Bach, Fuga 2, Livro 2, O Cravo Bem Temperado BWV

                                                           Em Breve virá o Prelúdio   :))

Coro Místico da Ópera Fausto, de Liszt

Alles Vergängliche

Ist nur ein Gleichnis;
Das Unzulängliche,
Hier wird's Ereignis;
Das Unbeschreibliche,
Hier ist's getan;
Das Ewig-Weibliche
Zieht uns hinan.

Quelle: Faust 2, V, Bergschluchten. (Chorus Mysticus)

Sur-real Suite Bergamasque!!!

Achille-Claude Debussy (22 August 1862 – 25 March 1918) was a French composer. Along with Maurice Ravel, he was one of the most prominent figures associated with Impressionist music, though he himself disliked the term when applied to his compositions. In France, he was made Chevalier of the Legion of Honour in 1903. Debussy was among the most influential composers of the late 19th and early 20th centuries, and his use of non-traditional scales and chromaticism influenced many composers who followed.

Debussy's music is noted for its sensory content and frequent usage of atonality. The French literary style of his period was known as Symbolism, and this movement directly inspired Debussy both as a composer and as an active cultural participant.

The Suite bergamasque is one of the most famous piano suites by Claude Debussy. Debussy commenced the suite in 1890 at age 28, but he did not finish or publish it until 1905.

The Suite bergamasque was first composed by Debussy around 1890, but was significantly revised just before its publication in 1905. It seems that by the time a publisher came to Debussy in order to cash in on his fame and have these pieces published, Debussy loathed the earlier piano style in which these pieces were written. While it is not known how much of the Suite was written in 1890 and how much was written in 1905, it is clear that Debussy changed the names of at least two of the pieces. "Passepied" was called "Pavane", and "Clair de lune" was originally titled "Promenade Sentimentale." These names also come from Paul Verlaine's poems.

This Suite consists of four movements:
1. Prélude;
2. Menuet;
3. Clair de Lune;
4. Passepied.

It´s Chopin Time

Frédéric François Chopin (22 February or 1 March 1810 – 17 October 1849), born Fryderyk Franciszek Chopin, was a Romantic-era Polish composer. A child prodigy, Chopin was born in what was then the Duchy of Warsaw. He grew up in Warsaw, which after 1815 became part of Congress Poland, and there completed his musical education and composed many of his works before leaving Poland, aged 20, less than a month before the outbreak of the November 1830 Uprising.

At the age of 21 he settled in Paris (obtaining French citizenship in 1835). During the remaining 18 years of his life, he gave only some 30 public performances, preferring the more intimate atmosphere of the salon; he supported himself by selling his compositions and as a sought-after piano teacher, and gained renown as a leading virtuoso of his generation. He formed a friendship with Franz Liszt and was admired by many of his musical contemporaries, including Robert Schumann. After a failed engagement with a Polish girl, from 1837 to 1847 he maintained an often troubled relationship with the French writer George Sand. A brief and unhappy visit with Sand to Majorca in 1838–39 was one of his most productive periods of composition. In his last years, he was financially supported by his admirer Jane Stirling, who also arranged for him to visit Scotland in 1848. Through most of his life, Chopin suffered from poor health; he died in Paris in 1849, probably of tuberculosis.

Chopin´s Prelude Op, 28, #15 (raindrop) 

Chopin's 24 Preludes, Op. 28, are a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839.

Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838–39 and where he had fled with George Sand and her children to escape the damp Paris weather. In Majorca, Chopin had a copy of Bach's The Well-Tempered Clavier, and as in each of Bach's two sets of preludes and fugues, his Op. 28 set comprises a complete cycle of the major and minor keys, albeit with a different ordering.

Whereas the term "prelude" had hitherto been used to describe an introductory piece, Chopin's pieces stand as self-contained units, each conveying a specific idea or emotion. He thus imparted new meaning to a genre title which at the time was often associated with improvisatory "preluding". In publishing the 24 preludes together as a single opus, comprising miniatures that could either be used to introduce other music or as self-standing works, Chopin challenged contemporary attitudes regarding the worth of small musical forms.

Whereas Bach had arranged his collection of 48 preludes and fugues according to keys separated by rising semitones, Chopin chosen key sequence is a circle of fifths, with each major key being followed by its relative minor, and so on (i.e. C major, A minor, G major, etc). Since this sequence of related keys is much closer to common harmonic practice it is thought that Chopin might have conceived the cycle as a single performance entity for continuous recital. An opposing view is that the set was never intended for continuous performance, and that the individual preludes were indeed conceived as possible introductions for other works.

