rubl
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Post by rubl on Aug 28, 2017 23:05:47 GMT 7
Oh, the Magic of the Moment.
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buhi
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Post by buhi on Aug 29, 2017 13:12:56 GMT 7
Oh, the Magic of the Moment. Nazi era[edit] Orff's relationship with German fascism and the Nazi Party has been a matter of considerable debate and analysis. His Carmina Burana was hugely popular in Nazi Germany after its premiere in Frankfurt in 1937. Given Orff's previous lack of commercial success, the monetary factor of Carmina Burana's acclaim was significant to him. But the composition, with its unfamiliar rhythms, was also denounced with racist taunts.[9] He was one of the few German composers under the Nazi regime who responded to the official call to write new incidental music for A Midsummer Night's Dream after the music of Felix Mendelssohn had been banned.[10] Defenders of Orff note that he had already composed music for this play as early as 1917 and 1927, long before this was a favor for the Nazi regime. Orff was a friend of Kurt Huber, one of the founders of the resistance movement Weiße Rose (the White Rose), who was condemned to death by the Volksgerichtshof and executed by the Nazis in 1943. Orff by happenstance called at Huber's house on the day after his arrest. Huber's distraught wife, Clara, begged Orff to use his influence to help her husband, but he declined her request. If his friendship with Huber was ever discovered, he told her, he would be "ruined". On 19 January 1946 Orff wrote a letter to the deceased Huber. Later that month, he met with Clara Huber, who asked him to contribute to a memorial volume for her husband. Orff's letter was published in that collection the following year.[11] In it, Orff implored him for forgiveness.[4][12] He had a long friendship with German-Jewish musicologist, composer and refugee Erich Katz,[13] who fled Nazi Germany in 1939. Denazification[edit] Bust of Carl Orff in the Munich Hall of Fame (2009) According to Canadian historian Michael H. Kater (de), during Orff's denazification process in Bad Homburg, Orff claimed that he had helped establish the White Rose resistance movement in Germany.[4] There was no evidence for this other than his own word, and other sources dispute his claim. Kater also made a particularly strong case in his earlier writings that Orff collaborated with Nazi German authorities.[14]
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rubl
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Post by rubl on Aug 29, 2017 16:12:12 GMT 7
^^|
I vaguely, but only vaguely remember (and am too lazy busy to do some research) but I thought that most if not all of the texts came from the old documents as found around 1800 or so. The texts being from 11 till 13th century.
As such Carl Orff only put two dozen poems/songs/whatever to music. Some of the music seems 'triumphant' and 'kriegerisch' (still remember the nice soundtrack at certain scenes in Arnie Conan the Barbarian).
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buhi
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Post by buhi on Aug 29, 2017 18:31:38 GMT 7
^^| I vaguely, but only vaguely remember (and am too lazy busy to do some research) but I thought that most if not all of the texts came from the old documents as found around 1800 or so. The texts being from 11 till 13th century. As such Carl Orff only put two dozen poems/songs/whatever to music. Some of the music seems 'triumphant' and 'kriegerisch' (still remember the nice soundtrack at certain scenes in Arnie Conan the Barbarian). Statues.
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buhi
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Post by buhi on Aug 29, 2017 18:39:05 GMT 7
When the Hungarian government began introducing ‘Jewish laws’ in 1938 which mirrored the Nazis’ Nuremberg Laws, Bartók joined a group of non-Jewish intellectuals who protested. Dénes Koromzay, violist in the world-renowned Hungarian String Quartet, who specialised in performing works by Bartók, spent the war in the Netherlands. He described Bartók as ‘one of the most direct and outspoken men in the world,’ and commented that Bartók ‘made such strong anti-Nazi statements that he would have been the first to be picked up by the Gestapo when they came, or even by the Hungarian Nazis when they eventually came into power.’ Bartók began to send his manuscripts via Switzerland to Boosey & Hawkes in London, but he did not feel able to leave Budapest while his mother was still alive.
In 1939 he travelled to Italy to perform with his wife, Ditta, and began composing his String Quartet No. 6; 1939 was actually his most productive year. This quartet would be his last work finished in Hungary, and is a very personal, emotional work. All four of the movements begin with the same lamenting theme, and are all marked mesto (sadly). His manuscripts reveal that he intended for the final movement to be a lively dance, but when his mother died in December 1939 he re-wrote the final movement as an elegy.
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buhi
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Post by buhi on Aug 29, 2017 18:40:56 GMT 7
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bowie
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Post by bowie on Aug 29, 2017 19:18:25 GMT 7
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bowie
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Post by bowie on Aug 29, 2017 19:25:14 GMT 7
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buhi
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Post by buhi on Aug 29, 2017 20:02:01 GMT 7
`No one owns life, but anyone who can pick up a Fryingpan owns death.' William Burroughs
To whom it may concern: As my imminent death is hourly expected these days/ carbrakes screaming on East Lancs tarmac/trapped in the blazing cinema/mutely screaming I TOLD YOU SO from melting eyeballs as the whitehot fireball dissolves the Cathedral/being the first human being to die of a hangover/ dying of overemotion after seeing 20 schoolgirls waiting at a zebracrossing.
I appoint Messrs Bakunin and Kropotkin my executors and make the following provisions:
1. I leave my priceless collections of Victorian Oil Lamps, photographs of Hayley Mills, brass fenders and Charlie Mingus records to all Liverpool poets under 2 3 who are also blues singers and failed sociology students.
2. I leave the entire East Lancs Road with all its landscapes to the British people.
3. I hereby appoint Wm. Burroughs my literary executor, instructing him to cut up my collected works and distribute them through the public lavatories of the world.
