INTRODUCTION Two notes from the outset to '"shattered" ke follow. The pristine nature of music. The second, of less importance, the linguistic-lexical. Primero ke you will notice about the pieces of music they are accompanied by other pieces of musical and aesthetic sign "parafilosòfico, and riflessioncelle, k, all in some way and to varying degrees, year ke do with the language of 'sound and its abstracting and abstract constructions. Pole does not deny the substance point rhapsodic, and synthetic and volatile, de 'these pieces, from their ideal sibbene together normally surface, equal to impertinence insistently, some red threads, or patterns central role in karst. For example, the concept of musical crisis in Western civilization, which, in our opinion Verecondo, principles from the beginning of the ninth and tenth century el crash 'n the twentieth century until it touches the abyss of silence and a clear-el gap between taste of 'musicians and taste of el public. Again: the primacy of European brilliant twinkling of two Italian operators such as Gaspare Spontini and Cherubini, and the absolute peak of the Italian musical theater consists of the Works of Gioachino Rossini. By contrast, a reduction of the art of Giuseppe Verdi, whose reputation draws nourishment also, and this Above everything from extra-musical reasons, and a musical "plebeian." Not unlike the analysis of the performers, among them get here the palm of victory Wilhelm Furtwaengler, Bruno Walter and Herbert von Karajan for conducting, while the figure of Arturo Toscani is reduced to more realistic figure, for reasons not very different from those of Verdi ABOVE-MENTIONED. How to monitor, support, counterpoint them on musical pieces, there are shards of beauty and figure parafilosòfica: concezioncella a rhapsodic moments of life and the human being who would define excessive optimism: as experience shows, and reality shows: the man and discounts . Other pieces in more than drifting into vilesca record of customs and chronic. The note refers to the lexical character of the use of a mixture of words taken from various Italian dialects (including those of Corsica, Istria and the Canton Ticino), from writers who stretched from the fourteenth century to modern, and by fragments of foreign languages \u200b\u200b(Nederland, French, English, English, German, Gaelic, Afrikaans, Norwegian etc ...) and Latin. They were also given written summary of the ways and forms used by young people to communicate on the walls, phones, computers, etc. .... Moreover, the said mixture is applied to the relationship between adjective and noun, between article and noun, etc.. so the first can be an, say, of Neapolitan origin and the second Danish. The result is a language (even if it is permissible to call it) of overflowing anacoluthon and of other rhetorical figures of words, concepts and construct (1), a language artifiziale and absolutely unreal, and this Above all, very often irritating unless complicated. But not too unjustified, if gave it to them to express content and the accidents of music: ke are known to be very unreal and artifiziali. The numerous footnotes 'page includes, in addition to the translation of' foreign words or dialects, often, wandering and disparate allusions to historical, geographical, mythological, cooking, autobiographies, etc. .... The reader and the reader, as lovable as unlikely, I dare autorello bows his head with reverence and devotion lu core lift.
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(1) anaphora antistrophe, epanalexis, asindeto, Zeugma, antithesis, omoteleuto, paranomasia, apostrophe, prolepsis, aposiopesi, hyperbaton, sillessi ....
