thegoodfellas/blogset-br huggingface dataset:
the St Stephen narrative as a study for the more complex narrations he envisaged for the later work, which he was writing for television. By far the most brilliant and varied Stravinsky score after Agon, The Flood suffered from the diffuseness demanded by the popular medium; it had to be anecdotal, picturesque and graphic qualities which Stravinsky had long since abandoned in stage ballets. The subject of The Flood, he remarked during discussions with Balanchine, who was choreographing the production, is not the Noah story ... but Sin (1963, p.72); and Robert Craft's adaptation of the Chester and York Mystery Plays duly embraces the whole Old and New Testament cosmology from the Fall to the Redemption in a brisk, emblematic 25 minutes, which, for the transmission on 14 June 1962, CBS extended to an hour with the help of an introductory talk about Flood myths, and various interruptions for commercials by the sponsor, Breck Shampoo surely the apotheosis of targeted marketing. Perhaps luckily, Stravinsky did not see the telecast, as he was in Rome on his way to Hamburg for his 80th birthday celebrations. However eventful the TV production may have been, the music made few concessions to its popular audience. Although the trappings of post-Webernian serialism are applied with unerring wit, it is a wit that requires musical sophistication for its understanding. To see the joke of an ark being built with sharp serial nails then carried away on a flood of rotating waves (preceded by a flicker of combinatorial lightning), one perhaps needs at least to have heard, if not enjoyed, other, more sombre work in this genre. For any such listener, though, The Flood was invigorating proof that in his 80th year Stravinsky had lost none of his creative energy. Though in a sense bitty and short-winded, the music has a centripetal speed which holds it together, from the serial Jacob's ladder of the Prelude through to the so-called Prolepsis [foretelling] of Christianity, ending with the same ladder translated into an image of the Redemption. In between, the work falters only during the spoken narrations, which here (as in Babel and unlike in Oedipus rex) are simply a device for getting through the story, with no oblique or ironic intention. How would Stravinsky and Balanchine have handled such a scenario in a ballet composed for the theatre? One feels that the result would have been more concentrated, more abstract and, probably, simpler. In fact his next work, Abraham and Isaac, gives a clear indication of his late feeling for biblical treatment when external factors did not obtrude. The inspiration for this strangely hermetic masterpiece, for baritone solo and chamber ensemble, seems to have been hearing Isaiah Berlin read biblical Hebrew one day in Oxford in 1961, and by the time Stravinsky made his first visit to Israel at the end of August 1962, the composition was already in hand. Only at this stage was it commissioned. After the Israel trip came the momentous visit to the Soviet Union, in September and October 1962, the first time he had set
foot on Russian soil proper since October 1912. It was momentous, of course, psychologically rather than artistically. According to Craft, who accompanied them, the Stravinskys were profoundly moved by the visit, reverting swiftly to an instinctive Russianism and turning a blind eye to the inconveniences and discomforts of Soviet life. Their abiding emotion, he recorded in his Chronicle of a Friendship, was their deep love of, and pride in, everything Russian (F 1972, enlarged 2/1994, p.317). The composer conducted concerts in Moscow and Leningrad that included Fireworks, Petrushka, The Rite of Spring, Ode and Orpheus. Craft noted that the chief attraction for the audiences was the composer himself, rather than the music, much of it still unfamiliar and difficult for them. But the playing of The Rite of Spring opened Craft's eyes to, and reminded Stravinsky of, aspects of the music's inspirations which had been lost in chromium-plated Western performances: for instance, the dry open bass drum, which makes the beginning of the Danse de la terre sound like the stampede I.S. says he had in mind. They met many Soviet musicians, including Shostakovich, Rozhdestvensky, Oistrakh, the pianist Mariya Yudina, as well as Vladimir Rimsky-Korsakov, and of course Stravinsky's own family, his niece Xenia, and her daughter Yelena. Yet the visit had no consequences. Stravinsky's music was not generally rehabilitated in the USSR for many years afterwards, and he himself seems not to have hankered any more after his homeland. Instead, after concerts in Italy, Venezuela and New York, he returned to Hollywood and resumed work on Abraham and Isaac. The score was completed in March 1963, but not performed until Stravinsky again went to Israel and Craft conducted the piece in Jerusalem and Caesarea in August 1964. The approach here to biblical narrative could hardly be more different from that in The Flood. In place of the picture-book treatment, we now have a cool, abstracted account, by