Текст песни Бах - Чакона
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На этой странице находится текст песни Бах - Чакона, а также перевод песни и видео или клип.
Мы снова в тональности ре-минор. Это тот же аккорд, который Брамс использует в своем первом концерте для фортепьяно, во вступительной теме. "Чакона" преломляется через всю классическую музыку. Мы приближаемся к двести двадцать девятому такту, где Бах использует бариолаж, он балансирует между открытой струной ля и возникающими на струне ре звуками. Одновременно слезы и мощь. Возвращается смерть из первой части, но теперь в свете утешения, и торжества, и успокоения сердца из второй части. Это музыка, которая вырывается из помещения. Это такой способ жить, когда смерть все время рядом, и тем не менее всегда много сил, энергии и сострадания. Послушайте вот это: начиная с двести сорок первого такта и дальше. Это сама смерть, просветленная сознанием. Бах не просто говорит, что можно пройти с открытыми глазами через смерть. он сам это делает - в своей музыке делает это. В чем тут секрет? Вот это я и хотел спросить." (Питер Хёг "Тишина") & quot; It will be about & quot; Chaconne & quot; /.../ D minor. This is about death. Bach lost Maria-Barbara and two children. And he loved her and loved them. It is written about death. Listen to the inexorable, the inevitability of fate. After all, we all die. And try to hear how he changes the register here, in the first part, uses the quadruple to create the illusion of several violins leading a dialogue with each other. They create the polyphony that sounds in every person, in all of us. Some of these voices will die, others will not. And now begins the long passage of arpeggios, the rapid passage, the feeling of concentration of energy is enhanced by the movement of three or four strings, do you hear? One can swear that at least three violins sound ./.../ "Chaconne", maybe this is some flowing, multiplying tonal reality, which will never end. /.../ Longing for the Divine. According to what the physical form can never contain ./.../ The second part is in major. Merciful. Deep grief ./.../ Listen to me: the consolation sounds almost triumphant. He makes the violin sound like a trumpet. Here, at one hundred and sixty fifth measure, it enhances the effect of fanfare by playing a bipartite beat with the third finger on the D string and simultaneously playing the open A string. Thereby, the overtones of la amplify. Listen, this goes on to the hundred and seventy seventh bar. Here begins a quiet, deep joy. With many pauses, creating a sense of melancholy. He was reconciled with death. And it seems that everything is already. But that's not all. Something more is expected to come. With the two hundred first stroke, the spacecraft begins to rise. The second part ends with arpeggio passages, like the first part. Now listen to the beginning of the third part.
We are again in the key of D minor. This is the same chord that Brahms uses in his first piano concerto, in the introductory theme. & quot; Chaconne & quot; refracted through all classical music. We are approaching the two hundred and twenty-ninth beat, where Bach uses bariole, he balances between the open string A and the sounds appearing on the re string. At the same time tears and power. Death returns from the first part, but now in the light of consolation, and celebration, and calming the heart from the second part. This is music that breaks out of the room. It is such a way to live when death is near all the time, and nevertheless there is always a lot of strength, energy and compassion. Listen to this: from two hundred and forty-first bars on. It is death itself, enlightened by consciousness. Bach does not just say that you can go with your eyes open through death. he does it himself - in his music he does it. What is the secret here? That's what I wanted to ask. & Quot; (Peter Hyog & quot; Silence & quot;)
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