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A ILHA DOS AMORES – I

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Faleceu Pina Bausch

Mais um tributo à coreógrafa e bailarina alemã Pina Baush que faleceu.

Mas que tributo?

Só o facto de ter provado que um grande bailarino pode ser grande bailarino até alta idade, já é algo para reconhecidamente lhe agradecer.

Uma famosa soprano disse que só cantava determinado papel operático depois de ser avó!

É que, como grande artista, depois de se ter vivido e sofrido, estou convencida, tem-se a dizer o que não se pode dizer nem saber antes.

No caso da dança moderna e contemporânea, que se propaga como libertadora de espartilhos; que diz proporcionar menos prisão à forma fixa das posições e dos passos do ballet clássico; e mais incidência na expressão, no interior, no expontâneo, no real, nem sempre se justifica o mesmo tipo de exigência puramente física, de competição mortal e de tirania que por vezes imperou no mundo da dança. Pode haver menos capacidade atlética a partir de certa idade, mas se a alma e a consciência cresceram em contrapartida… então essa fará possível uma outra dança, que falta tem feito à humanidade e que vai além do palco e das grandes estrelas.

Le Sacre du Printemps

Orphée et Eurydice, é muito bonito. Podem ver esse bailado no                  Valquírio

Tea ceremony – Cerimónia do chá

Five oclock tea,    by    Mary Cassat                       (Como Mary Cassat é inconfundível!)


The wide spread “english custom” of drinking tea in the afternoon, with careful atention and preparation, is an old portuguese tradition, and was brought to England by the Portuguese.

Tea drinking  was introduced to the British court by portuguese Catarina de Bragança, who married King Charles II in 1662. For this to be possible, and in order to go on enjoying tea in England, she brought in her dowry a chest full of Chinese tea leaves (precious, and worth a fortune at that time).





O Melhor Café

Dos melhores blogues que conheci:   

República do Café VIDA E CULTURA DE CAFÉ

Eu, que ainda não cheguei ao tempo (nunca se sabe o futuro) de frequentar cafés, gostei deste a valer. Ao menos lá, sim, vê-se boa gente, ouvem-se pessoas inteligentes, encontram-se artistas… e muito mais.

O que se segue é um extracto:

Para o café!

Quando estás preocupado ou tens algum problema − para o café!

Quando ela falta ao encontro, por uma razão ou por outra − para o café!

Quando os teus sapatos estão velhos e rotos − café!

Quando o teu rendimento é de quatrocentas coroas e gastas quinhentas − café!

Na repartição fazes cera, embora ambicionasses honras profissionais − café!

Não conseguiste encontrar o teu par ideal − café!

Tens vontade de cometer suicídio − café!

Detestas e desprezas os seres humanos, mas ao mesmo tempo não consegues
passar sem eles − café!

Compões um poema que não consegues impingir aos amigos que passam na
rua − café!

Quando o teu carvão se acabou e a ração de gás se esgotou − café!

Quando ficas fechado na rua e não tens dinheiro para mandar abrir a porta − café!

Quando arranjas uma nova paixão e desejas provocar a antiga, levas a nova ao
− café da antiga!

Quando te queres esconder, mergulhas num − café!

Quando queres ser visto num fato novo − café!

Quando já não consegues nada fiado em qualquer outro sítio − café!

Peter Altenberg

© Tradução de J.B.

fotografia: Peter Altenberg no Café Central,
Viena, 1907.

E já agora o link, para um artigo de 2006, com biografias dos frequentadores do Café Central de Viena, não excluindo as mulheres – Milena Jesenská,Alma Mahler-Werfel, e mais, muito mais.

Amar


L’Ange Bleu
Chagall

La Mariee by Marc Chagall

La Mariee by Marc Chagall

.

.

