#rachmaninoff
There were two piano pieces of Rachmaninoff's: Love's Joy and Love's Sorrow. Now she, the musician who lets the instrument cry for her, always chooses to play the latter piece. And he, the musician who seeks to pursue happiness with his instrument, asks her, "Why do you stick to sorrow?"
.
.
.
"So I can get used to it."
Apr 29, 2015
Apr 29, 2015 at 11:10 AM UTC
Let's make these fingers play,
Across eighty-eight keys of wood and ebony,
In perfect, scale, rhythm and harmony.
Decipher the dots and dashes,
And break all the rules,
once you know all the clashes.
You could learn,
From the masters of this game,
Probably Beethoven,
Who played it with honesty and power;
Or Chopin,
Who played it with delicateness,
And poetry;
Or even Liszt,
Who played without hesitation,
And to woo women;
Or Rachmaninoff,
Who used his sizely hands,
To the fullest,
Using clean moves and precision.
There are many masters of this game,
But I promise,
It's the only game which will keep you,
Entertained.
Till the very end.
Feb 21, 2017
Feb 21, 2017 at 11:56 PM UTC
Fortissimo -A
The great fall,
into eerie suffocating darkness
piano pianissimo
leaving smiles on faces inverted,
frozen tears that never rolled down.
The menacing overture
grim and heavy,
crushing fortitude, grief and joy
clawing each other out,
lucidly.
Agitato -B
The angst builds,
wrenching the mind from its rational gaze
chromatic disorder seeps in,
another descent begins.
Agitation bleeds
into rivers of melancholy
flowing fervently to the ******
where famished ears await
the soulful drop of anticipation and girth.
Seduction, no heart could withstand
submission, no slave would surrender.
Coda -A
Returning to where it began,
the exposition of extremes
a collapsing sky, a violent dream.
At the edge of belief,
madness is melody
poignantly orchestrated.
Fingers that questioned doom
have retorted swiftly.
The closing is at hand;
it ends quietly.
May 4, 2014
May 4, 2014 at 5:43 PM UTC