Devil's laugh(caprice no.13)

[ Sonata style represented the triumph of pure instrumental music over vocal music, and as a result, the ruin of the fundamental Baroque theory of musical aesthetics, the Affektenlehre,¹ or doctrine of sentiments. A work of music was emancipated, in theory as well as fact, from the expression of one unified sentiment, generally one which could be put into words. In the early eighteenth century, music was considered to reach perfection only when allied to words, but by the 1780s, an amateur of opera, like the novelist Wilhelm Heinse, could write that in opera the music was not the accompaniment of words, but the other way around, a doctrine unthinkable before. The sonata forms had also taken over in opera; only in church music did they meet any strong and durable resistance, and even there, sonata technique largely triumphed. in the end, There was consequently a basic shift in musical aesthetics, away from the hallowed notion of music as the imitation of sentiment towards the conception of music as an independent system that conveyed its own significance in terms that were not properly translatable. ]

1. This is not an eighteenth-century word, but a modern one, and a convenient term for identifying a relatively coherent and consistent body of early eighteenth-century musical aesthetic doctrine.

Since its first publication in 1990, Brahms and His World has become a key text for listeners, performers, and scholars interested in the life, work, and times of one of the nineteenth century's most celebrated composers. In this substantially revised and enlarged edition, the editors remain close to the vision behind the original book while updating its contents to reflect new perspectives on Brahms that have developed over the past two decades. To this end, the original essays by leading experts are retained and revised, and supplemented by contributions from a new generation of Brahms scholars. Together, they consider such topics as Brahms's relationship with Clara and Robert Schumann, his musical interactions with the "New German School" of Wagner and Liszt, his influence upon Arnold Schoenberg and other young composers, his approach to performing his own music, and his productive interactions with visual artists. The essays are complemented by a new selection of criticism and analyses of Brahms's works published by the composer's contemporaries, documenting the ways in which Brahms's music was understood by nineteenth- and early twentieth-century audiences in Europe and North America. A new selection of memoirs by Brahms's friends, students, and early admirers provides intimate glimpses into the composer's working methods and personality. And a catalog of the music, literature, and visual arts dedicated to Brahms documents the breadth of influence exerted by the composer upon his contemporaries. Content: Essays. Time and memory : concert life, science, and music in Brahms's Vienna / Leon Botstein. Johannes Brahms, solitary altruist / Peter F. Ostwald. Brahms the godfather / Styra Avins. Clara Schumann and Johannes Brahms / Nancy B. Reich. The pianos of Johannes Brahms / George S. Bozarth and Stephen H. Brady. Brahms, The third symphony, and the new German school / David Brodbeck. The "Brahms" fog : on analyzing Brahmsian influences at the fin de siècle / Walter Frisch. Between work and play : Brahms as performer of his own music / Roger Moseley. Brahms, Max Klinger, and the promise of Gesamtkunstwerk : revisiting the Brahms-Phantasie (1894) / Kevin C. Karnes -- Reception and analysis. Five early works by Brahms (1862) / Adolf Schubring. Discovering Brahms (1862-72) / Eduard Hanslick. The Brahms symphonies (1887) / Hermann Kretzschmar. Brahms's a cappella choral pieces, op. 104 (1892) / Heinrich Schenker. Brahms's Four serious songs, op. 121 (1914) / Max Kalbeck. "A modern of moderns" : Brahms's First symphony in New York and Boston / selected and annotated by George S. Bozarth -- Memoirs. Johannes Brahms : the last days, memories and letters / Eduard Hanslick. My early acquaintance with Brahms / Richard Heuberger. Remembering Johannes Brahms : Brahms and his Krefeld friends / Heinz von Beckerath. Johannes Brahms as man, teacher, and artist / Gustav Jenner. Brahms and the newer generation : personal reminiscences / by Alexander von Zemlinsky and Karl Weigl -- "Dedicated to Johannes Brahms."

[ there are no essences, there is no such thing as "the chimpanzee." You can't bring a few into a laboratory, make some measurements, cal- culate an average; and find out, thereby, what chimpness is. There are no shortcuts. Individuality does more than matter; it is of the essence. You must learn to recognize individual chimps and follow them for years, recording their peculiarities, their differences, and their interactions . . . When you understand why nature's complexity can only be unraveled this way, why individuality matters so crucially, then you are in a position to understand what the sciences of history are all about. ] ¹

1: Review article, "Animals Are Us," in New York Review of Books, 25 June 1987.