AMAR

O segredo é Amar… Amar a Vida
Com tudo o que há de bom e mau em nós…
Amar a hora breve e apetecida,
Ouvir todos os sons em cada voz
E ver todos os céus em cada olhar…

Amar por mil razões e sem razão…
Amar, só por amar,
Com os nervos, o sangue, o coração…
Viver em cada instante a eternidade
E ver, na própria sombra, claridade.

O segredo é amar mas amar com prazer,
Sem limites, sem linha de horizonte…
Amar a Vida, a Morte, o Amor!
Beber em cada fonte,
Florir em cada flor,
Nascer em cada ninho,
Sorver a terra inteira como um vinho…

Amar o ramo em flor que há-de nascer
De cada obscura e tímida raiz…
Amar em cada pedra, em cada ser,
S. Francisco de Assis…
Amar o tronco velho, a folha verde,
Amar cada alegria, cada mágoa,
Pois um beijo de amor jamais se perde
E cedo refloresce em pão, em água!

Fernanda de Castro


Trinta e Nove Poemas / Líricas Portuguesas. 2.ª Série
(edição de Cabral do Nascimento)

Quizz: Que obra é esta? – Este é fácil.

First Steps (after Millet)

As obras na casa… são o caminho para as Obras!!

Ai que bom! Ter qualquer coisa assim como uma cazinha, modesta mas catita, feita e resguarda, para me poder concentrar nos estudos…! …

Quizz

Vou continuar com os Quizz de pinturas, que me parece uma forma interessante de nos aproximarmos das grandes Obras. Quem sabe como se chama este quadro? E o ano, e em que Museu está? O que se prentende é que, se lhe apetece participar, tente dizer qualquer coisa sobre o trabalho – o quê, é livre: informação de factos históricos relacionados com o quadro, ou o que vê e o que gosta ou não gosta, porquê, etc. Medite talvez uns diazitos… deixe esta cópia do quadro actuar sobre si… as cores, as figuras… o que o faz sentir?

Portanto estruture assim a sua resposta: quadro tal. Factos históricos: tal, tal, (se for o caso e se possível, dê as referências). Apreciação Pessoal: tal, tal, tal. Isto pode ser também alguma história que tenha relacionada com o quadro, ou algo da sua infância que ele o faça lembrar.
Ao deixar o quadro actuar sobre si, ao procurar senti-lo, está a aproximar-se de uma compreensão da obra que o autor apreciaria muito acima da simples leitura de rótulos e catálogos.

É para responder aqui, por favor. Não faz mal colocar logo as respostas… tente apenas dizer mais sobre o quadro se souber, ter a melhor história entre os concurrentes. No fim, eu posso publicar a sua resposta, por baixo do quadro – se gostar, claro!

Se alguém já respondeu e você pensa que está certo, pode confirmar e acrescentar qualquer coisa que queira relacionado com o quadro. Use a imaginação.

Mais tarde, quando formos mais, posso passar a pedir para responder no A Arte, tendo lá os comentários moderados, para que não se saiba. Mas por enquanto, comecemos assim.

Subir a Encosta, o Céu e Georgia O’keeffe

[ladder+to+the+moon+georgia+O'keeffe.jpg]

Ladder to The Moon(1958)Georgia O’Keeffeno A Room of One’s Own

Amiga, Ouve:

Quando subimos ( o A. ) uma montanha, só consideramos um lado da encosta, aquele que está debaixo dos nossos pés.

É esta a situação da Humanidade! Tem passado a vida neste entretenimento. A de considerar somente o caminho que tem debaixo dos seus pés, e querendo desconsiderar os outros lados, ou considerá-los o mal, ou até mesmo eliminá-los, sem entender que as linhas verticais, e que as escadas de um só lado não se seguram de pé!! Uma colina, um monte, tem no mínimo, quatro lados… e tudo muda se se percepcionar isso enquanto se escala.

