Death of the heart

O'Yann, the author of Mozart Biography, explained Mozart's words that music can invade and completely occupy people's senses more directly and strongly than other arts, when the impression produced by language in poetry can only make way for it, and music comes through hearing, in a seemingly unexplainable way. The power of this kind of touching exceeds the touching of the language of poetry in an instant. Grill Patzer, an Austrian poet, further said: "If the role of music in opera is to express again what the poet has expressed, then I don't need music.." Melody! You don't need the explanation of words and concepts. You come directly from heaven, through the human mind, and return to heaven. The interesting thing is that neither O'Young nor Greer Patzer is a composer, and their world is the world of language art, but they are the same as those opera composers. I would like to quote two musicians, the first being the German violinist and composer Mo Hoptman, who criticized Gluck in a letter to O'Jann. As we all know, Gluck established a completely different opera style from Mozart, and when someone accused Mozart of disrespecting the lyrics, Gluck would be praised. Therefore, in Mo Hoptman's eyes,Horse weight lbs, Gluck has always had the intention of demanding faithfulness, but not the faithfulness of music, but the faithfulness of words; faithfulness to words often leads to unfaithfulness to music. "The words can be said in a nutshell, but the music is endless," Moe Hoptman wrote. Music is always vowels, words are only consonants, and the emphasis can only always be on vowels, on correct sounds,cattle weight tape, not on consonants. The other was the English composer Henry Purcell. Purcell was the last Tudor composer to bring English music to prominence. After his death, English music was silent for almost two hundred years. Purcell left a beautiful parallel sentence in which he first let the poem step on the shoulder of the prose, and then let the music step on the shoulder of the poem. He said, "As poetry is the harmony of words, so music is the harmony of notes; as poetry is the sublimation of prose and speech, so music is the sublimation of poetry." It was Mendelssohn who got me thinking, and one day I read a letter he wrote to Marc-André Souquet, in which he said, "People often complain that music is too vague, that their ears are listening to music and their minds are not clear about what to think, whereas language is understandable to everyone.". But for me, the opposite is true, not just in terms of a complete conversation, Walking measuring wheel ,Fiberglass tape measure, but even in terms of a few words. Words, it seems to me, are vague, obscure, and easily misunderstood; but true music is capable of infusing a thousand beautiful things into the heart, more than words. The ideas expressed to me by the music I love are not too vague to be put into words, on the contrary, they are too clear to be put into words. And I find that there is something right in trying to express these ideas in words, but at the same time they cannot be expressed correctly in all words.. Mendelssohn shows us how a musician's mind takes off and lands, and he tells us clearly that he can neither take off nor land on the runway of language. To this end, he further said: "If you ask me, when I put pen to paper, what is in my mind.". The song itself, I would say. If I happen to have words in my head that could be the lyrics to one of these songs, I don't want to tell anyone. Because the same word means different things to different people. Only songs can say the same thing and arouse the same emotion in one person or another, which can not be expressed in the same language for different people. Although the suspicion of the opera composers' lust for power still exists, I mean their belittling of the role of poets, it doesn't matter anymore.
With my years of experience in dealing with language and writing, I can confirm Mendelssohn's statement that "the same word means different things to different people", because the same word forms different narratives in different people. At the same time, I also think that the same emotion can not be expressed in the same language for different people. As for how to deal with the definite characteristics of music, I told myself that I should believe Mendelssohn's words. People believe in authority because they think they're amateurs, and I'm no exception. What I really want to say is that Mendelssohn's letters clearly express what a musician is looking for when he puts pen to paper, and what he is looking for is entirely personal experience and imagination, not the experience and imagination that people share. Even Gluck, who subordinated music to poetry, said that opera was only an improved recitation, but when he immersed himself in the practice of music creation, his musical nature often broke through the limitations of poetry. In fact, Mendelssohn's search is what Homer and Dante were looking for when they put pen to paper. That is to say, what they are looking for is not notes, nor words, but narratives composed of notes or words, and then, like Purcell's harmony, let different heights of music sound at the same time, or let different meanings of words appear at the same time. Mendelssohn feels that language is ambiguous, vague and easy to misunderstand because it is not words but notes that constitute his narrative. Thus, the siege of Mendelssohn became liberation precisely for Homer and Dante. Words and sounds, or poetry and music, though, as Hanslick said, like a constitutional government, "always have two equal forces in competition,horse weight tape," are also like the hunter and the boxer in Cicero's praise, with completely different but very similar powers. Cicero said, "Hunters can spend the night in the snow and endure the hot sun on the mountain.". The boxer didn't even snort when he was hit by the tin glove. 5 September 1999 The reality of Borges. tapemeasure.net