Душа моя тиха. В натянутых струнах
Звучит один порыв, здоровый и прекрасный,
И льётся голос мой задумчиво и страстно.
И звуки гаснут, тонут в небесах ...
Один лишь есть аккорд, взлелеянный ненастьем,
Его в душе я смутно берегу
И с грустью думаю: «Ужель я не могу
Делиться с Вами Вашим счастьем?»
Вы не измучены душевною грозой,
Вам не узнать, что в мире есть несчастный,
Который жизнь отдаст за мимолётный вздох,
Которому наскучил этот бог,
И Вы — один лишь бог в мечтаньи ночи страстной,
Всесильный, сладостный, безмерный и живой ...
( Александр Блок. 19 октября 1898. )
А меж тем, музыкальная композиция «Fuego» (что темой - выше) в исполнении зажигательного струнного квартета « Bond » - своего рода - кавер / cover version.
Ну или как пишут : музыкальная композиция базируется на песне
« Strings Of My Heart », которую на м/н песенном конкурсе Eurovision
представляла поп . певица Vanna - из Хорватии - в 2001 году.
« Ivana Ranilović-Vrdoljak (born September 1, 1970 in Koprivnica, Croatia, Yugoslavia)
is a pop singer from Croatia. She is also known with her artist name Vanna.
Vanna represented Croatia in the Eurovision Song Contest 2001 in Copenhagen on May 12, 2001 and finished 10th. She sang the song in Croatian and in English,
now entitled Strings of My Heart.
After Eurovision, Vanna released a live album called Vanna u Lisinkom and won Zadarfest again with Više nisi moj. She won prizes in several other festivals and she is now
about to release a new album. »
« Ванна (полное имя Ивана Ранилович-Врдоляк/ Ivana Ranilović-Vrdoljak ) – популярная певица Хорватии. Ванна родилась 1 сентября 1970 году в Копривнице. Несмотря на то, что выиграла в различных национальных детских и молодежных фестивалях. Ее официальный дебют произошел на конкурсе, который проводился в хорватском столице Загребе в 1989 году.
В 1992 году началась ее профессиональная карьера певицы. Она присоединилась к группе с названием «Electro Team». Будучи певицей и соавтором в написании всех песен, исполненных «Electro Team» она получила множество музыкальных призов. Их альбомы стали платиновыми, а билеты на их концерты всегда распродавались еще до дня выступления. Песня «Tek Je 12 Sati» стала настоящим хитом, даже популярным повсюду в бывшей Югославии.
В 1997 году Ванна покинула группу «Electro Team», чтобы начать сольную карьеру и сделать запись ее первого альбома «I To Sam Ja». С тех пор Ванна выпустила еще три сольных альбомов и получила несколько призов. Она победила в соревновании в Задаре три года подряд, в 1999, 2000 и 2001 годах, а ее альбом «24 Sata» стал золотым.
Ванна представляла Хорватию в конкурсе песни "Евровидение 2001" в Копенгагене 12 мая 2001 года и заняля 10е место с песней, на хорватском и
английском языках, Strings of My Heart (Струны моего сердца). »
Слушаем?
Песня, в общем-то, весьма и весьма душещепательна - в сюжете.
А то! О струнах же сердца ...
Vanna - «Strings of My Heart»
Don't break my heart tonight, don't leave me when I cry
Stay now and softly play the strings of my heart
I want you by my side, you make me feel all right
And let the fiddler play on the strings of my heart
And let the fiddler play on the strings of my heart
And let the fiddler play on the strings of my heart
Такая вот песенная трагедь - о любви.
Слышите, как ... то - нежно плачут, то - оптимистически наигрывают
- по ходу сюжета - скрипки?
Не фламенко, конечно - нет.
А вот... растревожилась душа от этих напевов.
Скрипок рыданья - тому виной?
Сюжет ли? Не знаю...
Но струны собственного сердца почему-то задрожали, зазвенели ...
Эх ...
А к странице с песенной балладой и стихами любимых поэтов - бесподобная живопись художника Aldo Balding ( родом - из Англии, ныне живущий во Франции)
Я очень люблю его живописные, очень жизненные сюжеты!
На каждом полотне - целая исповедь:
о Ней и о Нём, о встречах и расставаниях, о слезах и отчаяньи ...
Вот так - разглядываешь эти полотна и на ладони - весь песенный сюжет, в котором "повествуется" о том, как героиня любовной драмы упрашивает ( под нежные рыдания скрипoк) возлюбленного : не разбивай моё сердце, не оставляй меня в слезах ...
