Iğdır Yöresi Geleneksel El Örmeleri (9786055542610)

What St. Augustin says of the emotion which he felt on hearing the music in the Portian basilica at Milan in the year 386 has always seemed to me a good illustration of the relativity of musical expres-sion; I mean how much more its ethical significance depends on the musical experience of the hearer, than on any special accomplishment or intrinsic development of the art. Knowing of what kind that music must have been and how few resources of expression it can have had,--being rudimental in form, without suggestion of harmony, and in its performance unskilful, its probably nasal voice-production unmodi-fied by any accompaniment,--one marvels at his description.

Dard.
Già d' Amadigi il nome
Fa' incredibil' le proue
Della forza dell' braccio, e del' valore:
Dopo tante vittorie
Tempo è dunque che ascolti,
Della vaga Melissa
Gl' Innamorati pianti.

Since that day when, a quarter of a century ago, Richard Wagner ceased to be a dynamic figure in the life of the world, the history of operatic art has been, save for a few conspicuous exceptions, a barren and unprofitable page; and it has been so, in a considerable degree, because of him. When Mr. William F. Apthorp, in his admirable histo-ry of the opera—a book written with unflagging gusto and vivid-ness—observed that Wagner's style has been, since his death, little im-itated, he made an astonishing assertion. "If by Wagner's influence," he went on, "is meant the influence of his individuality, it may fairly be said to have been null. In this respect Wagner has had no more fol-lowers than Mozart or Beethoven; he has founded no school." Again one must exclaim: An astonishing affirmation! and it is not the first time that it has been made, nor will it be the last. Yet how it can have seemed a reasonable thing to say is one of the insoluble mysteries. The influence of Wagner—the influence of his individuality as well as of his principles—upon the musical art of the past twenty-five years has been simply incalculable. It has tinged, when it has not dyed and satu-rated, every phase and form of creative music, from the opera to the sonata and string quartet.

“At daybreak, on a summer morning, in the year 1815, a short, thick-set, sturdily-built man entered his sitting-room, and at once set to work to compose music. Not that he disturbed the slumbers of the other inhabitants by untimely noises upon the pianoforte: a course which, at three in the morning, might be resented by even the most enthusiastic admirer of his genius. No: he sat down at his table, with plenty of music paper, and addressed himself to his usual avocation of writing assiduously till noon or thereabouts.”

Akademi, görülmeyen, tutulamayan ama sürekli var olan yaratıcı ve sihirli bir yaşam ruhunun da adıydı. Yaratıcılık ateşini hissedenler için “her şeydi”. Yazar, o sanat dünyası insanlarının 50 yılı aşan bir kısmını altın bir çerçeve içinde toplamış.

Bu kitapla, Türkiye’de uzun bir dönemin çok etkin bir sanat ortamını başlatan, sürdüren, yaratıcılığı destekleyen, her zaman sorunlarını kendi içinde çözen köklü Akademi’nin bir tür biyokimya laboratuvarı anlamındaki analizi yapılıyor. Prof. Sümer Saldıray kitabında, Akademililerin eser vermesini, yaşamasını ve soluk almasını sağlayan Akademi’yi Türkiye ve İstanbul’un o yıllarına ait gerçeklerinden ayırmamayı da gözetiyor.

Prof. Dr. Önder Küçükerman