Ethereal Music: Rach 3rd

This recording of Rachmaninoff's 3rd Piano Concerto changed my life.

I was 14 years old when I first watched this 75 year old man playing what is considered to be the most technically challenging concerto ever written. In this video, Vladimir Horowitz recorded this concerto for the very last time before he died.

Now, many musicians dislike listening to Horowitz because of his technical sloppiness or his lack of physical expression. I say, however, that you cannot deny the musical passion with which he plays. Technical perfection is certainly worthy of great praise, but it truly takes a gift to convey emotion and captivate an audience through the performance of music. This particular performance goes unmatched in my opinion. (But don't you worry, my fellow pianists! Martha Argerich's version is most definitely a runner up. Haha.) Rachmaninoff himself lauded Horowitz's masterful performances of his pieces, and he attended his shows as often as he could.

The actual composition on the other hand is undoubtedly a work of inspiration on Rachmaninoff's part. All I can tell you is to see for yourself.

I dare you to listen to the entire thing. It might just change your life as well.

P.S. Just in case you don't have 44 minutes and 30 seconds to spare right away, at least listen to these bits.

(1:21-3:00) Start from the beginning. Get a feel for this masterwork. Introduce yourself to the main theme. You'll be friends in an instant.
(7:33-8:00) This sounds like a fairytale.
(9:40-10:20) Just feel the power. It will rock your world.
(12:30-13:10) Once again, FEEL THE POWER. Close your eyes at 12:45. Ahhhh.
(18:00-19:40) The orchestra is stunningly beautiful here.
(20:30-21:30) The piano melody of this movement is sublime alone, but wait until the orchestra comes in underneath! It's absolutely breathtaking.
(23:50-25:20) Ahhh, such emotion! Can you hear it in the notes and see it in the performers??? And more importantly do you FEEL this, my friends?!?! For me, the tears start coming around 24:35. They are rolling down my cheeks at 25:03. This is gorgeous.
(28:45-29:10) Would you just look at this guy? He is AWESOME.
(30:40-31:20) I love the dynamic swells here. Beautifully done.
(32:47-33:38) This little recurring bit is one of my favorite technical parts of this piece. So light and spirited and sparkling.
(37:10-37:40) Just watch his fingers. Oh wait, you can't even SEE them at this part!
(41:15-41:50) 41:42 IS THE GREATEST MOMENT IN THE ENTIRE THING.
(42:00-43:16) If nothing else, you need to listen to this ending. It is incredible.
(43:16-44:30) Pure applause. They even cut off the recording before the applause was even finished. Woah.

On the Life of Ayn Rand

“My philosophy, in essence, is the concept of man as a heroic being, with his own happiness as the moral purpose of his life, with productive achievement as his noblest activity, and reason as his only absolute.” Ayn Rand’s bold words have rung in the ears of Americans for decades, inspiring many to pursue a greater sense of individualism and self-focus. Her unique philosophy and work have earned her a place of honor among America’s most notable authors. However, she did not always possess this great sense of individualism. One may ask: what was it that inspired such harsh, selfish beliefs? Her seemingly unyielding argument in defense of the individual is interesting when early life is studied. Ayn’s environment discouraged any sense of freedom, yet it was these experiences that enabled her to gain power and insight in egoism. Because Ayn Rand witnessed poverty, religious persecution, and an overthrown government, she developed the acute ability to recognize, as well as communicate, the importance of individualism in the midst of oppression.

Living in a poverty-stricken nation as a child and going through financial difficulty as an adult showed Ayn Rand the importance of personal independence. She was born as Alisa Zinov’yevna Rosenbaum in the Russian Empire, which was controlled by the Soviets at the time of her birth in 1905. Her father, Zinovy Rosenbaum, was a self-made, successful Jewish pharmacist and businessman, while her mother, Anna Borisovna, had formerly belonged to a wealthy aristocratic family. Yet despite their family’s financial success early on in Alisa’s life, the country of Soviet Russia was overridden with revolutionary violence, against both government and religion. These not only left the family terrified, but twice destroyed their family business, leaving the Rosenbaums to go hungry. They were not alone in their state of poverty, however. In just those two years, 5 million people died of starvation in their country. Alisa (Ayn) served as a witness to the horrors of an impoverished society at a young age. She saw that if her family could only have been independent from their oppressive government, they could have avoided these frightening times. In Ayn’s adult life in America, she found difficulty in gaining success in her Hollywood screenplays, thus forcing her to take on many odd jobs to pay for her basic living expenses. Although she finally gained fame and success through her screenplay, Red Pawn, and her first novel, We The Living, Ayn Rand never forgot the memories of her impoverished early life. Because Ayn personally experienced poverty and financial struggles, she was able to later convey messages of the importance of self-reliance and independence in her writing.

