Frédéric Chopin – Prelude in E-Minor (op.28 no. 4)
Played by: Aldona Dvarionaite (2012)

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Oppie Oppenheimer: Magical

Mark SM: Made me feel sad.

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“ …Die Lehre der Tempoveränderungen wird nach Hugo Riemann Agogik genannt. Riemann führte den Begriff 1884 in die Musiksprache ein. … Die Änderungen liegen außerhalb der mechanischen Tempowerte (Metronom) und sind Bestandteil der musikalischen Interpretation durch den Dirigenten oder Solisten. Dies betrifft vor allem feinste Temponuancierungen innerhalb musikalischer Phrasen …“ >> https://de.wikipedia.org/wiki/Agogik_%28Musik%29

„… Hans von Bülow called the prelude „suffocation“, due to its sense of despair. In fact, Chopin’s last dynamic marking in the piece is smorzando, which means „dying away“. …“ >> https://en.wikipedia.org/wiki/Prelude,_Op._28,_No._4_%28Chopin%29

„… Metaphysical solipsists argue that there are indeed no minds but one’s own and that attempting to prove the existence of another mind is futile. Proponents of this view argue that the world outside one’s own mind cannot be known and indeed might be nonexistent. … The reductionist viewpoint, supported by John McDowell and others, has tried to tackle a part of this problem by putting forth certain modes of expression (such as being in pain) as privileged and allowing us direct access to the other’s mind. Thus, although they would admit from the problem of pretense that at no one time can we claim to have access to another’s mental state, they are not permanently unavailable to us.“ >> https://en.wikipedia.org/wiki/Problem_of_other_minds
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“ … „Das Pathos der Dinge“ oder auch „das Herzzerreißende der Dinge“ (mono no aware) bezeichnet jenes Gefühl von Traurigkeit, das der Vergänglichkeit der Dinge nachhängt und sich doch damit abfindet. Als Mitgefühl mit allen Dingen und deren unabdingbarem Ende ist mono no aware ein ästhetisches Prinzip, das vornehmlich ein Gefühl, eine Stimmung beschreibt. … “ >> https://de.wikipedia.org/wiki/Japanische_%C3%84sthetik#Mono_no_aware_und_Okashi (10. Mai 2014)
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„… Brief as they may be, the Preludes of Frederic Chopin never fail to provoke us. … We may attribute the effect of yearning we perceive in the E-minor prelude to the restless spirit of Romanticism if we wish, but its real source is the lack of a structural closure attributable to an absent initial structural tonic harmony and an absent Urlinie, truly poetic omissions. If, as Schenker asserts, ‚the fundamental line signifies motion, striving toward a goal, and ultimately the completion of this course‘, a convincing traversal of the fifth-span down from the firmly established b‘ is not to be found here … Forcing a fundamental line upon the prelude, as if one were obligatory just because it is a tonal composition, hinders recognition of the work’s essential effect: denial of conventional melodic closure at the background level, a basic expectation associated with tonal music. …“ | From: „Precursive Prolongation in the Preludes of Chopin“ by JAMES WILLIAMS OBASKIE (Date: 2007?) >> http://www.music.ucc.ie/jsmi/index.php/jsmi/article/viewFile/21/33