Yesterday I had a chat with my fiancé and she was concerned because I was lacking spice. What she meant by that is that the sizzle is starting to fizzle out and I didn’t know what to say. So as I was sitting there in Keller Hall and listened to Kimberely Fredenburgh play Suite No.1 minor, Op.131d, composed by Max Reger made it very clear to me that I was exercising every sense but my creative sense. I had let the daily cares of life sift out the romantic, passionate side of life. So I realized what my fiancé was trying to tell me.
Listening to Frendenburgh was fantastic! Her first piece that she played was very passionate, like the passion that two lovers would share. Really, she played so well that I felt that she was describing a relationship between two people who have a deep love for one another. She portrayed this love by her body language. The way she would move her upper body, the way she would go up and down with the bow across the strings, by her deep breathing and her frowns. In certain parts of the piece she would frown intensely or even seem to sigh ever so gently. And on some parts I could hear her breath very deeply, which I found to be quite interesting because I have never heard that by a musician before. As I listened, I just became more aware of what I needed to be doing in order to keep that passion burning with my fiancé and me. Just sitting there and watching her movements and hearing the somber minor qualities just helped define that passion that I have been lacking, it helped spark up my senses. This piece was very well played. It described movements of quickness, playfulness, and some of struggle. All these descriptions that came to mind that night just defined a loving relationship between to people who are in love and the experiences that most couples go through.
The Term Paper on Passion is Instrument of Self-Extinction in Blood Wedding
[size=18:d2d9296eb7]Passion is the instrument of self-extinction in Blood Wedding [/size:d2d9296eb7]In the play Blood Wedding, Lorca has presented human beings trapped in the webs of their own passion. John Gassner has mentioned that “Lorca‘s most impressive dramas deal with people who are seized by elemental passions which conflict with custom, reason, or some other restraining force”2. In this ...