Ayn Rand’s youth as a fleeing political and religious refugee not only provided her with experience but with a mature ability to judge an oppressive government. Anti-Jewish groups surged through St. Petersburg, and Ayn’s family was terrified of being killed by these mobs. Alisa (Ayn) possessed an intense interest in politics even at the age of twelve, where she supported republican ideals and socialism rather than constitutional monarchy during the February Revolution of 1917. This early eagerness for debate and politics is notable, for even in her youth, she strongly developed her own opinions and had a keen sense of governmental judgment. It was during the October Revolution and the rule of the Bolsheviks under the new Soviet Union leader, Vladimir Lenin, that her once-comfortable family life was greatly disrupted. As previously mentioned, Ayn’s father’s pharmacy was confiscated and destroyed twice. The displaced family had no choice but to seek help from outside their poverty-stricken nation. Finally, when she was twelve years old, her family was able to flee with her and her three younger sisters to the Crimean Peninsula.  In response to her bleak and unyielding life trials, Ayn began developing her individualistic philosophies in high school, which she is known for to this day. She even determined to be atheist, contrary to her Jewish upbringing.  Nevertheless, she continued to learn about and create her own ideas regarding proper government in her studies at both a high school and a university level. Although she experienced the negativity of an oppressive government firsthand, Ayn developed the ability to recognize the absence of liberty.

Witnessing the overturning of the Soviet Russian government before immigrating to a free nation of America equipped Ayn with the understanding of true freedom of the individual, which she saw in the struggle between the people and the state. As an immigrant and refugee, she was able to not only study, but experience the differing governments. She saw Vladimir Lenin come to power during the Bolsheviks Revolutions, and she personally felt the pain of the lacking freedom herself. Where one country oppressed and restricted her, the other, America, encouraged and welcomed opportunity.  In her decision to become a professional author and in hopes to gain a fresh start in the United States, she changed her name officially to Ayn Rand, rather than her Russian birth name. In the fall of 1925, Rand was granted a visa to journey to America, and when she arrived in the harbor of New York City, she later recalled crying “tears of splendor” over the Manhattan skyline. America then provided her with the opportunity to become a Hollywood actress and screenwriter, and later an iconic novelist and philosopher, which she never would have had become if she had remained in Russia. Ayn Rand was able to personally witness the stark contrast between the values of America, a land of liberty, and Russia, an overturned nation of communism, as an immigrant.

It was the collective experiences throughout her entire life, including the hardhips, which shaped Ayn Rand. In order to create her unusual stories and characters, she had to define the ideas and principles that guided not only her protagonists, but herself as well. During her own lifetime, Ayn Rand became a famous, although quite controversial, figure to millions around the world, who claim her writings changed their lives. Her objectivist and individualistic philosophies, which she gained throughout her life, inspire and teach the world through her novels to this day. Ayn Rand’s unique approach and writings of individualism were reached because of her experiences in poverty, persecution, and governmental oppression; her entire life is what enabled her to succeed as an American author.

Satan Cannot Sing

I am currently taking a class about the ancient music history and literature of the Western world. I originally signed up for this class only with the intent to satisfy a credit/transfer requirement, but I feel I have gained much more than that so far. I have been fascinated with the historical background and progression of music throughout the ages, and I have come across many interesting phenomena that carry significance for me personally. I want to share one of them with you.

In short, the Middle Ages was the thousand year period that began with the fall of the Roman Empire in the fifth century. During these times, sacred song (Gregorian chant) began to develop and flourish in the Western Christian Church. These chants are considered to be great historical treasures of the Western civilization because they allow us to clearly see and study the religious faith and values of the time.

