Bach Party Quotes

You felt, in spite of all bureaucracy and inefficiency and party strife something that was like the feeling you expected to have and did not have when you made your first communion. It was a feeling of consecration to a duty toward all of the oppressed of the world which would be as difficult and embarrasing to speak about as religious experience and yet it was as authentic as the feeling you had when you heard Bach, or stood in Chartres Cathedral or the Cathedral at León and saw the light coming through the great windows; or when you saw Mantegna and Greco and Brueghel in the Prado. It gave you a part in something that you could believe in wholly and completely and in which you felt an absolute brotherhood with the others who were engaged in it. It was something that you had never known before but that you had experienced now and you gave such importance to it and the reasons for it that you own death seemed of complete unimportance; only a thing to be avoided because it would interfere with the performance of your duty. But the best thing was that there was something you could do about this feeling and this necessity too. You could fight.

A peach, slightly unbalanced, so that it listed to one side, its hue the color of an early sunrise. Had George remembered their conversation at the party and left the peach for her to eat? Strange. For a moment she thought it might be a trompe l'oeil work of art, some fantastic piece of glass. She leaned over and sniffed. The blooming perfume was unmistakable. She touched it with the tip of her finger. The peach was not quite ripe, but it was real. The next day, she checked the kitchen as soon as she arrived. The peach lay there still, blushing deeper in the window light. She bent to smell, and the perfume was headier then before, a scent of meadows and summers home from school. Still unripe. Was George waiting to eat this beauty?

I swear you don't know how to have any fun at all," I teased. "This is not exactly my idea of it," he said wryly. I gestured toward the ballroom. "But you're royal. It's your kind of party. You should be relaxed, letting everyone suck up to you." He laughed and my chest tightened. God, I loved that sound. "Kendra, not everything about being royal is enjoyable." "So what would you consider fun?" I asked, curious. Tristan was obviously well-liked and respected. But I'd never seen him when he wasn't in either instructor, gardinel, or prince mode. I got the feeling he wasn't very social and spent a lot of time alone. His eyes turned thoughtful. "Relaxing in a quiet room with a nice glass of scotch, listening to Bach." I rolled my eyes. "Are you serious, grandpa?" He hid a smile.

Mrs. Alingsby was tall and weird and intense, dressed rather like a bird-of-paradise that had been out in a high gale, but very well connected. She had long straight hair which fell over her forehead, and sometimes got in her eyes, and she wore on her head a scarlet jockey-cap with an immense cameo in front of it. She hated all art that was earlier than 1923, and a considerable lot of what was later. In music, on the other hand, she was primitive, and thought Bach decadent: in literature her taste was for stories without a story, and poems without metre or meaning. But she had collected round her a group of interesting outlaws, of whom the men looked like women, and the women like nothing at all, and though nobody ever knew what they were talking about, they themselves were talked about. Lucia had been to a party of hers, where they all sat in a room with black walls, and listened to early Italian music on a spinet while a charcoal brazier on a blue hearth was fed with incense… Lucia’s general opinion of her was that she might be useful up to a point, for she certainly excited interest.

Je pense de manière toujours plus intense–et plus résignée–à ces deux Roumains, sinon ignorés, à tout le moins restés quasi anonymes : Enescu et Lipatti. Quand on parle d’eux, la plupart du temps, on évoque les interprètes. Et même dans ce cas, peu de Français savent ou acceptent que leur façon d’interpréter Bach, Mozart, Chopin (et pas seulement), il y a un demi-siècle, était aussi novatrice que juste. La meilleure preuve, c’est qu’aujourd’hui on revient à leur vision de Bach, de Mozart et de Chopin. Mais, si l’on se souvient du compositeur Enescu une fois de temps en temps, personne n’a gardé le souvenir de Lipatti. Et surtout pas de son sublime, de son extraordinaire (je mesure mes qualificatifs) Concert pour orgue et piano. Quand a-t-il été écrit ? Dédié à Nadia Boulanger–elle devait jouer la partie d’orgue –, il a sans doute été composé au cours de la première moitié des années quarante. (p. 37)

You felt, in spite of all bureaucracy and inefficiency and party strife, something that was like the feeling you expected to have and did not have when you made your first communion. It was a feeling of consecration to a duty toward all of the oppressed of the world which would be as difficult and embarrassing to speak about as religious experience and yet it was authentic as the feeling you had when you heard Bach, or stood in Chartres Cathedral or the Cathedral at Leon and saw the light coming through the great windows; or when you saw Mantegna and Greco and Brueghel in the Prado. It gave you a part in something that you could believe in wholly and completely and in which you felt an absolute brotherhood with the others who were engaged in it. It was something that you had never known before but that you had experienced now and you gave such importance to it and the reasons for it that your own death seemed of complete unimportance; only a thing to be avoided because it would interfere with the performance of your duty. But the best thing was that there was something you could do about this feeling and this necessity too. You could fight.

Tŷ bach,

Um bom pintor pode ser visto como alguém que olha para ''a mesma coisa" que outra pessoa olha, vendo-a diferente e tor­nando-a visível para nós: o pintor revela - torna perceptível - algo que não havíamos visto antes. No caso de van Gogh, poderia ser a humanidade em um velho par de sapatos, no caso de Monet, po­deriam ser as cores cintilantes em um jardim sob a influência de um sol quente de verão. Uma fotógrafa faz algo similar com luz e texturas: usa filmes, filtros, obturador de velocidades, e configura­ções de abertura para revelar algo que está lá - já está lá, esperando pura ser visto, de certo modo -, mas que não é visto sem sua ajuda. Um músico novato se empenha em tocar as notas escritas na parti­tura, mais ou menos na velocidade correta, mas o consumado músico sutilmente revela, com a variação da velocidade e de tensão, as múltiplas melodias ou vozes implicitamente lá, naquelas mesmas notas (como na fuga de Bach). Este pode ser um modo frutífero de pensar sobre o que nós, terapeutas, igualmente fazemos: revelamos algo que está ali - já está ali esperando para ser ouvido -, mas que não é ouvido sem nossa ajuda. Como um de meus pacientes colocou uma vez, seu desejo era como um sopro, um sopro no coração tão fraco que ninguém jamais havia ouvido antes, nem mesmo ele, até começar sua análise.

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