Moonlight Sonata Quotes

Many Introverts are also "highly sensitive," which sounds poetic, but is actually a technical term in psychology. If you are a sensitive sort, then you're more apt than the average person to feel pleasantly overwhelmed by Beethoven's "Moonlight Sonata" or a well-turned phrase or an act of extraordinary kindness. You may be quicker than others to feel sickened by violence and ugliness, and you likely have a very strong conscience.

There is a moonlight note in the Moonlight Sonata; there is a thunder note in an angry sky.

I know that each one of us travels to love alone, alone to faith and to death. I know it. I’ve tried it. It doesn’t help. Let me come with you.

She always wanted to be the kind of person who could play the "Moonlight" Sonata. She buries her failure in this, as she buries all her failures, in reading.

She wanted to explain everything to him—how certain notes of the Moonlight Sonata shredded her heart like wind inside a paper bag; how her soul felt as endless and deep as the sea churning on their left; how the sight of the young Muslim couple filled her with an emotion that was equal parts joy and sadness; and above all, how she wanted a marriage that was different from the dead sea of marriages she saw all around her, how she wanted something finer, deeper, a marriage made out of silk and velvet instead of coarse cloth, a marriage made of clouds and stardust and red earth and ocean foam and moonlight and sonatas and books and art galleries and passion and kindness and sorrow and ecstasy and of fingers touching from under a burqua.

The Moonlight sonata is a strange piece of music. It's been called a Lamentation. You can feel that when you play it, can feel the sorrow and the endless repetitions. It's simple to play but maddeningly difficult to play well. The arpeggios allow great freedom of expression. Too much freedom in untutored, unskilled hands. They say Beethovan wrote it for a seventeen-year-old countess, the Countess Giulietta Guicciardi. He may have loved her.

Το ξέρω πως ο καθένας μοναχός πορεύεται στον έρωτα, μοναχός στη δόξα και στο θάνατο. Το ξέρω. Το δοκίμασα. Δεν ωφελεί. Άφησε με να ΄ρθω μαζί σου.

It is music that speaks to the deepest reaches of your soul, and you are lifted higher, ever higher, by the adagio, in my opinion more so even than in any of the masses that Beethoven composed.

In the main café area next door, Delilah is coming to the end of Moonlight Sonata. The final notes are deep, sad — placed in a way only Beethoven knows how to place notes. They drill a hole in my stomach and place a lead weight there. If death has ever been portrayed in music, it’s in those final bars. And yet, at the same time, they’re so beautiful.

But I believe that the grand unifying theory that explains the paradox of tragedy is (like most such theories) deceptively simple: We don’t actually welcome tragedy per se. What we like are sad and beautiful things—the bitter together with the sweet. We don’t thrill to lists of sad words, for example, or slide shows of sad faces (researchers have actually tested this). What we love is elegiac poetry, seaside cities shrouded in fog, spires reaching through the clouds. In other words: We like art forms that express our longing for union, and for a more perfect and beautiful world. When we feel strangely thrilled by the sorrow of “Moonlight Sonata,” it’s the yearning for love that we’re experiencing—fragile, fleeting, evanescent, precious, transcendent love. The idea of longing as a sacred and generative force seems very odd in our culture of normative sunshine. But it’s traveled the world for centuries, under many different names, taking many different forms.

The last song recorded for Abbey Road was Lennon’s BECAUSE - a three-part harmony in C sharp minor inspired by hearing Yoko Ono play the Adagio sostenuto of Beethoven’s Piano Sonata No. 14, Op. 27 No. 2 (Moonlight).

Many introverts are also “highly sensitive,” which sounds poetic, but is actually a technical term in psychology. If you are a sensitive sort, then you’re more apt than the average person to feel pleasantly overwhelmed by Beethoven’s “Moonlight Sonata” or a well-turned phrase or an act of extraordinary kindness. You may be quicker than others to feel sickened by violence and ugliness, and you likely have a very strong conscience. When you were a child you were probably called “shy,” and to this day feel nervous when you’re being evaluated, for example when giving a speech or on a first date. Later we’ll examine why this seemingly unrelated

ξέρεις, καμμιά φορά, θαυμάζοντας, ξεχνᾶς, ὅ,τι θαυμάζεις, σοῦ φτάνει ὁ θαυμασμός σου