a single voice, tracking syllabically through the text in Hebrew, a language Stravinsky seems to have chosen, not out of deference to the people of the State of Israel (to whom the work was eventually dedicated), but as the ultimate secret sacred language, so secret, in fact, that he himself did not know a word of it and had to be advised by Berlin on the pronunciation and accentuation syllable by syllable. The tone is that of a preacher in the synagogue, lofty but unexcitable, except perhaps at the key passage about multiplying thy seed as the stars of heaven. The texture, essentially decorated monody, varies little; the voice is lightly accompanied almost throughout, and the few moments of thicker chording invariably have an emblematic significance, like the chords framing the episode of the ram in quasi-retrograded rhythm and scoring, which apparently stand for Abraham's obedience and the intervention of God. Abraham and Isaac was to remain Stravinsky's purest and most automatic use of rotations, a fact which has a bearing on the music not least because the numerology clearly refers to the symbolism of the story. Sometimes this is perfectly audible; more often
the listener is aware of a patterning process, in the use of intervals, rhythmic figures or even particular words, by which the 12-minute work is being organized and, so to speak, punctuated; sometimes there are symbolisms which can be uncovered by analysis but scarcely detected in performance. The sense of arcane significations tapering away beyond the vanishing-point of direct apprehension certainly seems an authentic part of the musical experience, and an aspect of the work's subtle fascination. But exactly how such things work is, almost by definition, impossible to observe. Yet another European tour intervened between this and the next work, a set of orchestral variations which Stravinsky, after the novelist's death on 22 November 1963, subtitled Aldous Huxley in memoriam. But on the very same day that Huxley died there was another, more sensational decease, and Stravinsky broke off work on the Variations to compose a short elegy for President Kennedy (whom he had met at a White House dinner in January 1962). The Elegy for J.F.K., completed in March 1964, movingly sets a short poem specially written by Auden (When a just man dies) for mezzo-soprano or baritone with three clarinets, the same basic scoring as for the Berceuses du chat. Stravinsky then returned to the Variations and completed them in August 1964. Where the Elegy lasts about a minute and a half, the Variations are three times as long, but still remarkably compressed and, like Abraham and Isaac, somewhat arcane. There are 12 variations, but no evident theme, and effectively it is the serial grid that is varied. Every rotation device is deployed: the serial ladder, the stacked chords, even the simultaneous playing of 12 distinct rotations in isorhythm. But as with The Flood, what holds the piece together is not any perception this gives of integration, but the sheer speed and energy of the writing itself (which, of course, Stravinsky may have achieved through his own perception of the grid as a unifying device). This is by no means an elegiac piece; the dedication postdates the conception, and the music is generally buoyant in feeling. By contrast, the Introitus which Stravinsky wrote after the death of T.S. Eliot in January 1965 is actually a short setting of the Requiem aeternam, and its imagery includes the tocsin idea already used in A Sermon, a Narrative and a Prayer, as well as muffled drums and a solemn rhythmic parlando for the choir (male voices) in imitation of the drums. The tocsin figures serve as versets between sections of the text, like the organ interludes in the Canticum sacrum. Since many of these devices turn up in the next work, Requiem Canticles, there is a distinct sense of the one as a study for the other, or at least of the two belonging together. Stravinsky was 84 when he completed the Requiem Canticles in August 1966, and perhaps it is fitting that his last substantial work should have been a memorial to somebody he did not know personally (Helen Buchanan Seeger) so that the elegiac tone is objectified and returned to
the status of ritual which the recent, minimalist tributes had to some extent abandoned (though the sketchbook is nevertheless what Craft has called, in his Afterword to Arnold Newman's Bravo Stravinsky, a necrology of friends who died during its composition). The liturgy is admittedly set mainly as a series of headline texts, all from the Proper of the Requiem Mass; only the Libera me is effectively set in full. Most fragmentary of all is the Dies irae, only the title words of which are sung, the rest of the first two verses being set as rhythmic speech like the parlando episodes in the Introitus; then follow a verse of Tuba mirum, two verses of Rex tremendae, and the concluding Lacrimosa. Another aspect of the Eliot tribute which Stravinsky adapts for the Requiem Canticles is ostinato repetition, a device he had otherwise hardly used since The Flood. This serves a kind