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Having considered Handel's tumultuous opera career and his first term at Covent Garden in the 1730s, perhaps we may dare to suggest he was one of the foremost pioneers in establishing autonomy within the traditional system of music patronage, notwithstanding his efforts to become an independent impressario often proved disappointing. ↗
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Often when he was not working he had come here and sat an entire afternoon, lulled by the din and music from the other rooms into a state of vague ecstasy, while he contemplated the small sheet of water outside the window. It was that happy frame of mind into which his people could project themselves so easily - the mere absence of immediate unpleasant preoccupation could start it off, and a landscape which included the sea, a river, a fountain, or anything that occupied the eye without engaging the mind, was of use in sustaining it. It was the world behind the world, where reflection precludes the necessity for action, and the calm which all things seek in death appears briefly in the guise of contentment, the spirit at last persuaded that the still waters of perfection are reachable. ↗
ブラジルには音楽があふれている。カフェに行けば、テーブルを何気なく指で叩いているお年寄りを見かけるし(それも信じられないような複雑なビートで叩く)、カーニヴァルが近づくころになると、リオの丘からはサンバのリズムが雷鳴のように轟く。バーに繰り出せば今度はギターが次から次へとまわされ、みんなが声をそろえて夜更けまで歌い興じる。古い歌だろうと何だろうと、彼らはブラジルの曲なら何でもそらで歌えてしまうのだ。 ブラジル人の心には常に音楽が宿っている。そしてブラジル人のしゃべる言葉、歩く腰つき、サッカーのドリブルなどなど、至るところにリズムが感じられる。[7ページ] ↗
To transform a grimace into a sound sounds impossible, yet it is possible to transform a vision into music, to go outside an enslaved personality, to become impersonal by transforming into sand, into water, into light. ↗
