![]() Like a youth who touches for the first time the hand of a great, renowed author, or as gently as with a bufferfly’s wing, or the perfume of the auricula, Walt touched the back of Wina, while he removed himself, as much as the waltz permitted, so as to look into her life-breathing face. Although Walt danced as, according to Bottiger, did the Romans, whose mimic dances consisted only of motions of the hands and arms, yet, involved with the flying swarm, he entered into the waltz with that warmth that carried them to the last stage of fatigue. Immediately they joined the stream of dancers. Walt, as he stood thus entranced, intimated that he wished to celebrate and consecrate this sweetest moment of his life, and as Hope passed before them, with the slave of virtue, Wina asked him if he never danced. Here’s a paragraph from that translation in “The Masked-Ball” chapter: The title is variously translated as “The Awkward Age” or “Wild Oats,” but its only English translation seems to be one by Eliza Lee in 1846 called Walt and Vult, or The Twins. Papillons was inspired by a masked ball sequence in the novel Flegeljahre by the German author and darling of the Romantic movement, Jean Paul. Invariably, however, complex stories often hide behind behind Schumann’s piano music, and this is no exception. Richard Goode performed Schumann’s Papillons (French for “butterflies") of 1831, which is ostensibly a collection of nine waltzes and two polonaises, so we might believe that a waltz is just waltz, and not so different from waltzes that Chopin composed, some before the Schumann work and some after. In contrast, Robert Schumann is a more mysterious figure. 845) with its fascinating second movement theme and variations, a nervous third movement Scherzo, and the allegro Rondo finale. 780), ending with the famous one, and then continued with the Piano Sonata in A Minor (D. Sometimes humming along with the music, his wife, violinist Marcia Weinfeld, turning pages for him, Goode began with the first three of Schubert’s Six Moments Musicaux (D. Last night, New York pianist Richard Goode performed a program at the 92nd Street Y where he became an ideal intermediary between Schubert and ourselves. We must be patient, savoring every phrase, allowing him to cast his spell. Schubert doesn’t want to bore us, but we must meet him halfway. He takes his time with his music, often content with moderate tempos, confident that the rapport that he’s established with us doesn’t require flash or virtuosity or big climaxes. To me, Franz Schubert is shy and reticent but craves intimacy. Schubert and Schumann: their names so easy to confuse, their births separated by only 13½ years, but how different is their music and what different personalities that music conveys! I will grow, I will prosper.Concert Diary: Richard Goode Plays Schubert, Schumann, and Bartok ![]() What a fine word, "legitimate!" Well, my legitimate brother, if this letter succeeds and my plan goes well, Edmund the worthless will triumph over Edgar the legitimate. Our father loves me just as much as he loves his legitimate son. ![]() Well then, legitimate brother Edgar, I must have your land. So why should I put up with the sick injustice of man-made social rules, which deprive me of rights just because I was born some twelve or fourteen months after my brother? Why call me a "bastard?" Why is a bastard inherently "worthless" when I'm as sound in my body and my mind as any legitimate child? Why do they call us "worthless," with "worthlessness," "bastard," "worthless," "worthless?" We bastards were at least conceived in a moment of passionate, stealthy lust, and so we have a stronger and fiercer nature than those shallow fools who were conceived in a dull, stale, tired marriage bed, where half-asleep couples churn out whole tribes of children. Y ou, Nature, are my goddess, and I only serve the laws of nature.
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