Sonata Forms by Charles Rosen is one of the most influential and intellectually rigorous studies ever written on the Classical sonata tradition. First published in 1980 and later issued in a revised edition in 1988 by W. W. Norton & Company, the book explores the structural, historical, and aesthetic foundations of sonata form through the works of composers such as Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven. Rather than presenting sonata form as a rigid academic formula, Rosen reveals it as a living musical language shaped by tension, rhetoric, contrast, modulation, and dramatic continuity. Written with extraordinary clarity yet uncompromising depth, Sonata Forms stands at the intersection of analysis, philosophy, and musical interpretation. Rosen examines exposition, development, recapitulation, tonal architecture, thematic transformation, and the historical evolution of form with the insight of both a scholar and a performing musician. The revised edition expands and refines several discussions, making the book even more essential for composers, analysts, performers, and serious students of Western art music. This is not merely a theoretical manual; it is a way of hearing music differently. Every page challenges the reader to rethink familiar masterpieces and to discover the hidden logic beneath their surface beauty. For anyone who wishes to understand how Classical music breathes, moves, argues, and resolves — this book is indispensable.

کتاب Sonata Forms نوشتهٔ Charles Rosen یکی از تأثیرگذارترین و عمیق‌ترین پژوهش‌هایی‌ست که تاکنون دربارهٔ سنت سونات در دورهٔ کلاسیک نوشته شده است. این کتاب نخستین‌بار در سال ۱۹۸۰ منتشر شد و سپس در ویرایش بازنگری‌شدهٔ سال ۱۹۸۸ توسط W. W. Norton & Company انتشار یافت. روزن در این اثر، بنیان‌های ساختاری، تاریخی، و زیبایی‌شناختی فرم سونات را از خلال آثار آهنگسازانی چون Joseph Haydn، Wolfgang Amadeus Mozart، و Ludwig van Beethoven بررسی می‌کند. او فرم سونات را نه به‌عنوان قالبی خشک و دانشگاهی، بلکه همچون زبانی زنده و پویا نشان می‌دهد که از تنش، تقابل، مدولاسیون، و تداوم دراماتیک شکل می‌گیرد. این کتاب با وجود شفافیت در بیان، از نظر فکری بسیار عمیق و جدی‌ست و در مرز میان آنالیز موسیقی، فلسفه، و تفسیر هنری حرکت می‌کند. روزن در آن به بررسی اکسپوزیسیون، دولوپمان، ریکاپیتولاسیون، معماری تونال، دگرگونی تماتیک، و روند تاریخی تکامل فرم می‌پردازد؛ آن هم با نگاهی که هم‌زمان حاصل تجربهٔ یک پژوهشگر و یک نوازندهٔ حرفه‌ای است. ویرایش بازنگری‌شدهٔ کتاب نیز بسیاری از مباحث را گسترش داده و دقیق‌تر کرده است؛ تا جایی که این اثر به منبعی ضروری برای آهنگسازان، تحلیل‌گران، نوازندگان، و دانشجویان جدی موسیقی کلاسیک تبدیل شده است. این کتاب صرفاً یک متن تئوریک نیست؛ بلکه شیوه‌ای تازه برای شنیدن موسیقی‌ست. هر صفحهٔ آن خواننده را وادار می‌کند تا شاهکارهای آشنا را از نو بشنود و منطق پنهان در پسِ زیبایی ظاهری آن‌ها را کشف کند. برای هرکسی که می‌خواهد بفهمد موسیقی کلاسیک چگونه نفس می‌کشد، حرکت می‌کند، جدال می‌آفریند و به آرامش می‌رسد، این کتاب اثری ضروری و فراموش‌نشدنی است. ‌

از بزرگترین تفریحاتی که تو این هشتاد فاکینگ روز اخیر داشتم یکی این کار با پاسور بوده یکی هم مطالعه ساختار های پیاده‌ای مخصوصا پیاده‌های رونده، حال شما رو با این عکس از DSCH تنها میذارم.

There is something profoundly human in this photo of Dmitri Shostakovich. No podium, no applause, no orchestra. Just him, a lamp glowing softly, a deck of cards, and silence. Shostakovich spent much of his life balancing between genius and fear. He composed knowing that a symphony could either save him or destroy him. One criticism from the regime, one accusation of “formalism,” and everything could collapse overnight. Maybe that’s why this image feels so powerful: it captures the loneliness that remains after the noise of History fades away. A man who wrote immense, tragic music, sitting alone playing cards, as if trying to fill the space between one anxiety and the next. And yet, inside that solitude, there was still an entire universe alive. Because some people, even when they appea...