Music in Twelve Parts, written by Philip Glass in 1971-1974, is a deliberate, encyclopedic compendium of some techniques of repetition the composer had been evolving since the 60s. It holds an important place in Glass's repertory — not only historically (as the longest and most ambitious concert piece for the Philip Glass Ensemble) but aesthetically as well. Music in Twelve Parts is both a massive theoretical exercise and a deeply engrossing work of art.
In the past, Glass vociferously objected to being called a minimalist composer. He now grudgingly accepts the term — with the distinction that it only applies to his earliest pieces, those up to and including Music in Twelve Parts. It is difficult to see how such a mammoth work as Einstein on the Beach can possibly be called minimalist and Glass now speaks of himself as a composer of music with repetitive structures.
Part I remains some of the most soulful music Glass ever wrote, yet it is also one of his most reductive compositions: at any place in the music, reading vertically in the score, both a C# and an F# are being played somewhere in the instrumentation. Through skillful contrapuntal weaving, Glass creates a drone that is not a drone — an active, abundant, richly fertile stasis.
Part I leads directly into Part II, which introduces a different key, a faster tempo, greater rhythmic and melodic variety and the human voice. «A new sound and a new chord suddenly break in, with an effect as if one wall of a room had suddenly disappeared, to reveal a completely new view.»
Part III, one of the few self-contained movements, is a gurgling study in fourths, and one of the shortest. Part IV is extraordinary: after a brief introduction, it becomes a lengthy examination of a single, unsettled chord that sweats, strains and ultimately screams for resolution until the musicians suddenly break into the joyous, rushing catharsis of Part V.
Part VI is another example of how Glass can take what initially seems a standard chord progression and gradually build considerable interest on the part of his audience as he presents it to us, again and again, from different rhythmical perspectives. Part VII clearly derives from Music in Similar Motion, but the development is much more swift than that of the earlier work and it is infinitely more virtuosic (the soprano, in particular, does her best to avoid tongue-twisting and sibilance in the exposed, rapid-fire melismatic passages). And the close of Part VIII prefigures the «Train» scene in Einstein on the Beach, with its irresistible forward motion and sheer, «boy-with-a-gadget» fascination with a systematic augmentation and contraction of the soprano line.
«I had a specific purpose in mind when I set to work on Twelve Parts. I wanted to crystallize in one piece all the ideas of rhythmic structure that I'd been working on since 1965. By the time I got to Part VIII, I'd pretty much finished what I'd started out to do. And so the last movements were different. Parts IX and X were really about ornamentation.» Part IX, after a lithe, bouncing, broken-chord introduction, becomes a study in chromatic unison while Part X begins with a blaring, aggressively reiterated figure in the winds that is eventually softened cushioned — by the addition of complementary figures in the bass.
Parts I-X had all been based on stable harmonic roots that had remained constant throughout the movement. Part XI is just as rigorous in its application of an antithetical approach: the harmony changes with every new figure. In Part XI, which is essentially an aria for soprano and ensemble, there is more harmonic motion than in all of the mature works Glass had composed in the previous ten years put together.
Music in Twelve Parts ends with a musical joke that may be amusing to those who remember the musical politics of the 60s & 70s. Like most young composers of the time, Glass was trained to write twelve-tone music; unlike most of them, he rejected the movement entirely. And yet, in the bass line of Part XII, toward the end, the careful listener will discern a twelve-tone row, underpinning this riot of tonal, steadily rhythmic, gleeful repetition -underpinning, in other words, all the things that textbook twelve-toners shunned.
«It was a way of making fun not only of others but also of myself. I had broken the rules of modernism and so I thought it was time to break some of my own rules. And this I did, with the shifts of harmony in Part XI and then in Part XII, where, for the first and only time in my mature music, I threw in a twelve-tone row. This was the end of minimalism for me. I had worked for eight or nine years inventing a system, and now I'd written through it and come out the other end. I'd taken everything out with my early works and it was now time to decide just what I wanted to put back in — a process that would occupy me for many years to come.»