of antiphony in the prelude (between the pulsing semiquavers of the tutti strings and the gradually expanding dialogue of the concertante group), and in the orchestral interlude, where woodwind polyphonies alternate with phrases of a vestigial funeral march. The Libera me builds up extraordinary emotional intensity by combining chordal chanting with free rhythmic speech as it were, the multitude of dead souls shadowing the living. Then in the postlude, Stravinsky ends his final masterpiece, as he had ended that much earlier masterpiece about marriage and procreation, with chiming bells: serial bells, indeed, since the four-part chords played by celesta, tubular bells and vibraphone, are simply play-throughs of the work's two rows, each in simultaneous prime and inversion. The Requiem Canticles was not the last music Stravinsky wrote. Soon afterwards he composed a simple two-part linear setting for soprano and piano of Lear's The Owl and the Pussy-Cat. Then later there were fragmentary sketches for an orchestral work and transcriptions of Wolf and Bach. But while his physical decline continued, there was mercifully no creative decline, merely a cessation. In 1969, the household moved to New York, partly to be closer to the increasingly heavy medical care Stravinsky needed, partly because of a family crisis specific to the West Coast. The following year, indeed, he recovered sufficiently to spend part of the summer at Evian, on the French shore of Lake Geneva, and here he was visited by his eldest son Theodore and, from Leningrad, his niece Xenia. In New York the following March there was another brief resurgence of creative energy, apparently without issue, and at the end of that month, as the final act of a life of travel and exile, he and Vera moved yet again, from the Essex House to an apartment on Fifth Avenue. Here, barely a week later, the composer died. The funeral was held in New York three days later. However, the body was not interred, but was instead flown to Venice, where, at Vera's wish, it was buried on 14 April, amid considerable pomp, on the cemetery island of San Michele, a few yards from the grave of Serge Diaghilev.11. Posthumous reputation and legacy.Stravinsky's death
removed an artist widely regarded, by 1971, as a figure from the past. Concert audiences were seldom confronted with any work of his from the previous quarter-century, and even in theatrical quarters praise of works later than The Rite of Spring was a lot easier to come by than performances. Meanwhile, in modern music circles his reputation was in the balance. The late serial works, forbidding to lay audiences, were mostly regarded as irrelevant by orthodox avant-garde musicians, while the opposed radical and experimental tendencies rejected them along with the rest of post-Schoenbergian intellectualism. What Ernst Roth called the special and complex relationship between Stravinsky and the age in which he lived (In Remembrance of Igor Stravinsky, Tempo, no.97, 1971, p.6) was certainly not yet generally understood as a consistent, still less as a continuingly active one. A few decades on, it is perhaps possible to describe this relationship in more useful terms. Stravinsky's unique artistic trajectory was crucially that of an exile: an exile, moreover, who had been uprooted at the precise moment that he was tapping down most deeply into his native musical soil. And like all productive exiles, he cultivated a flexible and reciprocal association with his changing environment. While consistently producing work which transformed the sensibilities of those who heard it, he himself continuously allowed his own sensibilities to be fed, even transformed, by the music and music-making of others. This is the only plausible explanation of his astonishing ability to absorb other idioms without ever sacrificing the integrity of his own. He himself was well aware of the trait, and made a joke of it. I am probably describing a rare form of kleptomania, he told Craft (Memories and Commentaries, p.110), who himself remarked (E1992, p.44) that Stravinsky wanted to be influenced. Perhaps no great composer has ever had the creative confidence to steal with such energy, and with so little fear that his own personality would be submerged or distorted in the process. This combination of stylistic diversity and artistic unity and integrity seems to be the main source of Stravinsky's undimmed vitality as a creative force. For younger composers of almost every persuasion, his work has continued to offer inspiration and a source of method. And just as he stole without penalty, it seems that the best of his successors can go on plundering him with at least the hope of impunity. Essentially a pre-postmodern composer, who exploited the diversity and impersonality of the modern age not in any jaded or dissolute spirit but in order to meet its challenges and survive its menaces, he has emerged as the archetypal product of and source for an epoch which now has the doubtful privilege of contemplating those same choices without any comparable threat and at its leisure.* * *(..cont..)
