{"id":3369,"date":"2016-04-07T08:59:54","date_gmt":"2016-04-07T05:59:54","guid":{"rendered":"http:\/\/ziarulderimnic.ro\/?p=3369"},"modified":"2016-04-07T13:06:53","modified_gmt":"2016-04-07T10:06:53","slug":"ora-de-muzica-166","status":"publish","type":"post","link":"https:\/\/ziarulderimnic.ro\/?p=3369","title":{"rendered":"Ora de muzic\u0103 166"},"content":{"rendered":"<figure id=\"attachment_3370\" aria-describedby=\"caption-attachment-3370\" style=\"width: 266px\" class=\"wp-caption alignnone\"><a href=\"http:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2016\/04\/image-3.jpeg\" rel=\"attachment wp-att-3370\" data-rel=\"lightbox-image-0\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-3370 lazyload\" data-src=\"http:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2016\/04\/image-3-266x300.jpeg\" alt=\"by Abraham van Blyenberch, oil on canvas, circa 1617\" width=\"266\" height=\"300\" data-srcset=\"https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2016\/04\/image-3-266x300.jpeg 266w, https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2016\/04\/image-3.jpeg 708w\" data-sizes=\"(max-width: 266px) 100vw, 266px\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" style=\"--smush-placeholder-width: 266px; --smush-placeholder-aspect-ratio: 266\/300;\" \/><noscript><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-3370\" src=\"http:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2016\/04\/image-3-266x300.jpeg\" alt=\"by Abraham van Blyenberch, oil on canvas, circa 1617\" width=\"266\" height=\"300\" srcset=\"https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2016\/04\/image-3-266x300.jpeg 266w, https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2016\/04\/image-3.jpeg 708w\" sizes=\"(max-width: 266px) 100vw, 266px\" \/><\/noscript><\/a><figcaption id=\"caption-attachment-3370\" class=\"wp-caption-text\">by Abraham van Blyenberch, oil on canvas, circa 1617<\/figcaption><\/figure>\n<p style=\"text-align: justify;\">Oare femeia nu este \u00eentrebarea \u00eens\u0103\u0219i? Noi, b\u0103rba\u021bii, nu suntem cumva sutele lor de r\u0103spunsuri?<br \/>\nChiar dac\u0103 s\u0103rutul n-a fost de c\u00e2nd lumea pecetea \u00eenl\u0103n\u021buirii el-ului \u0219i ea-lei, iubirea s-a n\u0103scut odat\u0103 cu prima m\u00e2ng\u00e2iere de soare. La minus veacuri, la plus ani, prin timpuri Iisusiene, prin cele dowlandiene ea suna la fel ca azi, nu era nici mai pur\u0103, nici mai pervers\u0103&#8230;. B\u0103rba\u021bii de asemenea. Ce b\u0103rbat nu s-a sim\u021bit vinovat de cea mai mic\u0103 fapt\u0103 necugetat\u0103 \u0219i n-a cerut rom\u00e2ne\u0219te sau engleze\u0219te ,,Can You Excuse my Wrongs?&#8221;? Aceste este titlul al doilea de pe Songs from the Labyrinth, text care se \u00eencheie cu confesiunea ,,Drag\u0103, s\u0103-\u021bi aminte\u0219ti c\u0103 de dragul t\u0103u eu am murit mul\u021bumit.&#8221;. Pentru cei care n-au ascultat m\u0103car \u00een treac\u0103t albumul, fac precizarea c\u0103 \u00eent\u00e2iul c\u00e2ntec, ,,Walsingham&#8221;, are con\u021binut instrumental. La fel \u0219i al treilea, ,,Righy Honorable: as I have bin most bound unto your honor&#8230;&#8221;. ,,Flow, My Tears&#8221; are o metafor\u0103 demn\u0103 de cotidian: ,,Curg lacrimile mele, cad din izvoarele tale&#8230;&#8221;. Sincer, mi-ar fi pl\u0103cut mai mult varianta ,,prim\u0103veri&#8221; pentru ,,springs&#8221; \u00een locul izvoarelor, dar nu-i bai, fiecare intrerpreteaz\u0103 \u00een fel propriu.<br \/>\nMelodiile vocale medievale au un caracter aparte, un tonus ridicat chiar dac\u0103 tonalit\u0103\u021bile \u0219i gamele apar\u021bin ,,minorului&#8221;, par toate, indiferent de metrul ritmic, sprin\u021bare, se c\u00e2nt\u0103 f\u0103r\u0103 preten\u021bia unui volum r\u0103sun\u0103tor, unor rotunjiri de vocale, ca la pia\u021b\u0103, curg ca o poveste, cu opriri doar c\u00e2t s\u0103 trimi\u021bi saliv\u0103 c\u0103tre g\u00e2tlej, f\u0103r\u0103 preten\u021bia repet\u0103rii refrenice \u0219i abia acum g\u0103sesc rostul ,,corsetului&#8221; pop despre care vorbea Sting. Sar peste c\u00e2teva melodii \u0219i merg la ,,The lowest trees have tops&#8221;, unde am g\u0103sit o maxim\u0103 uzat\u0103 pe vremuri, dar adev\u0103rat\u0103 oric\u00e2nd: ,,Iubirea este iubire \u0219i \u00een (pentru) cer\u0219etori \u0219i \u00een (pentru) regi&#8221;. Nu pot s\u0103 nu remarc, \u0219i cred c\u0103 \u0219i Gordon Sumner a observat, apari\u021bia a dou\u0103 nume legate de acesta: \u00een\u021bep\u0103turi (stings), atribuite micilor albine despre care Dowland spune c\u0103-\u0219i pot folosi acele