Опубликовано: 19 окт. 2013 г.Track 7/8, from Gravity (Ad Noiseam adn168).
The following of Nocturne 1, taking back the ethereal drums from the first part.
I imagine astronauts in an orbital station. They're barely awake as they are still hidden in the shadow of the Earth. This is for me the introduction of almost 90 seconds with the synthesizers' layer, a moment of blur and swaying.
At 1:23, they open their eyes and start preparing for a scheduled outing into space this morning. You're not so often 350 kilometers up in the atmosphere, and one thing I'd like to see up there is a sunrise over the whole planet. They start dressing their space suits and already catch sight of the halo of light announcing the sun, over the horizon formed by half the circumference of our planet. It's time to hurry if you want a good spot on the solar panels.
At 2:59, the sun finally rises, radiating its light in the atmosphere, on the cities, the lands, the oceans, and its warmth spreads all over your suit and reaches the bottom of your heart. It's beautiful, spectacular and unique. The deep drums and the strong play on the piano conveys for me the intensity and the beauty of that moment, particularly at 3:42 and 3:47 that seems to slap you hard in the face and blow your mind up. This whole part is really shaking and unforgettable, and the progression of the notes' pitch is just epic.
You can see that our astronauts try to memorise each frame of that moment as they won't see it again in such a perfect way.
At 4:26, you start to leave them where they are, letting them enjoy this moment alone, and slowly stepping backwards to the Earth. The orbital station is now just a dark dot in the blinding light of the sun, and the faded chorus in the end of this track make the moment surreal. but it's time to go back to reality.
Enjoy folks, and if you feel like it, I'd like you to share your sensations too, here in the comments section or on my Facebook page at https://www.facebook.com/adda.ambient
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This video is uploaded only in a promotional purpose, as I do not own any rights on this music. All rights reserved to Ben Lukas Boysen and Ad Noiseam.
If you (artist, label or viewer) have any inquiry, just email me at a2damusic@gmail.com
кажи, была бы ты со мной если б не эта машина
Если б не клипы и рекордные продажи альбомов
Если б я был не Тимати, а просто Вася
Жил бы с мамой и учился бы в одинадцатом классе
Если б я приехал на свидание на метро
Если б я повёл тебя не в ресторан, а в бистро
Знаю сейчас со мной легко, но ведь было иначе
Понять насколько ты моя это главная задача
Госпожа удача улыбнулась и я встретил тебя
Я не забуду тот день когда увидел тебя
Я прошептал про себя: «Малыш ты будешь со мной!»
Моей подругой, невестой, потом женой
Все говорили «Постой, тебе же нужен другой!»
Подумай, этот bad boy
Он настоящий playboy
Не верь сплетням, слушай сердцем и душой
Ведь ты же сияешь когда я рядом с тобой
Когда ты рядом время замирает
Когда ты рядом верю я волшебству
Когда ты рядом мне не надо рая
Когда ты рядом лишь тогда я живу
Слишком мало в мире слов, чтоб сказать о самом главном
Но важнее, чем любовь не найти ничего
В нереальном мире снов я жила совсем недавно
А теперь мой каждый вдох для тебя одного
В груди горит пожар и жизни мне не жаль
За то, чтоб каждый миг тонуть в глазах твоих
И в молитвах богу шептать лишь об одном
Чтобы твоя дорога всегда вела в мой дом
А для себя ничего не просить
Ведь счастье больше чем возможность любить
Подумай сам и найдёшь ответ
Люблю я тебя или нет
Когда ты рядом время замирает
Когда ты рядом верю я волшебству
Когда ты рядом мне не надо рая
Когда ты рядом лишь тогда я живу
Малыш, дай ладошку
Прижми её поближе к сердцу
Почувствуй как оно бьётся
Ты слышишь музыка льётся
И нам теперь уже с тобой не остановиться
И как же угораздило меня так влюбиться
Мы будем в танце кружиться
С ночи до утра
Семь часов
Тебе уже давно домой пора
Нет, подожди секунду
Не уходи, постой
Останься! Ведь мне так хорошо с тобой
Когда ты рядом время замирает
Когда ты рядом верю я волшебству
Когда ты рядом мне не надо рая
Когда ты рядом лишь тогда я живу
Когда ты рядом время замирает
Когда ты рядом верю я волшебству
Когда ты рядом мне не надо рая
Когда ты рядом
Документально — биографический фильм. Татьяна Буланова.
