Then there was a gradual buildup of several layers of the Sanctus hymn, another Medieval Christian hymn, with the harp and harpsichord playing chords mimicking the sound of bells. This is followed by yet another cluster, this time more extended. Fragments from earlier movements reappeared, ...
Arguments pain me, and I hope you can find it in your heart to forgive me. When You Hurt Him Love, when we argue, it feels like I'm hurting myself because you are a part of me. I apologize if I've wronged you and hope you can forgive me. I never want you to feel bad ...
it wouldn’t. He was there when her vocal chords started making sounds when the doctors said they wouldn’t. He was there when she started writing, when the doctors said shed never wake up. He’s been there all along. It doesn’t look how I want it to. But HE IS THERE for it ...
He was, after all, said the prophet Isaiah, a “man of sorrow, and acquainted with grief.” *** A year after Steve died, I saw an old boyfriend, Charlie, in my hometown; it had been 10 years since we’d graduated high school. Charlie had been my boyfriend for parts of eighth, ...
“How Czar Peter the Great Married off His Moor”. This gradually morphs into violent chords. In the middle of this movement, a second theme appeared as a tango, which Schnittke himself had previously used in the film “Agony”. At the end of the movement, the quasi-Baroque theme and ...
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“How Czar Peter the Great Married off His Moor”. This gradually morphs into violent chords. In the middle of this movement, a second theme appeared as a tango, which Schnittke himself had previously used in the film “Agony”. At the end of the movement, the quasi-Baroque theme and ...
Then there was a gradual buildup of several layers of the Sanctus hymn, another Medieval Christian hymn, with the harp and harpsichord playing chords mimicking the sound of bells. This is followed by yet another cluster, this time more extended. Fragments from earlier movements reappeared, ...
“How Czar Peter the Great Married off His Moor”. This gradually morphs into violent chords. In the middle of this movement, a second theme appeared as a tango, which Schnittke himself had previously used in the film “Agony”. At the end of the movement, the quasi-Baroque theme and ...