chiar dac\u0103 nu sunt mari \u0219i \u021bestoase (turtles), cele albastre din titlul primului album, care de\u0219i nu pot c\u00e2nta, se iubesc. ,,Inimi adev\u0103rate cu ochi \u0219i urechi care n-au nevoie de limb\u0103 ca s\u0103-\u0219i vorbeasc\u0103&#8230;&#8221;. ,,Fine knacks for ladies&#8221; s-ar traduce talente fine sau capricii ale doamnelor, iar versurile dezv\u0103luie o parte mic\u0103 din arsenalul de ,,prostioare&#8221; pe care un sclav al dragostei este \u00een stare s\u0103 le ofere odat\u0103 cu inima sa, iar\u0103\u0219i adev\u0103rat\u0103, iubitei. ,,Come, Heavy sleep&#8221; este \u00een profunzime o cugetare asupra mor\u021bii, folosindu-se de sintagma somn greu uneori ca o binecuv\u00e2ntare, alteori ca o umbr\u0103 sau un copil negru, iar spre final ca o implorare: ,,Vino somn dulce, vino sau voi muri pentru totdeauna, vino mai \u00eenainte de ultimul meu somn sau nu veni niciodat\u0103.&#8221;. S\u0103 mai venim o dat\u0103! Mica dram\u0103 din ,,Come again&#8221; se apropie considerabil de opera lui Moli\u00e8re, de intriga \u021besut\u0103 \u00een jurul personajului principal din Burghezul Gentilom care este aidoma celui din pielea acestui povestitor nefericit, stingher, st\u00e2njenit, dornic de a o atinge, a o vedea, de a o auzi pe cea drag\u0103 lui, cuprins de durere de moarte din cauza dispre\u021bului acesteia. Ofteaz\u0103 \u0219i pl\u00e2nge. \u00cen ,,Wilt thou unkind thus reave me&#8221;, John Dowland se folose\u0219te pe finalul fiec\u0103reia dintre cele cinci strofe de trei versuri ca replic\u0103 pentru ne\u00eemplinirile tatonate \u00een primele dou\u0103: ,,Adio, adio, Dar, \u00eenc\u0103 sau pe veci, S\u0103rut\u0103-m\u0103 dulce, Dulcea mea bijuterie.&#8221;. Titlul urm\u0103torului song este o poezie \u00een sine, ,,Weep you no more, sad fountain&#8221; (Nu mai pl\u00e2nge, trist\u0103 f\u00e2nt\u00e2n\u0103) \u0219i dezv\u0103luie \u00een a doua strof\u0103 \u00eenc\u0103 un aforism superb: ,,Somnul este o comunitate a \u00eemp\u0103c\u0103rii, odihna care d\u0103 na\u0219tere la pace&#8230;&#8221;. ,,Clear or Cloudy&#8221;, limpede sau tulbure ca luna aprilie, ca privirea iubitei, ca prim\u0103vara, ca iubirea&#8230;, deci \u00eenc\u0103 un imn \u00eenchinat ,,ei&#8221;, disimulat sau f\u0103\u021bi\u0219. Doar un dezn\u0103d\u0103jduit s-ar dori exilat \u00een \u00eentuneric \u0219i \u00eentristare. ,,In darkness let me dwell&#8221; face apologia ,,obiectelor&#8221; dinainte \u0219i dup\u0103 moarte: disperare, pl\u00e2ngere, muzic\u0103 infernal\u0103, ziduri de neagr\u0103 marmur\u0103, morm\u00e2nt, moarte.<br \/>\nO singur\u0103 pies\u0103 de pe acest album apar\u021bine lui Robert Johnson, compozitor \u0219i l\u0103utist tr\u0103it \u00een aceea\u0219i perioad\u0103 cu Dowland, Shakespeare \u0219i Ben Jonson, cel din urm\u0103 semnatarul versurilor lui ,,Have you seen the bright lily grow&#8221;. Ben este un prolific dramaturg, comedia acoperind mare parte din opera sa, dar \u0219i poet \u0219i actor. ,,Have you seen the bright lily grow&#8221; este o invita\u021bie, propune prin interogare: a\u021bi v\u0103zut&#8230;, a\u021bi atins&#8230;, a\u021bi sim\u021bit&#8230;, a\u021bi mirosit&#8230;, a\u021bi gustat&#8230;, a\u021bi aprins&#8230;? A\u021bi ascultat&#8230;?<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Oare femeia nu este \u00eentrebarea \u00eens\u0103\u0219i? Noi, b\u0103rba\u021bii, nu suntem cumva sutele lor de r\u0103spunsuri? Chiar dac\u0103 s\u0103rutul n-a fost<\/p>\n","protected":false},"author":7,"featured_media":3370,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"colormag_page_container_layout":"default_layout","colormag_page_sidebar_layout":"default_layout","_monsterinsights_skip_tracking":false,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"ngg_post_thumbnail":0,"video_url":"","footnotes":""},"categories":[7,116],"tags":[259,174,264,117,203,148,191,303,272,139],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/posts\/3369"}],"collection":[{"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3369"}],"version-history":[{"count":4,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/posts\/3369\/revisions"}],"predecessor-version":[{"id":3374,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/posts\/3369\/revisions\/3374"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/media\/3370"}],"wp:attachment":[{"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3369"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3369"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3369"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}