The most popular and important element of the religious practices was the daily Mass, which many of us are somewhat familiar with. Around the thirteenth century the purpose of this liturgy, or the sacred texts performed in the services, was to glorify God, teach the Gospel of Christ, and exhort and inspire the worshippers to continue along the paths of righteousness. There was no room for secular music in the churches at this time in order to remain true to this purpose (although as the centuries passed, secular songs in worship services eventually became more and more commonplace. The composers would integrate the melodies of their more famous pieces into their sacred compositions in order to attract a greater audience to the churches and to gain more popularity. Interesting, right!? But that's another story.)

Before the Introit or introductory section of the Mass, there was often a Liturgical Drama performed to precede the more formal service. In these dramas, different scripture stories and passages were read and acted out through characters. They were like little religious musicals. :)

Anyways, all the different characters would sing their dialogues to each other except for one. Whenever a drama was performed with the Devil as a character, he was not allowed to sing his part. Instead, he could only speak. It was so interesting to listen to an excerpt of one of these particular dramas, for you'd hear the hauntingly beautiful Gregorian chant being performed phrase by phrase by the other characters. Then right after the strains of their melodies faded, a man's voice would deliver his lines in a creepy shout/moan. The contrast between the song and the speech was striking when the entire piece was listened to.

 Also, the very buildings that Mass was celebrated in were designed to evoke awe and grip not only the mind but also the heart. The high ceilings and murals of the churches and cathedrals were meant to draw the eye heavenward. The architecture was meant to accompany the music in its purpose of edifying the worshippers. Now within these resonant cathedrals, the spoken word was often lost; however, singing carried the words clearly to all corners of the building. To a populace that was mostly illiterate, these musical services were their main sources of religious instruction.

The fact that Satan cannot sing is symbolic of his separation from God. Music represented the divine, and singing was like a connection and a prayer to Heaven. Learning about this not only showed me how significant sacred music is, but it also taught me once again about godly attributes. If we personally develop righteous talents and qualities, we can become closer to God. God has given us the opportunity to do so because we are his children. He wants us to return to Him.

"For my soul delighteth in the song of the heart; yea, the song of the righteous is a prayer unto me." (Doctrine and Covenants 25:12)

"Praise ye the Lord. Sing unto the Lord a new song, and his praise in the congregation of the saints." (Psalms 149:1)

"Behold, God is my salvation; I will trust, and not be afraid; for the Lord Jehovah is my strength and my song; he also has become my salvation." (2 Nephi 22:2)

"The Lord is my strength and my shield; my heart trusted in him, and I am helped: therefore my heart greatly rejoiceth; and with my song will I praise him." (Psalms 28:7)

Proving Your Heart

Think about this.

"If you're trying to prove your heart is in the right place, it isn't."

David Scmidtz

Like Having A Little Bird

In speaking to me about some troubles I had been having with one particular boy, my dad said something that stuck with me. He told me that loving a woman is like having a little bird.

If you try to squeeze this little bird close to you and put this little bird in a cage in hopes that she won't be lost from you, you are preparing yourself for the inevitable.

This little bird will fly away from you if she likes. She does not trust nor love you. She can find safety elsewhere.

After all, aren't these birds made for flight? There is magnificence in her ability to fly. If it is suppressed, this beauty and freedom will no longer exist. It is swept aside as if it were naught but the bird's funny hobby or cute little trick.

True love is lost when forced or manipulated.

Instead, it is crucial day to build trust day after day. It takes time. Care for this little bird. Love and honor her divine mission to fly. Encourage her flight.

She can then fly to you.

Ethereal Music: Resurrection

If you haven't heard the fifth movement of Gustav Mahler's Symphony No. 2, you have yet to fill a hole in your repertoire of sacred classical music. I've adored this piece ever since I first heard it. I must share it with you. From 3:40 to about 4:20, I always get a massive wave of happy tears and goosebumps. Read along with the translation as you listen. Ohhhhh, the poignancy and inspiration of this text is hard to deny. Your soul will want to sing along with this choir. 

This music testifies of Christ. 

Give it a listen. You won't regret it. 


