Creating, collecting, and sharing thoughts and ideas. And learning along the way.
News on music and the people who make it, and the stories about them. “Are we not formed, as notes of music are, For one another, though dissimilar?” ~Percy Bysshe Shelley
Roll away your stone, I’ll roll away mine
Together we can see what we will find
Don’t leave me alone at this time,
For I’m afraid of what I will discover inside
Cause you told me that I would find a hole,
Within the fragile substance of my soul
And I have filled this void with things unreal,
And all the while my character it steals
Darkness is a harsh term don’t you think?
And yet it dominates the things I see
It seems that all my bridges have been burned,
But you say that’s exactly how this grace thing works
It’s not the long walk home that will change this heart,
But the welcome I receive with the restart
Darkness is a harsh term don’t you think?
And yet it dominates the things I see
Darkness is a harsh term don’t you think?
And yet it dominates the things I’ve seen
Stars hide your fires,
These here are my desires
And I won’t give them up to you this time around
And so, I’ll be found with my stake stuck in this ground
Marking the territory of this newly impassioned soul
But you, you’ve gone too far this time
You have neither reason nor rhyme
With which to take this soul that is so rightfully mine
Title : Johann Sebastian Bach, Double Violin Concerto in D minor (2nd movement, Largo Ma Non Tanto (BWV 10)
The Concerto for Two Violins in D minor (BWV 1043) is perhaps one of the most famous works by J. S. Bach and considered among the best examples of the work of the late Baroque period. Bach wrote it in Leipzig sometime between 1730 and 1731, most likely for the Leipzig Collegium Musicum, of which he was the director. It also exists in an arrangement for two harpsichords, transposed into C minor (BWV 1062). In addition to the two soloists, the concerto is scored for strings and basso continuo.
The concerto is characterized by the subtle yet expressive relationship between the violins throughout the work. The musical structure of this piece uses fugal imitation and much counterpoint.
The concerto comprises three movements:
Vivace
Largo ma non tanto
Allegro