Опубликовано: 24 мар. 2014 г.Сегодня певица Татьяна Буланова счастливо живет со своей мамой, любимым мужем — известным футболистом Владиславом Радимовым — и двумя сыновьями.
СМИ периодически разводят Буланову и Радимова, но певица утверждает, что по-прежнему влюблена в своего мужа, и они счастливы.
Сын Булановой от первого брака Саша учится на повара, но мечтает стать музыкантом. Втайне от всех он сочиняет электронную музыку и надеется, что скоро вместе с мамой запишет модный трек. Младший сын Никита пошел по стопам отца и серьезно увлекается футболом. За последние пять лет Татьяна успела попробовать себя в качестве телеведущей, актрисы, участвовала в спортивных шоу и записала немало дуэтов с молодыми исполнителями. Скоро в ротациях музыкальных телеканалов появится новый клип Булановой.
Опубликовано: 3 июл. 2016 г.♥Modern Talking — You Can Win — стихи (lyrics)♥
You packed your things in a carpetbag
Left and never looking back
Rings on your fingers, paint on your toes
Music wherever you go
You don't fit in a smalltown world
But I feel you are the girl for me
Rings on your fingers, paint on your toes
You're leaving town where nobody knows
You can win if you want
If you want it, you will win
On your way you will see that life is more than fantasy
Take my hand, follow me
Oh, you've got a brand new friend for your life
You can win if you want
If you want it you will win
Oh, come on, take a chance for a brand new wild romance
Take my hand for the night
And your feelings will be right, hold me tight
Oh, darkness finds you on your own
Endless highways keep on rolling on
You are miles and miles from your home
But you never want to phone your home
A steady job and a nice young man
Your parents had your future planned
Rings on your fingers, paint on your toes
That's the way your story goes
NOTE: All the dancers and choreographers in this video would like to express that they do not wish to reflect or promote any of the inappropriate lyrics or vulgarity in the songs included in this video. We simply wish to show our knowledge of our bodies through the rythm of voice and beat with out causing offense to anyone. Respect the art form! :)***NO COPYRIGHT INFRINGEMENT INTENDED*** «This video uses copyrighted material in a manner that does not require approval of the copyright holder. It is a fair use under copyright law.
»quotation of excerpts in a review or criticism for purposes of illustration or comment; quotation of short passages in a scholarly or technical work, for illustration or clarification of the author's observations; use in a parody of some of the content of the work parodied; summary of an address or article, with brief quotations, in a news report; reproduction by a library of a portion of a work to replace part of a damaged copy; reproduction by a teacher or student of a small part of a work to illustrate a lesson; reproduction of a work in legislative or judicial proceedings or reports; incidental and fortuitous reproduction, in a newsreel or broadcast, of a work located in the scene of an event being reported."
Songs Included: INNA — In Your Eyes
Written by Steve Mac, Ina Wroldsen & Llandel Veguilla
Published by Rokstone Music Ltd under exclusive licence to BMG Rights
Management (UK) Limited / Reverb Music Ltd / La Leyenda Music Publishing
Produced by Steve Mac
Engineered by Dann Pursey & Chris Laws
Mixed by Chris Laws
Recorded and mixed at Rokstone Studios, London.
Piano & Synths: Steve Mac
Drums: Chris Laws