bem distanteMas tao distante, que so o pensamento pode alcancarEis que surgiu um coelhinhoPeludo, feliz e alegrePelos campos a saltitar.E o coelhinho estava sozinho.Depois de algum tempoSentiu-se solitarioA alegria foi emboraE a tristeza logo chegou.Ainda embriagado pelo sonoSurgiu um vulto em sua frenteAquele vulto lhe perguntou o que faltava para sua alegria voltarE o coelhinho entao disse:Nao sei, talvez, com quem brincar.Depois daquele momentoO coelhinho refletiuConcluiu que era loucuraAquele dialogo, nunca existiu.Continuou em sua tristezaA saltitar pelos camposPorem a noite chegouE o sono o dominou.Sentiu entao o coelhinhoComo que algo a lhe cortarE do seu lado esquerdoAlguma coisa retirar.Mas a canseira era tantaQue somente no outro dia foi acordarEntao viu ao seu ladoUm outro coelhinho a saltitar.Sairam entao os dois pelos campos a passear.E ele sempre a observar:O outro coelhinho era diferenteParecia flutuar.A alegria logo retornouE os coelhinhos a brincarEntao eis que surgiu uma vozE comecou a asseverar.De tudo que aqui estaVoces podem utilizarSo nao comam daquelas cenourasQue estao a se multiplicar.E os dias foram passandoE os dois sempre a brincarMas como nada e perfeitoA tristeza comecou a voltar.Entao o outro coelhinho determinou:Vamos comer as cenouras!O primeiro ficou atonitoNao sabia o que falarE nesse impasseO outro comecou a devorar.Sem saber bem o porqueO primeiro tambem comecou a comer.Depois de saciadosSequer podiam se moverTiraram entao uma sonecaPra um novo alvorecer.Acordaram entao os doisDepois de um longo adormecerOlharam-se nos olhosE ai puderam ver.Logo aquela voz surgiu:O que e que voce fez?Desvirtuou minha obra-primaAgora, esta por conta de voces!Ai os coelhinhosForam expulsos daquele lugarComecaram entaoA se multiplicar.E aquele mundoOnde so havia um coelhinhoComecou a aumentarLogo eram muitos, aquele mundo povoar.Percebeu-se que as regrasNem sempre sao pra ajudarFormulas, rimas e campos floridosPodem e vao nos limitar.amigo inconveniente
Sentir-me so, como eu queria!Sentir saudade, lembrar seu cheiroVer seus cabelos pelo chaoE poder imaginar que estiveram em voce.Como eu queria ver seus brincosEsquecidos na cabeceira, desoladosEncontrar rimel e batom perdidosJunto aos sabonetes e remedios.Ver pratos sujos sobre a piaE lembrar do lanche, do filmeDa bebida e das noites mal dormidasQue as festas e o calor nos trazem.Como eu queria falar a seu respeitoComo eu queria te-la em pensamentosComo eu queria querer sua presencaMas voce nunca e. Sempre esta. Rafael Freitas Deixo-lhes o restoE o resto e o tudo.O resto e a poesiaO resto e a literatura.O resto tambem e a musica!Expressao maxima do HomemExpressao maxima da vidaExpressao maxima de mim!Nada mais ha, alem disso!Nao tenho posses.Nao tenho nada!Tenho somente a vida e a musica...e a poesia!Deixo-lhes as arvoresDeixo-lhes o canto.Deixo-lhes a vida!E o que e a vida?Juro que nao seiPois somente a sentiSomente a viviSomente a sofri!Abencoados sejam!Abencoados serao!Isto sou eu!Isto e o que posso lhes oferecer!Amo-os, como nunca alguem amou o outro!renato duran Secadores de plantao, voces vao aparecer dessa vez? Vao continuar falando de libertadores? E isso que voces tem a dizer pra tentar "anular" um titulo brasileiro do Corinthians? Vao falar que tem mais titulos brasileiros e da libertadores? Bom, espero que leiam o que tenho pra dizer ate o fim. A primeira coisa que meu avo (83 anos) me disse quando viu a festa da torcida na avenida foi: "Pode juntar todas as torcidas pra comemorar LIBERTADORES que eles ganharam.. mas essa festa aqui e de uma torcida so e nao importa se e Brasileirao ou qualquer outro campeonato, e a maior festa!". Nossa torcida vibra do comeco ao fim, ganhando ou perdendo. Quantas vezes voce saiu da frente da TV quando seu time estava perdendo? Pois e, nos CORINTHIANOS nunca deixamos de vibrar ate o fim! Entao, antes de TENTAR menosprezar esse titulo, PENSE: Nossa torcida e a que mais incentiva e empurra o time mesmo nas derrotas. E por ironia do destino, um dos maiores idolos do time se foi no mesmo dia do titulo, Socrates.. um