Текст песни Л. Коган - И. С. Бах - Чакона
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Здесь расположен текст песни Л. Коган - И. С. Бах - Чакона, перевод и видео.
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") "It's about the" Chacon "/.../ D minor, it's about death, Bach lost Maria-Barbara and two children, and he loved her and loved them, it's written about death Listen to the inexorability, the inevitability of fate. We all die, and try to hear how he is here, in the first part, changing the register, using the quadruple to create the illusion of several violins in dialogue with each other.These create the polyphony that sounds in every person, in all of us. Of these voices will die, others will not .And now a long arcade arpeggio begins, The feeling of concentration of energy is amplified by the movement of three or four strings, do you hear? You can swear that there are at least three violins ./.../ "Chaconne", maybe it's some fluid, multiplying tonal A reality that will never end. /.../ Anguish for the Divine, for what the physical form will never be able to hold ../.../ The second part in majority: the merciful, the deep grief ./.../ Listen, Ka: solace sounds almost triumphantly. It makes the violin sound like pipes. Here, on the one hundred and sixty-fifth bar, he amplifies the effect of fanfare by playing the third finger on the string re in contact with the bipartite tact and playing the open string at the same time. Thus, the overtones are amplified. Listen, this continues until one hundred and seventy-seventh measure. Here begins a quiet, deep joy. With many pauses creating a sense of melancholy. He reconciled himself to death. And it seems that everything is already over. But that's not all. Something more is expected ahead. From the two hundred first clock, the space ship begins to ascend. The second part ends with arpeggio passages, like the first part. And now listen to the beginning of the third part.
We are again in the key in D minor. This is the same chord that Brahms uses in his first piano concerto, in an introductory theme. "Chaconne" is refracted through all the classical music. We are approaching the two hundred and twenty-ninth bar, where Bach uses the biorage, he balances between the open string and the sounds arising on the string. At the same time, tears and power. Returning death from the first part, but now in the light of comfort, and triumph, and calming the heart from the second part. It's music that breaks out of the room. It is such a way to live when death is always near, and yet there is always a lot of strength, energy and compassion. Listen to this: beginning with the two hundred and forty-first bar and 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? That's what I wanted to ask. "(Peter Hyog" Silence ")
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