Revolutionary power

Mossie 2022-01-16 08:02:44

Copying Beethoven

Copying Beethoven

This movie has always been stored on the computer, with the pianist, and watched it again and again. Bei is an artist and a revolutionary. Deep down in his heart, he thinks he is superior to the king. He even thinks that God is not his own heavenly father, they are equal. Bei's concept of society is revolutionary, but it is very romantic for music. His unparalleled strong personality and powerful genius make his music dominate everything in life-except for his tragic deafness.
Yes, at the time of the first performance of Bei Jiu, Bei could not hear the beautiful milestone in the history of music, but for those high-level musicians, deafness only means that they cannot hear outside sounds, and does not affect their hearts. This ability is simply a kind of magic. After 1817, Bei was almost completely deaf, but his most important works are the five string quartets and piano sonatas and the Devil Variations and No. The Nine Symphony was composed during this time. He puts us on a musical plane where the spirit is sublimated. No stage like him has ever appeared, and there will be no stage like him in the future. This great genius did not compose music for anyone, just to verify his art and intelligence, and only listen to his own inner powerful power and voice. He is solemn and sacred. Every note is full of power and meaning.

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  • Adalberto 2022-03-26 09:01:12

    Primary and secondary upside down, mediocre. I cannot accept a Beethoven who speaks English.

  • Kayden 2022-04-22 07:01:48

    One star for the screenwriter and one star for the music, I feel that the director doesn't understand the camera or the music at all, he just found a general direction. Different expressions are constantly used in the film. Indeed, many novel lens languages ​​have been tried by the director, but they all have one thing in common: they are not beautiful! !

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Copying Beethoven quotes

  • Ludwig van Beethoven: I'm a very difficult person, Anna Holtz, but I take comfort in the fact that God made me that way.

  • Ludwig van Beethoven: [conclusion--Beethoven is describing his "Song of Thanks to the Deity"] No key. It's common time, molto adagio, sotto voce. First violin, quarter notes. Middle C up to A. Measure. G up to C, tied, F. Second violin, bar two. Middle C up to A. Double note E, G, C. Viola clef, 2B pressed. It's a hymn of thanksgiving to God, for sparing me to finish my work. After the pianissimo, the canon resumes. First violin takes the theme. Viola, C to A. It's growing, gaining strength. Second violin, C to A, an octave higher. Then the struggle. First violin, C, up an octave, and then up to G. And the cello, down. Pulled down. Half notes, F, E, D. Pulled constantly down. And then, a voice, a single frail voice emerges, soaring above the sound. The striving continues, moving below the surface. Crescendo. First violin longing, pleading to God. And then, God answers. The clouds open. Loving hands reach down. We're raised up into heaven. Cello remains earthbound, but the other voices soar suspended, for an instant in which you can live forever. Earth does not exist. Time is timeless. And the hands that lifted you caress your face, mold them to the face of God. And you are at one. You are at peace. You're finally free.

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