4. Proceeds from the sale of relics: locks of hair, pieces of floorboards I have stood on, fragments of bone flesh teeth bits of old underwear etc. to be given to my widow.
5. I leave my paintings to the Nation with the stipulation that they must be exhibited in Public Houses, Chip Shops, Coffee Bars and the Cellar Clubs throughout the country.
6. Proceeds from the sale of my other effects to be divided equally amongst the 20 most beautiful schoolgirls in England (these to be chosen after due deliberation and exhaustive tests by an informal committee of my friends).
Adrian Henri Jan. ‘64 Witnessed this day by: James Ensor Charlie `Bird' Parker. Adrian Henri
Yes Adrian had a fetish for schoollgirls and knickers. Not i.
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buhi
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Post by buhi on Aug 30, 2017 18:43:39 GMT 7
I have no problem with these ancient lyrics. Neither do i have a problem with the tune. I do with the composer; likewise Wagner. Great stirring stuff.
Richard Straus composed stirring stuff, anti Wagner, and let's not omit Bartok.\But they were not anti semitic. So Orf, i forgive you, but those that knew you will (would) not.
O Fortuna (O Fortune)
velut luna (like the moon)
statu variabilis (you are changeable)
semper crescis (always waxing)
aut decrescis; (and waning;)
vita detestabilis (hateful life)
nunc obdurat (first oppresses)
et tunc curat (and then soothes)
ludo mentis aciem, (as fancy takes it)
egestatem, (poverty)
potestatem (and power)
dissolvit ut glaciem. (it melts them like ice.)
Related
Read more: Carl Orff - O Fortuna Lyrics | MetroLyrics
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rubl
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Post by rubl on Aug 30, 2017 18:55:23 GMT 7
Well, we've got this far now
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bowie
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Post by bowie on Aug 30, 2017 19:01:31 GMT 7
Best p**s take in musical history, Bartok versus Shostakovich, Lenningrad Symphony ; playing for Stalin.
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buhi
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Post by buhi on Aug 30, 2017 19:06:35 GMT 7
But, perhaps Shostakovich got the message. Many years banned in the Soviet Union.
BABI YAR
By Yevgeni Yevtushenko
Translated by Benjamin Okopnik, 10/96
No monument stands over Babi Yar.
A steep cliff only, like the rudest headstone.
I am afraid.
Today, I am as old
As the entire Jewish race itself.
I see myself an ancient Israelite.
I wander o’er the roads of ancient Egypt
And here, upon the cross, I perish, tortured
And even now, I bear the marks of nails.
It seems to me that Dreyfus is myself. *1*
The Philistines betrayed me – and now judge.
I’m in a cage. Surrounded and trapped,
I’m persecuted, spat on, slandered, and
The dainty dollies in their Brussels frills
Squeal, as they stab umbrellas at my face.
I see myself a boy in Belostok *2*
Blood spills, and runs upon the floors,
The chiefs of bar and pub rage unimpeded
And reek of vodka and of onion, half and half.
I’m thrown back by a boot, I have no strength left,
In vain I beg the rabble of pogrom,
To jeers of “Kill the Jews, and save our Russia!”
My mother’s being beaten by a clerk.
O, Russia of my heart, I know that you
Are international, by inner nature.
But often those whose hands are steeped in filth
Abused your purest name, in name of hatred.
I know the kindness of my native land.
How vile, that without the slightest quiver
The antisemites have proclaimed themselves
The “Union of the Russian People!”
It seems to me that I am Anna Frank,
Transparent, as the thinnest branch in April,
And I’m in love, and have no need of phrases,
But only that we gaze into each other’s eyes.
How little one can see, or even sense!
Leaves are forbidden, so is sky,
But much is still allowed – very gently
In darkened rooms each other to embrace.
-“They come!”
-“No, fear not – those are sounds
Of spring itself. She’s coming soon.
Quickly, your lips!”
-“They break the door!”
-“No, river ice is breaking…”
Wild grasses rustle over Babi Yar,
The trees look sternly, as if passing judgement.
Here, silently, all screams, and, hat in hand,
I feel my hair changing shade to gray.
And I myself, like one long soundless scream
Above the thousands of thousands interred,
I’m every old man executed here,
As I am every child murdered here.
No fiber of my body will forget this.
May “Internationale” thunder and ring *3*
When, for all time, is buried and forgotten
The last of antisemites on this earth.
There is no Jewish blood that’s blood of mine,
But, hated with a passion that’s corrosive
Am I by antisemites like a Jew.
And that is why I call myself a Russian!
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buhi
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Post by buhi on Aug 30, 2017 19:35:35 GMT 7
The Babi Yar Tragedy, Remembered in Poetry
BY ALICE E.M. UNDERWOOD On September 29-30 in 1941, Nazi troops shot over 33,000 Jews at the edge of the Babi Yar ravine in Kiev – an event that many believe to be the largest single massacre of the Holocaust.
Yet for many years, this immense loss of life was surrounded by silence. Visitors to the ravine would only see a large pit, which trucks occasionally filled with garbage.
But art has a way of not letting tragedy be forgotten. When Yevgeny Yevtushenko, a poet (and novelist, dramatist, actor, and screenwriter, among other things) particularly known for his justice poems in the 1960s and ‘70s, learned of the mass execution, he felt that he had to write a poem about it – “out of shame.” His poem was not just about the Nazis’ act, but also about the callousness of those who lived, but did not remember.
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bowie
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Post by bowie on Aug 30, 2017 19:41:13 GMT 7
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