mito. E desde o comeco, jogadores com os punhos fechados para o alto, em referencia ao gesto imortalizado pelo "Doutor", deixamos nossa homenagem. Que Libertadores? Que estadio? Nao temos nada disso. Mas que torcida acompanha um time que nao tem um titulo de tanta expressao? E facil responder pra quem e Corinthiano de verdade. Nossa paixao pelo time supera tudo. A raca, a vontade e a vibracao. Se quer moleza, vai torcer pro Barcelona. PARABENS CORINTHIANS! VOCE E CAMPEAO BRASILEIRO DE 2011.Fabricio Cervigni A parede que virou uma portaque virou uma caixaque virou uma janela.A janela puloue o vidro se quebrou.A rosa que estava no jardim adormeceu.O poema e a vidaA vida que e amorQuando a vida se poea graca se vai.Ana Livia Mr. Bean Boa noite traz riso a vontade com sua serie do episodio de numero treze.No hospital, Mr. Bean perde a paciencia nos pacientes ambulatoriais, mas tem um tempo maravilhoso no castelo de Windsor com uma sentinela pertencente a Sua Majestade. Mais tarde, ele sofre
Susto no computador traz video inacreditavel do moleque levando um susto de arrepiar ate para quem assisti.Isso realmente nao tem preco! Eu choro de rir toda vez que vejo essa parte! Agora assista ao video.Agora comente nesse blog. SHAOLIN imitando traz as melhores imitacoes de artistas Brasileiros e ate internacionais.O humorista Shaolin deixou muito para as imitacoes perfeitas de Chico Anysio, Roberta Miranda, Maria Bethania, Bruno & Marrone e ate Michael Jackson no "O Melhor do Brasil". Roberto e Paula agora nosso Rei com nossa Musa cantora sertaneja a famosa Paulinha Fernandes e Roberto Carlos Especial de Natal em Copacabana. Compartilha informacoes a tempo essa e boa e pode ate prevenir exposicoes desnecessarias,saiba o que aconteceu.HUMORUm homem esta entrando no chuveiro enquanto sua mulher acaba de sair e esta se enxugando. A campainha da porta toca. Depois de alguns segundos de discussao para ver quem iria atender a porta a mulher desiste se enrola na toalha e desce as escadas.Quando ela abre a porta, ve o vizinho Nestor em pe na soleira.Antes que ela possa dizer qualquer coisa, Nestor diz: Eu lhe dou 3.000 reais se voce deixar cair esta toalha!Depois de pensar por alguns segundos, a mulher deixa a toalha cair e fica nua... Nestor entao entrega a ela os 3.000 reais prometidos e vai embora.Confusa, mas excitada com sua sorte, a mulher se enrola de novo na toalha e volta para o quarto. Quando ela entra no quarto, o marido grita do chuveiro: Quem era? Era o Nestor, o vizinho da casa ao lado. diz ela. Otimo! Ele lhe deu os 3.000 reais que ele estava me devendo?Se voce compartilha informacoes a tempo, pode prevenir exposicoes desnecessarias.Envie sua piada e sera publicada, deixe nos comentarios. Mc Maloka traz to passando mal Fernando e Sorocaba a topo da lista parodia imperdivel.Muito bem humorada voce vai rir do comeco ao fim.Maloqueiro ataca novamente expressando a sua vida cotidiana na periferia de Sao Paulo ele relata fatos e acontecimentos de sua vida e ele escolhe musicas famosas para transformar em versoes muito criativas.Entao assista ja. Mr. Bean volta a escola traz riso a vontade com sua serie completa do episodio de numero onze.Personagem de humor Britanico.Divirta-se com suas loucuras, jamais tente fazer a mesma coisa. Amor doce para cachorro e como se fosse um doce, video mostra o que acontece apos dois anos longe da dona, cachorra desmaia de emocao no reencontro.A cachorra gritou,chorou e ate desmaiou de tanta alegria apos dois anos de separacao.Rebecca havia deixado os Estados Unidos para estudar na Europa. Veja o momento de carinho entre as duas reencontro emocionante entre uma cachorra e sua dona. Bebe "Gangnam Style" traz coreografia inquestionavel momentos de descontracao dessa crianca com menos de 1 ano de idade.Assista ao video. Frases e fotos curiosas e engracadas para voce rir o dia com sua familia, porque sim. "No Brasil os impostos se atraem.""Quem quiser gostar de mim, tem que ser por amor, porque dinheiro eu nao tenho e beleza ta em falta.""O amor as vezes e como a gasolina. Custa caro, acaba rapido e