Chopin himself never played more than four of the preludes at any single public performance. Nowadays, the complete set of Op. 28 preludes has become repertory fare, and many concert pianists have recorded the entire set, beginning with Alfred Cortot in 1926.

As with his other works, Chopin did not himself attach names or descriptions to any of the Op. 28 preludes, in contrast to many of Schumann's and Liszt's pieces.

Bach Sinfonia 15; BWV 801

Inventions and Sinfonias (Bach)

The Inventions and Sinfonias, BWV 772–801, also known as the Two- and 

Three-Part Inventions,  are a collection of thirty short keyboard compositions
 by Johann Sebastian Bach (1685–1750): 15 inventions, which are 2-part 
contrapuntal pieces, and 15 sinfonias, which are 3-part contrapuntal  pieces.
 They were originally written as musical exercises for his students.

The two groups of pieces are both arranged in order of ascending key, each group
covering eight major and seven minor keys. 

The inventions were composed in Köthen; the sinfonias, on the other hand, were
probably not finished until the beginning of theLeipzig period.

Adendo de Natal

Stille Nacht - Noite Feliz

Stille Nacht                                                                Noite Quieta (tradução literal)

Stille Nacht, heilige Nacht                                   Noite quieta, noite sagrada
Alles schläft, einsam wacht                                 Tudo dorme, solitário vigília
Nur das traute hochheilige Paar.                      Apenas o confiado, sagrado casal.
Holder Knabe im lockigen Haar,                        Bom Menino em cabelos cacheados,
Schlaf in himmlicher Ruh!                                     Dorme na paz celestial!
Schlaf in himmlicher Ruh!                                     Dorme na paz celestial!

Stille Nacht, heilige Nacht                                   Noite quieta, noite sagrada
Hirten erst kundgemacht                                     Pastores apenas avisados
Durch die Engel Halleluija,                                   Pelos Anjos Aleluia,
Tönt es laut von fern und nah:                            Soa alto de longe e de perto:
Christ, der Retter ist da!                                       Cristo, o salvador aí está!
Christ, der Retter ist da!                                       Cristo, o salvador aí está!

Stille Nacht, heilige Nacht                                    Noite quieta, noite sagrada
Gottes Sohn, o wie lacht                                      Filho de Deus, ó como ri
Lieb' aus deinem göttlichen Mund,                   Amor de sua divina boca,
Da uns schlägt die rettende Stund'                    Aí nos bate a hora salvadora
Christ, in deiner Geburt!                                        Cristo, em teu nascimento!
Christ, in deiner Geburt!                                        Cristo, em teu nascimento!

Letra (original em alemão): Joseph Mohr (1816)
Música: Franz Xaver Gruber (1818)


Noite Feliz

Noite Feliz, Noite Feliz
Ó Senhor, Deus de amor
Pobrezinho nasceu em Belém
Eis a lapa, Jesus nosso bem
Dorme em paz, ó Jesus!
Dorme em paz, ó Jesus!

Noite Feliz, Noite Feliz
Ó Jesus, Deus da luz
Quão afável é teu coração
Que quiseste nascer nosso irmão
E a nós todos salvar!
E a nós todos salvar!

Noite Feliz, Noite Feliz
Eis que no ar vem cantar
Aos pastores, seus Anjos no céu
Anunciando a chegada de Deus
De Jesus salvador!
De Jesus salvador!

Sobre o Mal

Aqui, um pedacinho do "Fausto", quando o doutor se encontra com Mefistófeles pela primeira vez, em seu laboratório.

Primeiro, no original, em alemão; e depois, a minha tradução para o português.

Faust: ...nun gut, wer bist du denn?"

Mephistopheles: Ein Teil von jener Kraft, die stets das Böse will und stets das Gute schafft.

Faust: Was ist mit diesem Rätselwort gemeint?

Mephistopheles: Ich bin der Geist der stets verneint!

                         Und das mit Recht; denn alles was entsteht

                         Ist Wert dass es zu Grunde geht. Drum besser wär's dass nicht entstünde.

                         So ist denn alles was ihr Sünden, Zerstörung, kurz das Böse nennt, mein eigentliches Element.

Fausto: agora, quem és tu então?

Mefistófeles: Uma parte daquela força, que sempre quer o mal e sempre cria o bem.

Fausto: O quê é com esse jogo de palavras intencionado?

Mefistófeles: Eu sou o espírito que sempre nega!

E isto com razão; pois tudo que surge

É válido que vá ao fim. Por isso, melhor seria se não surgisse.

Assim é, então, tudo o quê vocês de Pecados, Destruição, curto O Mal, chamam, meu real elemento.