The news that she had gone of course now spread rapidly, and by lunch time Riseholme had made up its mind what to do, and that was hermetically to close its lips for ever on the subject of Lucia. You might think what you pleased, for it was a free country, but silence was best. But this counsel of perfection was not easy to practice next day when the evening paper came. There, for all the world to read were two quite long paragraphs, in "Five o'clock Chit-Chat," over the renowned signature of Hermione, entirely about Lucia and 25 Brompton Square, and there for all the world to see was the reproduction of one of her most elegant photographs, in which she gazed dreamily outwards and a little upwards, with her fingers still pressed on the last chord of (probably) the Moonlight Sonata. . . . She had come up, so Hermione told countless readers, from her Elizabethan country seat at Riseholme (where she was a neighbour of Miss Olga Bracely) and was settling for the season in the beautiful little house in Brompton Square, which was the freehold property of her husband, and had just come to him on the death of his aunt. It was a veritable treasure house of exquisite furniture, with a charming music-room where Lucia had given Hermione a cup of tea from her marvellous Worcester tea service. . . . (At this point Daisy, whose hands were trembling with passion, exclaimed in a loud and injured voice, "The very day she arrived!") Mrs. Lucas (one of the Warwickshire Smythes by birth) was, as all the world knew, a most accomplished musician and Shakespearean scholar, and had made Riseholme a centre of culture and art. But nobody would suspect the blue stocking in the brilliant, beautiful and witty hostess whose presence would lend an added gaiety to the London season.

Many introverts are also “highly sensitive,” which sounds poetic, but is actually a technical term in psychology. If you are a sensitive sort, then you’re more apt than the average person to feel pleasantly overwhelmed by Beethoven’s “Moonlight Sonata” or a well-turned phrase or an act of extraordinary kindness. You may be quicker than others to feel sickened by violence and ugliness, and you likely have a very strong conscience. When you were a child you were probably called “shy,” and to this day feel nervous when you’re being evaluated, for example when giving a speech or on a first date. Later we’ll examine why this seemingly unrelated collection of attributes tends to belong to the same person and why this person is often introverted. (No one knows exactly how many introverts are highly sensitive, but we know that 70 percent of sensitives are introverts, and the other 30 percent tend to report needing a lot of “down time.”)

But I believe that the grand unifying theory that explains the paradox of tragedy is (like most such theories) deceptively simple: We don’t actually welcome tragedy per se. What we like are sad and beautiful things—the bitter together with the sweet. We don’t thrill to lists of sad words, for example, or slide shows of sad faces (researchers have actually tested this). What we love is elegiac poetry, seaside cities shrouded in fog, spires reaching through the clouds. In other words: We like art forms that express our longing for union, and for a more perfect and beautiful world. When we feel strangely thrilled by the sorrow of “Moonlight Sonata,” it’s the yearning for love that we’re experiencing—fragile, fleeting, evanescent, precious, transcendent love.

But I believe that the grand unifying theory that explains the paradox of tragedy is (like most such theories) deceptively simple: We don’t actually welcome tragedy per se. What we like are sad and beautiful things—the bitter together with the sweet. We don’t thrill to lists of sad words, for example, or slide shows of sad faces (researchers have actually tested this). What we love is elegiac poetry, seaside cities shrouded in fog, spires reaching through the clouds. In other words: We like art forms that express our longing for union, and for a more perfect and beautiful world. When we feel strangely thrilled by the sorrow of “Moonlight Sonata,” it’s the yearning for love that we’re experiencing—fragile, fleeting, evanescent, precious, transcendent love. The idea of longing as a sacred and generative force seems very odd in our culture of normative sunshine. But it’s traveled the world for centuries, under many different names, taking many different forms. Writers and artists, mystics and philosophers, have long tried to give voice to it. García Lorca called it the “mysterious power which everyone senses and no philosopher explains.

On March 28, 1801, his only full-length ballet was premiered, The Creatures of Prometheus. Beethoven also completed one of his most famous and enchanting pieces during this year, his Piano Sonata No. 14, which would come to be known and loved as the Moonlight Sonata.

Beethoven.” Ivy breathed the name as her fingers traced Opus 27, the Moonlight Sonata. A vague memory returned to her. Andrew, years before, whispering in strict confidence to her and to Joel that on one of his nighttime escapades, he heard Beethoven’s haunting melody floating across the wind from Foster Hill House. They’d teased him mercilessly for his superstition, while being equally as intrigued.

The Moonlight Sonata” envelops me again, and my mind follows its slow progression, returning me to a land so small and hungry, it devours its inhabitants, first sheltering them, then soaking in their blood.