Играй - мягко и нежно - на струнах моего сердца ...
« Aldo Balding
Born in Southsea in 1960 and studied for a Diploma in Illustration at Southampton College. Aldo now lives in the Languedoc-Roussillon region of France. Beginning his career as a freelance illustrator his work appeared in and on the front covers of numerous magazines including the Sunday Times Culture Magazine, TV Times and Punch. Aldo is now a recognized and successful figurative and portrait artist.
Tim Green, August 2008 - London
Leonardo DaVinci said: “to be a good painter is to paint two main things: men and the working of man’s mind: the first is the easier of the two.” It’s a quote that has always resonated with Aldo. He admits to being a restless painter, never entirely happy with his work – and always striving to improve his technique.
The narrative quality of Aldo Balding's magnificent paintings is usually what initially draws his viewers in. Aldo's works have been referred to as "nostalgic", but he considers them timeless. Aldo's conveys his love of the more formal time and finds a suited man is much more interesting, narratively speaking, than someone in sneakers and jeans. He continues the timeless feelof his work into his interior scenes and landscapes.
It’s tempting for us, the viewers, to wonder where these improvements can be made, such is Aldo’s apparent mastery of his art. Every one of his exquisitely mysterious vignettes is masterfully realized. For example, in a recent piece titled “Odessey VI” two figures each at a different angle to the viewer, creased jackets throwing awkward shadows across the early evening town square, is flawless.
We shouldn’t be surprised. For all the modesty of Aldo, this is a painter who has dedicated his adult life to mastering the technical challenges of figurative art. Working as a storyboard illustrator for advertising agencies, he developed a passion for anatomy and honed his craft until he could draw the human form effortlessly from any angle. There was a simple commercial reason for this – if you can draw people convincingly without the need for models, it’s cheaper. But the discipline also appealed to Aldo’s aesthetic curiosity.
Today, as a full time painter choosing his subjects, Aldo remains dedicated to the human form. But he puts his formal virtuosity at the service of human drama. Virtually all of his paintings buzz with narrative possibilities. Who are the three inscrutable men in Conversation III? What are they planning? What have they just done? What are they going to do? And what about the couple in The Early Hours? Are they lovers? If so, is their affair bursting into life or fracturing?
Aldo is proud to admit he’s in the storytelling business, even if he lets us fill in the gaps. “I always try to put an element of mystery in my work,” he says. “You can suggest so much in a gesture, in the way someone stands. I like narrative in painting, because it casts the viewer into a voyeuristic role.”
The pull of suggested narrative explains why so many of the figures in Aldo’s work have their backs to us. “When a person is face-on, it’s a portrait, and the mystique is gone,” explains Aldo. Many of these backs belong, of course, to the be-suited men that appear throughout the artist’s work. The prevalence of so many jackets and ties has promoted some to describe Aldo’s work as nostalgic. This is something he’s keen to move away from. “I prefer to think of the scenes I depict as timeless. They are little dramas that could be from any era.”
But the suits will remain. Simply, Aldo loves the formal challenge posed by all those silken creases. Indeed, he’s recently applied himself to improving the way he renders the kind of sharp and soft edges we see in a painting such as the aforementioned Osyssey VI. It might sound highly pedantic to the rest of us – edges? – but this dedication to detail is what makes Aldo such a terrific craftsman. And this collection of formally superb and profoundly mysterious paintings proves it yet again. »
Aldo is proud to admit he’s in the storytelling business, even if he lets us fill in the gaps. “I always try to put an element of mystery in my work,” he says. “You can suggest so much in a gesture, in the way someone stands. I like narrative in painting, because it casts the viewer into a voyeuristic role.”
The pull of suggested narrative explains why so many of the figures in Aldo’s work have their backs to us. “When a person is face-on, it’s a portrait, and the mystique is gone,” explains Aldo. Many of these backs belong, of course, to the be-suited men that appear throughout the artist’s work. The prevalence of so many jackets and ties has promoted some to describe Aldo’s work as nostalgic. This is something he’s keen to move away from. “I prefer to think of the scenes I depict as timeless. They are little dramas that could be from any era.”
But the suits will remain. Simply, Aldo loves the formal challenge posed by all those silken creases. Indeed, he’s recently applied himself to improving the way he renders the kind of sharp and soft edges we see in a painting such as the aforementioned Osyssey VI. It might sound highly pedantic to the rest of us – edges? – but this dedication to detail is what makes Aldo such a terrific craftsman. And this collection of formally superb and profoundly mysterious paintings proves it yet again. »
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