Este tema da Escada para o Céu, é um dos meus antigos e predilectos! No entanto, hoje de manhã, mesmo à bocado, estive reflectindo sobre esse assunto. Foi esta acima a reflexão – estava ainda na janela aberta do meu blog, quando fui ter ao teu postal, Isabel… Estive mesmo com essa imagem do Ladder to The Moon da Georgia O’keeffe na mente, ao mesmo tempo que tu, aí, do outro lado do Globo, compunhas Ready for An Hour. 🙂

E é tão rico, o tema. Não terminam aqui as reflexões…

(Há um outro trabalho da ”Escada para o Céu” – como eu lhe chamo – que quero também publicar, mas não encontrei agora.)

Não é incrível? Estamos ligadas pela nosso caminho para o Céu!…

Assunção de Maria – Murillo

Assumption.jpg
Bartolome Murillo

 

 

In Eastern Christianity

In the Eastern Orthodox, Oriental Orthodox and Eastern Catholic Traditions, the Ever-Virgin Mary, the Theotokos, died, after having lived a holy life. Eastern Christians do not believe in the immaculate conception, on the contrary believing that she was the best example of a human lifestyle. Eleven of the apostles were present and conducted the funeral. St Thomas was delayed and arrived a few days later. Wanting to venerate the body, the tomb was opened for St Thomas. It was revealed that the body of the Theotokos was gone. It was their conclusion that she had been taken, body and soul into heaven. While every Orthodox Christian believes this to be true, the Orthodox have never formally made it a doctrine. It remains a holy mystery. The Eastern Orthodox celebrate this event on the 15th of August. The Oriental Orthodox celebrate it on August 22. The feast day of the Dormition (“falling asleep”) of the Theotokos is preceded by a two week fasting period.

[edit] Anglican Recognition of the Blessed Virgin Mary

Mary’s special position within God’s purpose of salvation as “God bearer” (theotokos) is recognised in a number of ways by some Anglican Christians. The Church affirms in the historic creeds that Jesus was born of the Virgin Mary, and celebrates the feast days of the Presentation of Christ in the Temple. This feast is called in older prayer books the Purification of the Blessed Virgin Mary on 2 February. The Annunciation of our Lord to the Blessed Virgin on March 25 was from before the time of Saint Bede until the 18th century New Year’s Day in England. The Annunciation is called the “Annuncation of our Lady” in the 1662 Book of Common Prayer. Anglicans also celebrate in the Visitation of the Blessed Virgin on May 31, though in some provinces the traditional date of July 2 is kept. The feast of the St. Mary the Virgin is observed on the traditional day of the Assumption, August 15. The Nativity of the Blessed Virgin is kept on September 8.

The Conception of the Blessed Virgin Mary is kept in the 1662 Book of Common Prayer, on December 8. In certain Anglo-Catholic parishes this feast is called the Immaculate Conception. Again, the Assumption of Mary is believed in by most Anglo-Catholics, but is in considered a pious opinion by moderate Anglicans. Protestant minded Anglicans reject the celebration of these feasts.

Prayer to and with the Blessed Virgin Mary varies according to churchmanship. Low Church Anglicans rarely invoke the Blessed Virgin except in certain hymns, such as the second stanza of Ye Watchers and Ye Holy Ones. Anglo-Catholics, however, frequently pray the rosary, the Angelus, Regina Caeli, and other litanies and anthems of Our Lady. The Anglican Society of Mary maintains chapters in many countries. The purpose of the society is to foster devotion to Mary among Anglicans.

[edit] Christian Veneration of Mary

 

The oldest-known image of Mary depicts her nursing the Infant Jesus. 2nd century, Catacomb of Priscilla, Rome.

 

The oldest-known image of Mary depicts her nursing the Infant Jesus. 2nd century, Catacomb of Priscilla, Rome.