Sejak hari di mana aku berhenti merokok, aku teringat ucapanmu, "Bila saatnya tiba, kita semua akan mati." Pemantik api pemberianmu masih kusimpan bukan sebagai kenangan, melainkan pengingat bagi diriku sendiri. Sudah lama aku tak pernah lagi menggunakannya. Sungguh aneh sekali, aku tidak bisa mengingat kapan terakhir kali kita duduk berdua dan saling bicara: Siapa orang yang telah membunuh rembulan itu dan mencampakkan jasadnya ke dalam tong sampah? Sepertinya ini bukanlah kisah yang akan kita kenangkan. Mobil patroli itu dan polisi yang bersliweran di depan rumahmu. Apakah mereka telah mengendus bau si pembunuh? Tetesan darah dari bagasi, golongan darah tipe O, Moonlight Sonata karya Beethoven dan wajah yang tak bisa dikenali. Aku tak mencatat waktunya, ketika kutatap wajahmu untuk yang terakhir kali. Kabut turun memutih lebih menyerupai salju. Putih, sepucat wajahmu pagi itu.

Ladies and gentlemen.” His voice carried straight into the darkest corners of the hall and straight into Ellen’s heart. “There is a slight misprint on tonight’s program. We offer for our finale tonight my own debut effort, which is listed on the program as Little Summer Symphony. It should read, Little Weldon Summer Symphony, and the dedication was left out, as well, so I offer it to you now. “Ellen, I know you are with me tonight, seated with my parents and our friends, though I cannot see you. I can feel you, though, here.” He tapped the tip of the baton over his heart. “I can always feel you there, and hope I always will. Like its creator, this work is not perfect, but it is full of joy, gratitude, and love, because of you. Ladies and gentlemen, I dedicate this work to the woman who showed me what it means to be loved and love in return: Ellen, Baroness Roxbury, whom I hope soon to convince to be my lady wife. These modest tunes and all I have of value, Ellen, are dedicated to you.” He turned in the ensuing beats of silence, raised his baton, and let the music begin. Ellen was in tears before the first movement concluded. The piece began modestly, like an old-fashioned sonata di chiesa, the long slow introduction standing alone as its own movement. Two flutes began it, playing about each other like two butterflies on a sunbeam, but then broadening, the melody shifting from sweet to tender to sorrowful. She heard in it grief and such unbearable, unresolved longing, she wanted to grab Val’s arm to make the notes stop bombarding her aching heart. But the second movement marched up right behind that opening, full of lovely, laughing melodies, like flowers bobbing in a summer breeze. This movement was full of song and sunshine; it got the toes tapping and left all manner of pretty themes humming around in the memory. My gardens, Ellen thought. My beautiful sunny gardens, and Marmalade and birds singing and the Belmont brothers laughing and racing around. The third movement was tranquil, like the sunshine on the still surface of the pond, like the peace after lovemaking. The third movement was napping entwined in the hammock, and strolling home hand in hand in the moonlight. She loved the third movement the best so far, until it romped into a little drinking song, that soon got away from itself and became a fourth movement full of the ebullient joy of creation at its most abundant and beautiful. The joy of falling in love, Ellen thought, clutching her handkerchief hard. The joy of being in love and being loved the way you need to be. Ah, it was too much, and it was just perfect as the music came to a stunning, joyous conclusion.

Moonlight Sonata, Where does such beautiful inspiration come from, that captivates the listener after centuries have passed, and how does it create different dreams and visions each time one listens to it?

I often wondered what Beethoven was thinking when he wrote” Moonlight Sonata.

Yet the moonlight sonatas of the world don't simply discharge our emotions; they elevate them. Also, it's only sad music that elicits exalted states of communion and awe. Music conveying other negative emotions, such as fear and anger, produces no such effect. Even happy music produces fewer psychological rewards than sad music, concluded Sachs, Damasio, and Habibi. Upbeat tunes make us want to dance around our kitchens and invite friends for dinner. But it's sad music that makes us want to touch the sky.

Net als in mijn tienertijd zuiver ik de haat in mijn ziel met de diepe, ontroerende klanken van Beethovens Moonlight Sonata. Na het spelen van dit stuk voel ik me rustiger. Meer in balans. Het is de muziek waar ik de pijn uit mijn jeugd in kwijt kan.

Coventry remains the focus of a persistent story about Churchill’s ruthless determination to protect the Ultra secret. The city was victim of a massive bombing raid on the night of 14 November 1940 when over 500 civilians were killed, the city centre flattened and the cathedral destroyed. Although Ultra had revealed the target, so this tale runs, Churchill refused to allow countermeasures for fear of revealing to the Germans that their ciphers had been broken. Coventry, in short, was deliberately sacrificed to preserve Ultra. This is a myth. Three days before the raid Ultra revealed Luftwaffe plans for a major operation code-named Moonlight Sonata, but gave no date or targets.

Asking you to play someone you’re not is like asking King Kong to play the Moonlight Sonata.