(START AT 01:17:56)

Gustav Mahler Symphony No. 2: "Resurrection": Mvmt. V (9): Wieder etwas zurückhaltend

Original German Aufersteh'n, ja aufersteh'n Wirst du, Mein Staub, Nach kurzer Ruh'! Unsterblich Leben! Unsterblich Leben wird der dich rief dir geben! Wieder aufzublüh'n wirst du gesät! Der Herr der Ernte geht und sammelt Garben uns ein, die starben! —Friedrich Klopstock O glaube, mein Herz, o glaube: Es geht dir nichts verloren! Dein ist, ja dein, was du gesehnt! Dein, was du geliebt, Was du gestritten! O glaube Du wardst nicht umsonst geboren! Hast nicht umsonst gelebt, gelitten! Was entstanden ist Das muß vergehen! Was vergangen, auferstehen! Hör' auf zu beben! Bereite dich zu leben! O Schmerz! Du Alldurchdringer! Dir bin ich entrungen! O Tod! Du Allbezwinger! Nun bist du bezwungen! Mit Flügeln, die ich mir errungen, In heißem Liebesstreben, Werd'ich entschweben Zum Licht, zu dem kein Aug' gedrungen! Sterben werd' ich, um zu leben! Aufersteh'n, ja aufersteh'n wirst du, mein Herz, in einem Nu! Was du geschlagen zu Gott wird es dich tragen! —Gustav Mahler

In English Rise again, yes, rise again, Will you My dust, After a brief rest! Immortal life! Immortal life Will He who called you, give you. To bloom again were you sown! The Lord of the harvest goes And gathers in, like sheaves, Us together, who died. —Friedrich Klopstock O believe, my heart, O believe: Nothing to you is lost! Yours is, yes yours, is what you desired Yours, what you have loved What you have fought for! O believe, You were not born for nothing! Have not for nothing, lived, suffered! What was created Must perish, What perished, rise again! Cease from trembling! Prepare yourself to live! O Pain, You piercer of all things, From you, I have been wrested! O Death, You masterer of all things, Now, are you conquered! With wings which I have won for myself, In love’s fierce striving, I shall soar upwards To the light which no eye has penetrated! Die shall I in order to live. Rise again, yes, rise again, Will you, my heart, in an instant! That for which you suffered, To God will it lead you! —Gustav Mahler

Youth and Age

"Youth and Age"
by Samuel Taylor Coleridge

Verse, a breeze mid blossoms straying,
Where Hope clung feeding, like a bee—
Both were mine! Life went a-maying
With Nature, Hope, and Poesy,
When I was young!

When I was young?—Ah, woful When!
Ah! for the change 'twixt Now and Then!
This breathing house not built with hands,
This body that does me grievous wrong,
O'er aery cliffs and glittering sands,
How lightly then it flashed along:—
Like those trim skiffs, unknown of yore,
On winding lakes and rivers wide,
That ask no aid of sail or oar,
That fear no spite of wind or tide!
Nought cared this body for wind or weather
When Youth and I lived in't together.

Flowers are lovely; Love is flower-like;
Friendship is a sheltering tree;
O! the joys, that came down shower-like,
Of Friendship, Love, and Liberty,
Ere I was old!
Ere I was old? Ah woful Ere,
Which tells me, Youth's no longer here!
O Youth! for years so many and sweet,
'Tis known, that Thou and I were one,
I'll think it but a fond conceit—
It cannot be that Thou art gone!

Thy vesper-bell hath not yet toll'd:—
And thou wert aye a masker bold!
What strange disguise hast now put on,
To make believe, that thou are gone?
I see these locks in silvery slips,
This drooping gait, this altered size:
But Spring-tide blossoms on thy lips,
And tears take sunshine from thine eyes!
Life is but thought: so think I will
That Youth and I are house-mates still.

Dew-drops are the gems of morning,
But the tears of mournful eve!
Where no hope is, life's a warning
That only serves to make us grieve,
When we are old:
That only serves to make us grieve
With oft and tedious taking-leave,
Like some poor nigh-related guest,
That may not rudely be dismist;
Yet hath outstay'd his welcome while,
And tells the jest without the smile.

Youth and I are most definitely "house-mates" still, yet I hope this will always be so. My friends, happiness holds no time constraints. Joy is not unlimited if you allow it to be so. Don't lose hope. Don't let tears take the sunshine from your eyes. Youth is not dependent on age. Remember to always tell the jest with the smile.

Lots of love,

Liv

This Blog Has Stepped Into The Sun

Hello, world. I'm finally brave enough at heart to welcome you to this little blog. Amuse-toi bien. :P