Catholic, Orthodox and some Anglican Christians venerate Mary, as do the non-Chalcedonian or Oriental Orthodox, a communion of churches that has been traditionally deemed monophysite (such as the Coptic Orthodox Church of Egypt and the Ethiopian Tewahedo Church). This veneration especially takes the form of prayer for intercession with her Son, Jesus Christ. Additionally it includes composing poems and songs in Mary’s honor, painting icons or carving statues of her, and conferring titles on Mary that reflect her position among the saints. She is also one of the most highly venerated saints in both the Catholic and the Eastern Orthodox Churches; several major feast days are devoted to her each year. (See Liturgical year.) Protestants have generally paid only a small amount of reverence to the Blessed Virgin compared to their Anglican, Catholic, and Orthodox counterparts, often arguing that if too much attention is focused on Mary, there is a danger of detracting from the worship due to God alone. By contrast, certain documents of the Second Vatican Council, such as chapter VIII of the Dogmatic Constitution Lumen Gentium [2] describe Mary as higher than all other created beings, even angels: “she far surpasses all creatures, both in heaven and on earth”; but still in the final analysis, a created being, solely human – not divine – in her nature. On this showing, Catholic traditionalists would argue that there is no conflation [3] of the human and divine levels in their veneration of Mary.

 

Nicolas Froment, 1476: a major commission from René I of Naples for the cathedral at Aix-en-Provence shows the apparition in the Burning Bush as the Blessed Virgin in a bower of flaming roses.

 

Moses and the Burning Bush: Nicolas Froment, 1476: a major commission from René I of Naples for the cathedral at Aix-en-Provence shows the apparition in the Burning Bush as the Blessed Virgin in a bower of flaming roses.

The major origin and impetus of veneration of Mary comes from the Christological controversies of the early church – many debates denying in some way the divinity or humanity of Jesus Christ. So not only would one side affirm that Jesus was indeed God, but would assert the conclusion that Mary was “Mother of God”, although some Protestants prefer to use the term “God-bearer”.[citation needed] Catholics and Protestants agree however, that “Mother of God” is not intended to imply that Mary in any way gave Jesus his Divinity.

Both Catholics and Orthodox, and especially Anglicans, make a clear distinction between such veneration (which is also due to the other saints) and adoration which is due to God alone. (The term worship is used by some theologians to subsume both sacrificial worship and worship of praise, e.g. Orestes Brownson in his book Saint Worship. The word “worship”, while commonly used in place of “adoration” in the modern English vernacular, strictly speaking implies nothing more than the acknowledgement of “worth-ship” or worthiness, and thus means no more than the giving of honor where honor is due [e.g. the use of “Your Worship” as a form of address to judges in certain English legal traditions]. “Worship” has never been used in this sense in Catholic literature when referring to the veneration of the Blessed Virgin). Mary, they point out, is not divine, and has only such powers to help as are granted to her by God in response to her prayers. Such miracles as may occur through Mary’s intercession are ultimately the result of God’s love and omnipotence. Traditionally, Catholic theologians have distinguished three forms of honor: latria, due only to God, and usually translated by the English word adoration; hyperdulia, accorded only to the Blessed Virgin Mary, usually translated simply as veneration; and dulia, accorded to the rest of the saints, also usually translated as veneration. The Orthodox distinguish between worship and veneration but do not use the “hyper”-veneration terminology when speaking of the Theotokos. Protestants tend to consider “dulia” too similar to “latria”.

 

Our Lady of Vladimir, one of the holiest medieval representations of the Virgin.

 

Our Lady of Vladimir, one of the holiest medieval representations of the Virgin.

