the piano, style, education, science, and live Beethoven, play the organ, violin, whistle, play the drum, sing on the piano again, stirred again the whole world by dark realm of the written notes to bring to light run, if you like, the Moonlight Sonata as the sob of a dying man, and orchestrated the funeral Maria 26 work in the most modern, you raise today as magic, from the Sonata in Waldestein a romance with nature, to make tomorrow a fight between you and the world, and the next day playing in top form pure music, so when you have to revel aggressive forms, and there is everything here , then put the wings that bring you and others in the realm of fantasy and you can contemplate the house where he was the spirit of Beethoven. Will gain more enjoyment from this beautiful piano, which now owns the entire color range of the orchestra tomorrow and emits sounds that come from other areas "

(Edwin Fischer)

Hmm ... true words .. . he did it. Listen to "his" Concerto No. 5 and Beethoven's Concerto No. 2 Brahms, conducted by Wilhelm Furtwangler, and I'll agree. I'm sure.

Another question, in my opinion is not negligible, is linked to the divergence between the intentions of the composer and the interpreter. After all, let's be frank, how many times, performing a song, we sometimes have to choose between what is written and what we do?

Feeling "caged" when making music is not just a great feeling.

Gould himself, in an interview with Dennis Braithwaite for the daily newspaper of Toronto Star "28 March 1959, questioned the interpretation problem sull'increscioso said:

" are the lucky few who can say that their way of feeling music is the same as that of the composer. But sometimes I wonder why we worry so much about an alleged tradition of loyalty to the generation of the composer rather than the interpreter. Why, for example, strive to play Beethoven as Beethoven is assumed to have played? Schnabel tried. Despite my admiration for Schnabel seems to me absurd, especially because it took into account the difference in the instrument. He used the pedal in the way that some scholars claimed that Beethoven wanted to, but without realizing that this technical sense of the pedal bought anything on an instrument contemporary. I'm sure Mozart very often that I do not approve of his music. The interpreter must have its own faith, even blind in what he does, must be convinced that he can discover possibilities for interpretation that the composer would never have considered. And 'all possible. There are today examples of contemporary composers, which allows me to shut up the names, which are the worst performers of his music.
I am sure that this is due to the fact that they feel inwardly such and so many things in his music not be aware of not being able to express them. Do not know what they should do a performer to give life to these things, "

(Glenn Gould)

Glenn Gould plays Beethoven - Sonata op.31 n ° 2 (I mov.)

The problem of performance-musical perception, I think, be found in an essential aspect of the matter: music, abstract art par excellence, is the conditioning, that is more linked to the phenomenal reality through which it occurs.

The sense of an image, the meaning of a word whose lexical content has changed over time, they can somehow rebuild through intellectual acts. Not so with music. Feeling like playing a song once is impossible, and certainly we can not understand a phrase, a speech, which was build on an agreement, a "tension" that was then, but now we no longer recognize (or not in the same way). You should "rebuild" a virgin ear, but this is impossible. The composition is more ancient and more emotion-related acoustic phenomenon changes. Has ceased. Console ourselves by saying that what we have lost "original" in a Beethoven sonata is nothing compared to what we lost in the compositions of a thousand years ago.

would be nice to "hear" the third but not as consonant as dissonances prohibited!

Philology then? .. No thanks, or better ... well if it is intended only and exclusively as historical and cultural research, but little share with the music.

Damiano Franco

Merylin Sekova Gallery

Music: Art of the Muses

Since ancient times music was regarded as the art par excellence. It goes to show the origin of the name "music" (from the greek musik), meaning "art of the Muses."

In fact, the Greeks, while each of the other arts attributed to one of the nine daughters of Zeus and Mnemosyne, the music was not only referring to two (Euterpe, Muse dell'auletica, that is the art of playing wind instruments, and lyrical Polinnia, inventor of the lyre, Muse of sacred hymns), but was headed to the Muses in general. The Olympus was filled with the inventors and guardians of music: Pan with pastoral syrinx (or pan flute), Dionysus, songwriter of intoxicating dithyrambs; Apollo lyre, harp virtuoso and guidance of the Muses, winner of the Silenus Marsyas, which had dared to challenge him with the flute, invented by Athena and thrown away because in the play is deformed cheeks. Apollo with the lyre consoled himself during his servitude at Admetus, calms the hostile forces of nature, enchanting animals. His follower Orpheus, in addition to the animals, charms and moves to pity Pluto and Cerberus in a bid to bring back Eurydice from underworld.

To resist the Siren song that drags the sailors in the swirling sea, Odysseus is tied to the mast of his ship. In the mythical Greek music can not only move the gods, demigods, men and animals can move even the stones: with the help of the pound of gold donated by Hermes, the twins Amphion and Zeto build the walls of Thebes. By contrast the biblical Joshua's trumpets bringing down the walls of Jericho.

Given these powers given to the music, the Greek philosophers and legislators give it a determining role in education and in civil law (ah.. Good times!).

Each of the ways of the greek music system was assigned a particular ethos , that is, a specific character defined not only by virtue of precise expression, but also capable of influencing human behavior. In Read in Symposium and especially in Republic, Plato outlines the role that music should play in the ideal state. He admits only two "modes": the Phrygian considered relevant to arouse enthusiasm and lead to the measured non-violence, and the Doric, "severe, serious, manly," suitable for chanting to encourage such noble enterprises (especially war).

Fragment of the first stasimon (choral) Oreste the tragedy of Euripides (fifth century BC.) Vocal notation and interpolation instrumental.

The rhythm is right in the songs of intense and vehement dramatic, with alternating feet and ternary quinari and that, for its dicing and the strength of accents, just has an ethos of great excitement . Author: Anonymous (Euripides?)

listen to an example of what could be the time of Euripides:

The choral piece is Euripides' old most conspicuous example of a music we own color.

