Bach – Christmas Oratorio


Dedic această postare în primul rînd celor care țin sărbările pe stil vechi, români, ruși, armeni etc, oriunde s-ar afla ei. Îi mulțumesc foarte mult unui prieten vechi, scriitorul Bedros Horasangian, pentru link. De bună seamă că audiție este liberă pentru oricine vrea să se reîntîlnească cu miraculoasa muzică a lui Bach…

Acest articol a fost publicat în Fără categorie. Pune un semn de carte cu legătura permanentă.

13 răspunsuri la Bach – Christmas Oratorio

  1. ontelusdangabriel zice:

    ***

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  2. ionfercu zice:

    Minunat!!!!!!!!😍🤗

    Apreciat de 1 persoană

  3. eduardantoniu zice:

    Foarte interesant ca, inafara de Craciunul pe rit vechi, de pilda cu arsul badnjakului (stejarului) la s^rbi, mai exista o traditie, cred, mai putin cunoscuta. Ieri, de pilda, in Irlanda, a fost Craciunul femeilor (Nollaig na mBan [ – nolao naman] ). In ziua aceea, barbatul, daca e, face el toata traba in casa. Se presupune asadar probabil ca in rest face ea tot, ca in patriarhat. Un fel de, sa zicem, Revelionul lucratorilor din alimentatia publica in predecembrism, cred.

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  4. mihaidg zice:

    noi astia pe stil nou asteptam de-acum Pastele

    Apreciat de 1 persoană

  5. ontelusdangabriel zice:

    Matthew Arnold „The Study of Poetry” 1
    More and more mankind will discover that we have to turn to poetry to interpret life for us, to console us, to sustain us. Without poetry, our science will appear incomplete; and most of what now passes with us for religion and philosophy will be replaced by poetry. Science, I say, will appear incomplete without it. For finely and truly does Wordsworth call poetry “the impassioned expression which is in the countenance of all science”; and what is a countenance without its expression? Again, Wordsworth finely and truly calls poetry “the breath and finer spirit of all knowledge”; our religion, parading evidences such as those on which the popular mind relies now; our philosophy, pluming itself on its reasonings about causation and finite and infinite being; what are they
    but the shadows and dreams and false shows of knowledge? The day will come when we shall wonder at ourselves for having trusted to them, for having taken them seriously; and the more we perceive their hollowness, the more we shall prize “the breath and finer spirit of knowledge” offered to us by poetry.

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  6. ontelusdangabriel zice:

    Matthew Arnold „The Study of Poetry” 2
    But if we conceive thus highly of the destinies of poetry, we must also set our standard for poetry high, since poetry, to be capable of fulfilling such high destinies, must be poetry of a high order of excellence. We must accustom ourselves to a high standard and to a strict judgment. Sainte-Beuve relates that Napoleon one day said, when somebody was spoken of in his presence as a charlatan: “Charlatan as much as you please; but where is there not charlatanism?”—“Yes” answers Sainte-Beuve, “in politics, in the art of governing mankind, that is perhaps true. But in the order of thought, in art, the glory, the eternal honour is that charlatanism shall find no entrance; herein lies the inviolableness of that noble portion of man’s being” [Les Cahiers—ed.]. It is admirably said, and let us hold fast to it. In poetry, which is thought and art in one, it is the glory, the eternal honour, that charlatanism shall find no entrance; that this noble sphere be kept inviolate and inviolable. Charlatanism is for confusing or obliterating the distinctions between excellent and inferior, sound and unsound or only half-sound, true and untrue or only half-true. It is charlatanism, conscious or unconscious, whenever we confuse or obliterate these. And in poetry, more than anywhere else, it is unpermissible to confuse or obliterate them. For in poetry the distinction between excellent and inferior, sound and unsound or only half-sound, true and untrue or only half-true, is of paramount importance. It is of paramount importance because of the high destinies of poetry. In poetry, as in criticism of life under the conditions fixed for such a criticism by the laws of poetic truth and poetic beauty, the spirit of our race will find, we have said, as time goes on and as other helps fail, its consolation and stay. But the consolation and stay will be of power in proportion to the power of the criticism of life. And the criticism of life will be of power in proportion as the poetry conveying it is excellent rather than inferior, sound rather than unsound or half-sound, true rather than untrue on half-true.

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  7. ontelusdangabriel zice:

    Matthew Arnold „The Study of Poetry” 3
    The best poetry is what we want; the best poetry will be found to have a power of forming, sustaining, and delighting us, as nothing else can. A clearer, deeper sense of the best in poetry, and of the strength and joy to be drawn from it, is the most precious benefit which we can gather from a poetical collection such as the present. And yet in the very nature and conduct of such a collection there is inevitably something which tends to obscure in us the consciousness of what our benefit should be, and to distract us from the pursuit of it. We should therefore steadily set it before our minds at the outset, and should compel ourselves to revert constantly to the thought of it as we proceed. Yes; constantly in reading poetry, a sense for the best, the really excellent, and of the strength and joy to be drawn from it, should be present in our minds and should govern our estimate of what we read. But this real estimate, the only true one, is liable to be superseded, if we are not watchful, by two other kinds of estimate, the historic estimate and the personal estimate, both of which are fallacious. A poet or a poem may count to us historically, they may count to us on grounds personal to ourselves, and they may count to us really. They may count to us historically.
    The course of development of a nation’s language, thought, and poetry, is profoundly interesting;
    and by regarding a poet’s work as a stage in this course of development we may easily bring ourselves to make it of more importance as poetry than in itself it really is, we may come to use a language of quite exaggerated praise in criticising it; in short, to overrate it. So arises in our poetic judgments the fallacy caused by the estimate which we may call historic. Then, again, a poet or poem may count to us on grounds personal to ourselves. Our personal affinities, likings and circumstances, have great power to sway our estimate of this or that poet’s work, and to make us attach more importance to it as poetry than in itself it really possesses, because to us it is, or has been, of high importance. Here also we overrate the object of our interest, and apply to it a language of praise which is quite exaggerated. And thus we get the source of a second fallacy in our poetic judgments—the fallacy caused by an estimate which we may call personal.

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  8. ontelusdangabriel zice:

    ***// drăgălășenia algoritmilor/ ei îmi fac viața/ ritualurile cu cefalorahidiana lor semantică nu erau nu sunt decât bravi algoritmi/ orice gest comit/ orice gând îmi trece prin minte/ admit că pun la bătaie o implicită fenomenologie algoritmică/ cuvintele și noțiunile și numerele și operațiile matematice sunt despre aceste semne/ strălucirea lui orion se supune algoritmului/ eu ca să înțeleg această realitate cosmologică mă supun unui algoritm mental/ mișcarea reală virtuală nu poate fi decât astfel/ nu mi-a mai rămas până la urmă nimic de lămurit/ totuși nu știu unde am pus cutia cu algocalmin

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