The surge in the veneration of Mary in the High Middle Ages owes some of its initial impetus to Bernard of Clairvaux. Bernard expanded upon Anselm of Canterbury‘s role in transmuting the sacramental ritual Christianity of the Early Middle Ages into a new, more personally held faith, with the life of Christ as a model and a new emphasis on the Virgin Mary. In opposition to the rationalist approach to divine understanding that the schoolmen adopted, Bernard preached an immediate faith, in which the intercessor was the Virgin Mary. “the Virgin that is the royal way, by which the Savior comes to us.” “Bernard played the leading role in the development of the Virgin cult, which is one of the most important manifestations of the popular piety of the twelfth century. In early medieval thought the Virgin Mary had played a minor role, and it was only with the rise of emotional Christianity in the eleventh century that she became the prime intercessor for humanity with the deity.” (Cantor 1993 p 341)

Some early Protestants venerated and honored Mary. Martin Luther said Mary is “the highest woman,” that “we can never honour her enough,” that “the veneration of Mary is inscribed in the very depths of the human heart,” and that Christians should “wish that everyone know and respect her.” John Calvin said, “It cannot be denied that God in choosing and destining Mary to be the Mother of his Son, granted her the highest honor.” Zwingli said, “I esteem immensely the Mother of God,” and, “The more the honor and love of Christ increases among men, so much the esteem and honor given to Mary should grow.” Thus the idea of respect and high honour was not rejected by the first Protestants; but, they came to criticize the Catholics for blurring the line, between high admiration of the grace of God wherever it is seen in a human being, and religious service given to another creature. The Catholic practice of celebrating saints’ days and making intercessory requests addressed especially to Mary and other departed saints they considered (and consider) to be idolatry. With the exception of some portions of the Anglican Communion, Protestantism usually follows the reformers in rejecting the practice of directly addressing Mary and other saints in prayers of admiration or petition, as part of their religious worship of God. Protestants will not typically call the respect or honor that they may have for Mary veneration because of the special religious significance that this term has in the Catholic practice.

Today’s Protestants acknowledge that Mary is “blessed among women” (Luke 1:42) but they do not agree that Mary is to be venerated. She is considered to be an outstanding example of a life dedicated to God. Indeed the word that she uses to describe herself in Luke 1:38 (usually translated as “bond-servant” or “slave”)[36] refers to someone whose will is consumed by the will of another – in this case Mary’s will is consumed by God’s. Rather than granting Mary any kind of “dulia”, Protestants note that her role in Scripture seems to diminish – after the birth of Jesus she is hardly mentioned. From this it may be said that her attitude paralleled that of John the Baptist who said “He must become greater; I must become less” (John 3:30)

 

Assunção na pintura: Gonçalves e El Greco

https://i2.wp.com/www.uc.pt/artes/6spp/imagens/andre-goncalves_assuncao1.jpg

André Gonçalves, 1686-1762

Assunção de Nossa Senhora
c. 1730, óleo sobre tela
Palácio Nacional de Mafra
Mafra, Portugal

 

https://i1.wp.com/members.aol.com/jocatholic/mary11.jpg

El Greco

 

 

(Possíveis ponderações acerca do significado da Assumção – aqui –

mas haverá melhores…)

 

A Lua-Cheia sobre o Rio, e Van Gogh

Vincent van Gogh 1853-1890

Hoje tenho a felicidade de ver a Lua-cheia sobre o Tejo!… E as cigarras ao fundo…

E as noites como ele as pintou.

A 29 de Julho de 1890, o grande pintor partiu de mãos vazias, sem a comunicação, a comunhão que procurava, nem conforto. Deixou-nos o olhar que vê a Vida.

https://i0.wp.com/upload.wikimedia.org/wikipedia/commons/6/69/VanGogh-starry_night_edit.jpg

The Starry Night, June 1889 Paris, Arles, St.-Rémy, Auvers-sur-Oise

“Can we see the whole of life or only know a hemisphere of it before death? I’ve no idea of the answer myself. But the sight of stars always sets me dreaming…”

“Why, I ask myself, shouldn’t the shining dots of the sky be as accessible as the black dots on the map of France? Just as we take the train to get to Tarascon or Rouen, we take death to reach a star.”

(The Museum of Modern Art, New York. Clique na imagem seguinte

Starry Night Over the Rhone.jpg

Starry Night Over the Rhone
Vincent van Gogh, 1888
Oil on canvas
72.5 × 92 cm
Musée d’Orsay, Paris


“It is not the language of painters but the language of nature which one should listen to…. The feeling for the things themselves, for reality, is more important than the feeling for pictures.”

