Л. Коган - И. С. Бах - Чакона - текст песни, слова, перевод, видео

"We will talk about" champion "/.../ Re-Minor. This is about death. Bach lost Maria Barbar and two children. And he loved her and loved them. It is written about death. Listen to the inexorable, inevitability of fate. After all, after all, after all, after all, after all, after all We all die. And try to hear how he, in the first part, changes the register, uses a quadarut to create an illusion of several violins leading a dialogue with each other. They create a polyphony that sounds in every person in all of us. Some of us. Some. Others will take from these voices, others will not. And now the long passage of Arpegio begins, a rapid passage, the feeling of concentration of energy is intensified due to the movement of three or four strings, you hear? You can swear at least three violins./ .../ "Chacon", perhaps this is a certain, multiplying tonal reality, which will never be an end. /.../ Longing for the Divine. By which the physical form can never accommodate ./.../ The second part is in major. Merciful. Deep grief ./.../ Listen to: comfort sounds almost triumphantly. It makes the violin sound like pipes. Here, one hundred and sixty -fifth tact, it enhances the effect of Fanfar because it plays a third fingers on the string of re and plays on an open string of la. Thus, the overtones of la are intensifying. Listen, this lasts up to one hundred seventy -seventh tact. Here a quiet, deep joy begins. With many pauses that create a sense of melancholy. He reconciled with death. And it seems that everything is already. But that's not all. Something more expected ahead. From two hundred of the first tact, a spaceship begins to rise upward. The second part ends with the passages of Arpegio, like the first part. Now listen to the beginning of the third part.

We are again in the tonality of re-minor. This is the same chord that Brahms uses in his first concert for piano, in the introductory topic. "Chacon" is refracted through all classical music. We are approaching two hundred and twenty -ninth beat, where Bach uses a bariolage, it balances between the open string of la and the sounds arising on the string. At the same time tears and power. Death is returned from the first part, but now in the light of comfort, and celebrations, and reassuring the heart from the second part. This is music that breaks out of the room. This is such a way to live when death is nearby all the time, and yet there is always a lot of strength, energy and compassion. Listen to this: starting two hundred and forty -first tact and further. This is death itself, enlightened by consciousness. Bach does not just say that you can pass with open eyes through death. He does it himself - he does it in his music. What is the secret? This is what I wanted to ask. "(Peter Hugo" Silence ")