Apart the fact that the music from ancient Greece we have received no more than a dozen songs (some fragmentary and of uncertain origin), the 'ethos and the expressive power of this music are noticeably weakened, but not directly graspable .

must consider, however, that even today the Serbian music its striking effectiveness is demonstrated, inter alia by the fact that advertising that floods us with a continuous stream of media almost always uses mass media to music, even if often trivial. (The sad thing is that music, for the general public is only "support" .. in advertising support, support in the movies, when support is traveling and listening to the radio, in public support ... etc. ..).

Plato assigned to music instead of high task: he must not only help maintain civil order and social, but also to govern the state and the entire cosmos. In Timaeus, Plato tells how God proceeded to the formation of the 'soul of the world "by means of musical intervals characteristic of the Dorian mode, as he had calculated Pythagoras. Proportionate intervals between the seven notes are matched also the distances between the seven heavenly spheres and orbits of the planets.

An echo of this theory of the harmony of the spheres will no Treaty on The harmony of the world that G. Kepler publish in 1619. In the mythical traditions of various primitive peoples, but also Chinese, Indians and Egyptians, the sound appears to originate in factors that trigger the creation of the world.

The Word which St. John stands at the beginning of all things, is sung in the Indian cosmogony. Prayapati, the god of creation, is identified with a melody detonated the first rumble of thunder from the image. Its shares become distinctive sky, atmosphere, land. Come to think of the big-bang theory "advocated today by some of the greatest living scientists, according to which our universe could have originated about 20 billion years ago by a huge explosion that would fill the space (previously empty) of each species of material particles.

would echoes of that "big sound" that began the world the microwave radiation coming from all over the cosmos and that were discovered in 1964 by A. Penzias and R. Wilson.

the legendary music coelestis that, according to medieval theorists, resounded from the heavens, to the music that rule the world (music mundana ) which begins in the heart of man "as he wrote Lih Pu-wei (239 BC ) talking about symbolic Chinese legends about the origins of musical genres and scales. Throughout the history of civilization the concepts and definitions of music ranges from a mystical spiritualism and metaphysical humanism aimed at a direct expression of subjective feelings.

San Basilio considers the music of the angels, "St. Gregory the Great is depicted in the act of writing music under the dictation of the Holy Spirit: a white dove told him about the ear. N. Cusano, echoing Plato, asserts that God would have been worth of music in creating the world in order to establish between the various elements of harmonic relationships such that "the machine in the world can not perish." Not for nothing, the music was part of the medieval liberal arts Quadrivium these mathematical set arithmetic, geometry and astronomy.

the early eighteenth century GWLeibnitz define the music "exercitium Arithmeticae occultum nescientis if numeraries minds" (an occult practice of arithmetic in which the soul seeks the numbers without knowing it). Schopenhauer parafraserà this definition: "Musica est exercitium metaphysicae occultum nescientis if philosophari minds" that "Music is an occult practice of metaphysics in which the soul makes philosophy without knowing it" (what's more just the words of German philosopher !).

Conversely idealistic currents in the sixteenth and seventeenth centuries the prevailing conception of music as an expression of irrational emotional subjectivity.

G. Bruno emphasizes the power of music to move the affections. B. Spinoza rebels against the idea of \u200b\u200ba music coelestis considered to result from a wrong anthropomorphic concept of God: "What excites It is called the hearing sound, noise, harmony, the latter has so enchanted the men they thought that even God was delighted with the harmony ... "

Even the French philosophers, from Descartes to Rousseau R., in general are inclined to subjective interpretation of the music.

considered to be too subjective and irrational, the leading exponents of classical rationalism, N. Boileau to JBBoussuet and F. Fenelon, show a "total lack of confidence in music as an autonomous art." I Notes to the definitions given by the opera-C.Saint Evremond: "c'est une magnifique opéra sottise" (the work is a magnificent nonsense), and the ironic question of B. Fontanelle: "Sonate, que me veux-tu? "(What do you want from me, sonata?)

prevailing conceptions of the nineteenth century romantic music such as that standard which defines it as" the art of expressing feelings through sounds.

Against similar conceptions of content directs his polemic E. Hanslick, the relentless opponent of R. Wagner.

For Hanslick, the music is nothing but a series of "sound forms in motion." This statement riecheggierà in the twenties (the 900 , s' is) in the joke that I threw Strawinskij when acting as the leader of the neo-classical reaction against the expression "the music is too stupid to express something." Hanslick explained his attitude by claiming that "only by denying the emotional content of music if they can save the spiritual content." Strawinskij, for its part, recognizing the controversy exaggeration of his irreverent wit, claiming the music with the task of "promoting a communion, a union of man with his neighbor and Being", as well as to organize , "to order the time," to reflect the "Great universal order." Hanslick was among the first to admit that the aging, the aging of the music are much more rapid than in the other arts. In his essay "The beauty of Music" says: "There is no art that will knock out many forms such as music ...". This finding is based on observation of the "extraordinary diversity of the effect that many compositions by Mozart, Beethoven and Weber produced on the soul of the listeners of the time as opposed to now. How many works of Mozart are judged on their time as the most passionate music, hotter and more daring that could exist, as the maximum that could be achieved in the representation of moods! The sense of serenity and well being of pure Haydn was opposed to the burst of violent passions, the most severe fighting, bitter and sharp pain in the music of Mozart. Twenty years later he did exactly the same distinction between Mozart and Beethoven. The place of Mozart as a representative of the overwhelming passion alive and was occupied by Beethoven, Mozart and Haydn's classicism was promoted to the Olimpico.

Roman Vlad (built by myself)