“We spend our whole lives in unconscious exercise of the art of expressing our thoughts with the help of words.”

“To do good work one must eat well, be well housed, have one’s fling from time to time, smoke one’s pipe, and drink one’s coffee in peace.”

“I am not an adventurer by choice but by fate.”

Vincent Van Gogh

Ballet e Música; e as duas Musas

Estreei há pouco tempo uma ”morada” especial para postar (é assim que se diz?) sobre música ou dança; na maioria das vezes, é a propósito dos videos youtube que encontro, com música e músicos de que gosto muito, ou de ballets e bailarinos fantásticos:

Essa morada é

LIRA DE TERPSICHORE

Visualizar

Nada que possas ter te dará satisfação, se não o puderes partilhar com alguém.

disse Séneca

Terpsichore é a Musa da dança, e da música feita e cantada em grupo; dos coros que acompanhavam a dança, etc., da música de lira e de harpa. Em contrapartida com a música de flauta, por exemplo, cuja musa é Euterpe. Porquê? Porque no primeiro caso a música é produzida por várias cordas que têem que soar em Harmonia. Enquanto que a flauta é um instrumento melódico

Assim a música de coro, ou um coro de dança, ou um grupo de bailarinos, tinham o mesmo significado que a lira ou a harpa.
PS – Terpsichore é também considerada a Deusa Mãe das Sereias, igualmente famosas pelo seu canto.

PPS – Os videos da Sylvie Guillem dançando o Manon de Massenet, são há meses dos posts mais procurados aqui na Ilha.

Pentecostes 1 – Dia de festa transbordante…


Giotto
Pentecost
c. 1305
Scrovegni Chapel, Padua


https://i2.wp.com/www.christusrex.org/www1/francis/SNT-pentecost-m.jpg

Artwork: Pentecost
Artist: GIOTTO di Bondone
Date: 1290s
Technique: Fresco
Location: San Francesco, Assisi
Notes: Scenes from the New Testament
Subject: The Descent of the Spirit

Pentecost – Duccio di Buoninsegna (1308) Tempera on wood
Museo dell’Opera del Duomo, Siena

Spiritus Dómini replévit orbem terrárum, et hoc quod continet ómnia sciéntiam habet vocis, Alleluia.

The Spirit of the Lord fills the whole world, and holds all things together and knows every word spoken by man, Alleluia.

(Wisdom 1:7 – Entrance Antiphon for Mass for Pentecost. )

 

The image “https://i1.wp.com/gallery.euroweb.hu/art/a/andrea/firenze/thspsiri.jpg” cannot be displayed, because it contains errors.

 

Descent of the Holy Spirit
Artist: ANDREA da Firenze
Date: 1365-68
Technique: Fresco
Location: Santa Maria Novella, Florence

 

image/Altar.jpg, 129,5K

Pfingsten
Whitsun

Westfälischer Altar
ca. 1370/80

Pentecost

Pentecost
Vicente Juan Macip, called Juan de Juanes
Spanish, c. 1510–d. 1579
Oil on panel

PROVENANCE: Tupper Collection; Sold at Christie’s, June 14, 1875; Sir Gilbert Lewis, London; F. Kleinberger & Co., 1954; BJU, 1954.

Juan de Juanes studied the Italian masters, especially Raphael. Though Spanish-born, he settled in Valencia, Italy, where he built his career by painting religious works.

In this scene, the Holy Spirit indwells the disciples while tongues of fire hover symbolically over their heads (Acts 2:1-4). De Juanes’ balanced composition derives from High Renaissance art, yet the colors and various poses seem more Mannerist in style. The artist repeats facial types, changing only the hair to create different characters. This device, typical of de Juanes’ paintings, reflects his probable dependence on cartoon sketchbooks rather than on actual models.

