“In 1868, at the age of 28, Tchaikovsky met the Belgian soprano Désirée Artôt, then on a tour of Russia. They became infatuated, and were engaged to be married. He dedicated his Romance in F minor for piano, Op. 5, to her.
However, on September 15, 1869, without any communication with Tchaikovsky, Artôt married a member of her company, the Spanish baritone Mariano Padilla y Ramos.
The general view has been that Tchaikovsky got over the affair fairly quickly. It has, however, been postulated that he coded her name into the Piano Concerto No. 1 in B-flat minor and the tone-poem Fatum.
They met on a handful of later occasions, and in October 1888 he wrote Six French Songs, Op. 65, for her, in response to her request for a single song.
Tchaikovsky later claimed she was the only woman he ever loved.”
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Black cats creep across my path
Until I’m almost mad
I must have ‘roused the devil’s wrath
’cause all my luck is bad
I make a date for golf and you can bet your life it rains
I try to give a party and the guy upstairs complains
I guess I’ll go through life just catchin’ colds and missin’ trains
I never miss a thing
I’ve had the measels and the mumps
And every time I play an ace
My partner always trumps
Guess I’m just a fool who never looks before he jumps
At first my heart thought you could break this jinx for me
That love would turn the trick to end despair
But know I just can’t fool this head that thinks for me
I’ve mortgaged all my castles in the air
I’ve telegraphed and phoned
I send an ‘airmail special’ too
Your answer was ‘goodbye’
And there was even postage due
I fell in love just once
And then it had to be with you
“We shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills, we shall never surrender.”
“The piece is based around a cycle of eleven chords. A small piece of music is based around each chord, and the piece returns to the original cycle at the end.
The sections are aptly named “Pulses”, and Section I-XI. This was Reich’s first attempt at writing for larger ensembles, and the extension of performers resulted in a growth of psycho-acoustic effects, which fascinated Reich, and he noted that he would like to “explore this idea further”.
A prominent factor in this work is the augmentation of the harmonies and melodies and the way that they develop this piece. Another important factor in the piece is the use of human breath, used in the clarinets and voices, which help structure and bring a pulse to the piece.
The player plays the pulsing note for as long as he can hold it, while each chord is melodically deconstructed by the ensemble, along with augmentation of the notes held. The metallophone (unplugged vibraphone), is used to cue the ensemble to change patterns or sections.
Some sections of the piece have a chiastic ABCDCBA structure, and Reich noted that this one work contained more harmonic movement in the first five minutes than any other work he had previously written.”
This morning I sat at the bench of the coffee shop and spoke to Dom. He asked me if I wanted a strong flat white. I nodded and looked at the Herald Sun. Then I read these two articles. They sat side-by-side on the front page.
If you have time, read them.
What is responsibility? Do you know what it means?