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Table of contents
- Toccata and Fugue in D minor, BWV 565
- Fugue for the Right Hand
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This helps to relate and combine the first segment B-A with the second C-H despite the fact that a rest intervenes. The repetition of the note and letter A aids in stretching this note over the rest so that it is not perceived as a distinctly different note but rather a continuation from the first to the second segment. To enhance the Affekt , Bach combines the passus duriusculus indicated in blue with the three-note suspirans figura, a powerful combination. This can be seen clearly in color-coded score. The orange notes indicate all the instances where transposed forms of the B-A-C-H motif can be found.
Beginning with m. Not accounted for here are other places in this composition where the motif remains imperfect cannot be transposed exactly to produce B-A-C-H but does come close to it. If, for Schiff, Bach's style in the French Suite suggested some of the qualities of a painting by Vermeer, transparent and detailed, the D minor English Suite was on a more majestic scale, more like a Rembrandt. In its final movement, Schiff drew an interesting comparison of the Gigue with Beethoven's Waldstein sonata, in which a trill was combined with leaping arpeggios, while in the Gigue's second part he etched out the B-A-C-H motif stridently.
Thomas Braatz, July 27, It could possibly be by Kellner, but this has not been firmly decided as yet. Suite for solo cello No. It had to become a journey into the mind and creative spirit of the composer, and this particular cellist kept thinking, over and over again, about what this part or that in the score might be taken to mean.
Toccata and Fugue in D minor, BWV 565
For example, is the BACH motif in the 22 nd bar of the Courante from the fifth suite just a sequence of seconds that seems natural to us, or is it the composer marking the work with a hidden signature? Again, as at the end of the 5 th Variatio of the Canonic Variations BWV , the segment with the letters B-A is separated from the segment C-H which appears in very close proximity to the former. There are two different musical lines involved here in the BWV Ricercar a 6 where there are clearly two soprano parts, but in BWV it is more difficult to discern whether the B-A-C-H is sounded by two alto parts or one alto and a second soprano part.
Check also BWV where a similar circumstance prevails.
In the next example, the BACH motif appears in the first two measures of the chorale, and in the tenor part. In the last one, the BACH motif appears in the middle of the chorale, and in the tenor part.
Fugue for the Right Hand
Source: Discussion Ideas for a simple Bach analysis? Thomas Braatz added August 26, : These should definitely be listed as a group under those composed by J. Bach himself, particularly the first 5 examples where the motif occurs as part of the final cadence at the end of the chorale. There this motif is located at the end of the chorale as a signature which normally appears in such position at or after the conclusion of a composition. There may even be an association with the text of the chorale.
I would need to investigate such a connection to see if it might also be meaningful for J. Bach to relate himself personally to chorale's subject matter. Another direction to be researched is whether this motif also occurs as transposed to another key. The impulse to read them thus — as tricks that point toward some narrative end — is fired by an appetite for knowing and its attendant certainties. But Martel only cares about the consequences of perceived truth: these are more urgent for her than establishing any state of actual veracity.
We see what we see: bodies that happened — are happening — but no one is interested in figuring them out. Mystery tantalises with all sorts of possibility, but truths in plain sight refuse the satisfaction of cunning discovery.
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In their silent visibility, these bodies remind us that the questions we try so hard to address can be answered in ways we fail to reckon with. What happens to a central performance that has to share its moments? She rarely speaks, and brackets her silence with the kind of sighing that usually preempts a barrage of frustration.
Here, it never actually comes. She runs into a bathroom and sobs. The former role sees Rowlands buckle under an untenable mix of suburban ennui and wife-mother drudgery, and the latter, as an actress who fears being too good at her job, too convincing at playing a character much older than herself.
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Myrtle spends most of the film being haunted by a beautiful dead fan, who we see run over while chasing after her car on opening night. From the outside, her visions read like symptoms of something dire. Only her hair never moves, at least until her drunken stumbling in the finale: light blonde bob waved and set stiff against the sugar pink of her animated mouth.
Myrtle bares her feelings to a camera that sees only her, so we can take her expressions for granted.
Ordinarily, emotional intelligibility in social situations relies on the transparency of performance. The past nudges its way into every frame. Her guilt is bound with a need to mourn — how many ghosts stick around for want of attention? There is a purgatory for those who fear being forgotten in death, just as in life. If this is a life that can and will be grieved, we will institute certain measures to prevent its loss.
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