This Pentecost is the finest example of this artist’s work in the country.


https://i1.wp.com/www.joyfulheart.com/pentecost/images/elgreco_pentecost430x978.jpg

El Greco, The Pentecost (1596-1600), Oil on canvas, 275 x 127 cm, Museo del Prado, Madrid.

”Ressurreição” de Mahler

Mahler: Symphony No. 2 (Resurrection) – UC Davis

– 87min – ‘RESURRECTION’ Regina Symphony Orchestra – Conexus Arts Centre

– – Conducting Gustav Mahler’s Symphony No. 2 in C minor is better than sex, or so Victor Sawa, the musical director of the Regina Symphony Orchestra, has heard.

After spending the past week with rehearsals, Sawa will get the chance to find out for himself Saturday when the RSO presents Resurrection.

Mahler’s Symphony No. 2 is no small affair.

The piece also requires a mixed choir and two vocal soloists. World-renowned singers, soprano Monica Huisman and mezzo-soprano Sarah Fryer, along with the Regina Philharmonic Chorus, have stepped in to do the job.

Mahler’s piece also involves more musicians than the RSO has. Mahler’s symphony requires more than 90. The RSO only has about 60 regular musicians.

Sawa was able to borrow some extra musicians.

“We have musicians coming out of the woodwork,” said Sawa. “There coming from all over Saskatchewan and some of them are even from out of province.”

Some of these visiting musicians will play offstage for acoustic and dramatic effect.

For instance, in one part of the symphony, offstage horns play against onstage flutes signifying the last sound heard on earth prior to Judgment Day.

Mahler’s Symphony No. 2 is about death. The first movement signifies a funeral and asks the question: “Is there life after death?” The movement sounds like a funeral march and can be angry and violent.

The second movement reflects on the joyous times in the life of the deceased.

The third movement is about a complete loss of faith and contemplates the possible meaninglessness to life.

The fourth movement is about a rebirth of faith. Fryer, who sings during this movement, is supposed to sound like a child in heaven.

The fifth movement revisits the doubting in the third movement, but eventually returns to faith. The deceased person will always be remembered and have eternal life, said Sawa.”It ends on a positive note,” he said.

Mahler’s Symphony No. 2 is 85 minutes long. The final movement itself is 30 minutes long.

Mahler hadn’t intended on writing such a lengthy piece. The symphony began as Totenfeier (Funeral Rites). It was a one movement symphonic poem, which was written in 1888.

Five years later, Mahler added three more movements to the piece. He then set the work aside.

“He didn’t know how to end it. Then he went to a friend’s funeral and heard a poem read and it clicked. He was inspired to write the last movement,” said Sawa, referring to the funeral of conductor Hans von Bulow, where a part of the poem Die Auferstehung (The Resurrection) was read.

Mahler’s Symphony No. 2 holds a special place in Sawa’s heart. He first heard the piece while in high school.

It was a life changing event, which inspired him to pursue a musical career. Fifteen year’s later, Sawa, who plays the clarinet, had the chance to play the piece with the Kitchner-Waterloo Orchestra. The conductor of that orchestra gave Sawa the chance to conduct a couple of bars from Symphony No. 2, which made Sawa realize he wanted to be a conductor.

“I thought I have to do this,” said Sawa about both his career as a conductor and wanting the chance to conduct Symphony No. 2.

Conducting Symphony No. 2 has its challenges. Since some of the musicians are off stage, they have to watch Sawa conduct from close-circuit TVs.

© The Leader-Post (Regina) 2007

 

Sózinha

Solitude

Frederic Leighton. 1830 – 1896 – Solidão.

Sylvie Guillem: Evidentia, e Willem Forsythe – Pausas em movimento

video

Sylvie Guillem – Evidentia (Evidence)
05:57

Sylvie Guillem num velho documentário, ensaiando com o coreógrafo Willem Forsythe.

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