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Sona Jobarteh performed in Weimar on invitation of the University of Music FRANZ LISZT Weimar and its UNESCO Chair of Transcultural Music Studies (TMS). The TMS Chair regularly invites artists to bring the musicology students into contact with various musical cultures for inspiration and exchange.
Sona Jobarteh is the first female Kora virtuoso to come from a west African Griot family. The Kora is one of the most important instruments belonging to the Manding peoples of West Africa (Gambia, Senegal, Mali, Guinea and Guinea-Bissau). It belongs exclusively to griot families, and usually only men who are born into these families have the right to take up the instrument professionally. Sona Jobarteh combines various genres of African Music and western musical elements.
The first movement, in C♯ minor, is written in an approximate truncated sonata form. The movement opens with an octave in the left hand and a triplet figuration in the right. A melody that Hector Berlioz called a «lamentation», mostly by the right hand, is played against an accompanying ostinato triplet rhythm, simultaneously played by the right hand. The movement is played pianissimo or «very quietly», and the loudest it gets is mezzo forte or «moderately loud».
The adagio sostenuto has made a powerful impression on many listeners; for instance, Berlioz said of it that it «is one of those poems that human language does not know how to qualify. The work was very popular in Beethovens day, to the point of exasperating the composer himself, who remarked to Carl Czerny, „Surely Ive written better things.
Allegretto
The second movement is a relatively conventional scherzo and trio, a moment of relative calm written in D-flat major, the enharmonic equivalent of C♯ major, the more easily-notated parallel major of C♯ minor. Franz Liszt described the second movement as “a flower between two chasms.»[citation needed] The slight majority of the movement is in piano, but a handful of sforzandos and forte-pianos helps to maintain the movements cheerful disposition.
Presto agitato
The stormy final movement (C♯ minor), in sonata form, is the weightiest of the three, reflecting an experiment of Beethovens (also carried out in the companion sonata, Opus 27, No. 1 and later on in Opus 101) placement of the most important movement of the sonata last. The writing has many fast arpeggios and strongly accented notes, and an effective performance demands lively and skillful playing.
It is thought that the C-sharp minor sonata, particularly the third movement, was the inspiration for Frédéric Chopins Fantaisie-Impromptu, which manifests the key relationships of the sonatas three movements.
Of the final movement, Charles Rosen has written «it is the most unbridled in its representation of emotion. Even today, two hundred years later, its ferocity is astonishing.
Beethovens heavy use of sforzando notes, together with just a few strategically located fortissimo passages, creates the sense of a very powerful sound in spite of the predominance of piano markings throughout. Within this turbulent sonata-allegro, there are two main themes, with a variety of variation techniques utilized.
Beethovens pedal mark
See also: Piano history and musical performance, Mute (music), and Piano pedals#Beethoven and pedals
At the opening of the work, Beethoven included a written direction that the sustain pedal should be depressed for the entire duration of the first movement. The Italian reads: „Si deve suonare tutto questo pezzo delicatissimamente e senza sordino“. (»One must play this whole piece [meaning «movement»] very delicately and without dampers.") The modern piano has a much longer sustain time than the instruments of Beethovens day, leaving for a rather blurry and dissonant tone.
One option for dealing with this problem is to perform the work on a restored or replicated piano of the kind Beethoven knew. Proponents of historically informed performance using such pianos have found it feasible to perform the work respecting Beethovens original direction.
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— Credits:
Персональный тренер — Ирина Киволя
Film Directed and Produced by Irina Kivolya
Motion Graphics Irina Kivolya
MG Music Alexey Turanov
Music Adrenaline, Airwaves, Alpha-Beta, Big-Bang, Chemistry, Intoxicate, Madison-Avenue, Voodoo-Lounge from Free Stock Music
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Торт очень нежный, просто тает во рту
Приятного аппетита!
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Рецепт:
Противень 40 на 30 см
Масло сливочное 300 гр
Сахар 180 гр
Мед 4 ст. ложки полные
Сода 2 чайные ложки
Яйца 4 шт
Мука 400 гр
Печенье 200 гр
Сметана 20% 1,5 — 2 литра
Сахарная пудра 200 гр
Ванилька
Загуститель для сметаны по пропорции на упаковке
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Recipe:
Baking tray 40 x 30 cm
Butter 300 g
Sugar 180 g
Honey 4 tbsp
Soda 2 tsp
4 eggs
Flour 400 g
Cookies 200 g
Sour cream 20% fat 1.5 — 2 liters
Powdered sugar 200 g
Vanilla
Sour cream thickener according to the proportion on the package
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All of my music is 100% to download, and to use in your videos (Creative Commons — Attribution).
You were the left hand and I was the right
You were the darkness and I was the light
But nothings the same since the horrible night
When Gemini fell from the sky
Your transient whispers were lost in the air
When the oceanside breeze came and swept through your hair
And the heavens were split past the point of repair
When Gemini fell from the sky
And I held you so close like an angel
As your delicate frame fell
You streaked through the sky in a flame
While the writers and poets all scurried
Their pens all a flurry
To capture the glimmering rain
But the beautiful glow was the end of your road
The night Gemini fell from the sky
We came to the universe joined at the hip
Our bodies connected, our minds separate
But you started descending and slowly we split
When Gemini fell from the sky
I reached out my arm and I lent you a hand
Pulling like hell just to get you to stand
But the forces of nature were greater than man
When Gemini fell from the sky
Like a mirror was shattered in shards
We were scattered in parts
And I couldnt remember my face
And the perfect reflection I saw
Every line, every flaw
Disappeared as you faded away
Every memory erased as you tumbled from grace
The night Gemini fell from the sky
[Solo]
You were always the blanket around me
When coldness had found me
You wrapped me up tight like a coat
Now I feel like a passenger stuck
In a driverless truck
As the oncoming headlights approach
And the two became one with the light of the sun
The night Gemini fell from the sky
And the two became one and the story was done
The night Gemini fell from the sky
I do not own copyright of the songs.
Copyright belongs to artists and company.
Vinyl rip from the original album (1960)
1- South side soul [0:00]
2- 47th and Calumet [4:58]
3- La Salle St. After Hours [8:50]
4- 63rd and Cotage groove [14:12]
5- 35th St. Blues [18:15]
6- sin corner [25:09]
7- Amen corner [30:34]
JOHN WRIGHT: piano
WENDELL ROBERTS: bass
WALTER McCANTS: drums