"A Florentine Tragedy" by Alexander Zemlinsky "A FLORENTINE TRAGEDY" by Alexander Zemlinsky Re (1) Vienna including the arc of it lu tiempo extended from 1895 to 1915 marked lu fop (2) et exalted by dizzy 'ntersecazioni pictorial litterarie, poetic, architectural ke besides music: those from Gath (3) the "finis Austriae," the apocalypse Hapsburg, 'n ol (4) mantle (5) of an ashen sfuorgio (6)' ntellettuale: jamais ennante apparatus. Xe 's tiempo' n ke them toxic de 'tres (7) Summi patri dilagan: Arthur Schopenhauer, Friedrich Nietzsche und Richard Wagner. Ir (8) Time 'n ke decadence he leads the aestheticism and generates the "Jugendstil", k frieze goddess (9) to the aristocratic rejection of the existence of y' in the nseme fumée de 'dreams, to be sipped from the 'Anema épuisée (10). Wien slight mìscida them to 'flowers, throws to the anathema na undone Wilhelmine middle class, giving you a ke von Richard Strauss trivialize King grotesque imago; Libras' n el sophisticaded iuocu of an auto da fe ke the humid breezes of a corrosive sensuality panic rinvìan inante to the altar of mysticism Ancipa + er; carola (11) at dusk lu avec de rege ol 'waltz king postrema festival on the bank of the Donau er (12); ariccojje (13) to re aching (14) self-drops of the ùrtime tiènnero vanume (15) "fin de siecle", Karl Kraus und k'irride sweeps, lauded by many visionary lu Georg Trakl: formidable poet. Wien disappears from the reality sur chariot Hofmannsthal u messed up: the hiave (16) de la polis eno (17) donated to sute Epicurus ac Maeterlinck, Baudelaire atque Wilde, in Novalis und in Poe, Keats and to Pater. .. giuti spirits in Vienna (18) x points to the sublime to the de Bilt (19) de ke '"values" et de le "certainties"' n pàscesi ruin. Ir taste funeral resonates aisi (20) to join with the king of soft inebriated hedonism, 'n er and' the Central European civilization tristore leisure chiste dorzemente filter or the cells Floreal de l'introspection. Lu Hapsburg Myth comes drop by drop to a harness, and the ISSU et kon (21) society of k and the artist, the intellectual Viennese Remain cattiù (22): take the dipintura Gustav Klimt (23) the "Secession "G + of lemurs of both opulent eroticism of how desperate eccitazion de solitude. Since nu sanz'eroe caballo, the "decoration" rimansi the sovvivuta (24) to OL did. U "Weltschmerz," the dolorazion of Monno er, right from the cusscienza romantic aquì ae (25) und folded alchemy (26) s'edè 'n a rare feeling, et Guaso morbid: rag (27) winding. The plane dè (28) from 's Perfume (29) surrogate; el golf 's tepidarium. On the other lenguaggi de lu of art, the hip MUSEC (Vienna), he desecrated the color nocte tristanian - disparso Johannes Brahms, composer of the last empire - a horse of 'two contrary secula floats' n el de la lake dissoluzion tonal 'n between the call to the ponderous phantasmagoria coloristic harmonic Strauss et et ir late romanticism of Schoenberg. Where x Ir nn already had turned the complaint Mahler et lu recùpeto piercing (30) er of the past, But to the radicalizzazion de la crisis from which were chosen cum Alban Berg und Anton Webern the (31) Mazor lenguaggio El Music Revolution by the seventeenth century in Josca (32): a twelve-tone technique. De ' composers 'n kello period of years, agents' n the cosmopolitan Austrian cmnq aut (33) from cuddu (34) climate peculiar expression 'Influence, the Commun genta music lovers cognosco figures + orrevoli: Chill' n cup. Sed to go back to 'Mahler, Schoenberg, Berg und Webern, Erich Wolfgang Korngold aggallàron, Joseph Matthias Hauer, Egon Wellez, Franz Schreker: und maybe un'anticchia mejo of Chisti, Alexander Zemlinsky. Rise 'n Wien' n el und 1871 in New York will burst the year of Our Lord 1942, Zemlinsky este Atatà at first (35) from the pubbricazione de ke Brahms' try his (36) initially sustains. Established cordial relations with the Second Wiener Schule of Schoenberg, Berg und Webern, But No identified with idda, indeed, n'ir hereinafter de l'years, emphasizing the love separaciòn. He turns the gentle reverie 'n derezione opposed to the impending drama expressionist or true, to the stately cruosco Angoisse diligere nu (37), a disruptive lu cry from the soft Afan interioritade ol (38) de lo ke look Frugola y hails ultem (39) scraps of veggiu er (40) Fri Juso munno ke (41): et crusher 'n trucioletti d'Elegance. Ol seju (42) este calamus' ntinto postrema it the stain of Hue, a luxuriously mester (43) variegated, from nu taste, from national technical mastery of the settlement agreed fonno ke el Admira Viennese music. Lu lu where nn Prenn unquemai flight, But stay co 'I know the fine stylistic baggage' n a field of virtuosity "retrospective", na finished second recital (44) ke opera vibrates on them with upsets of muffled. Cozzi labeling (45) nor the brief "Eine florentine Tragoedie", "A Florentine Tragedy," d'el 1916, at the fragmentary text of Wilde, 'n Germany lengua Meyerfeld turned to Max. Simu (46) in front of an "advent" (47) of rarefied spiritual aestheticism, k and the meanders of a wet sensuous pathos. Er (48) Italian Renaissance + turgid, paints his demonic, er passion 'ngorda, er cupidezza fera de l'impurzi (49) de tension ac: all scorched from the disheveled Oscar Wilde Musa delicious: yes ke "A Florentine Tragedy" self Quazi (50) na picineta Salome (51). Ol plot: nu narrow Ciraolo (52) este cuckold. Er Moger cornìfica lu la granne kon er er fiol of Duke of Florence, and in a way + frank manera, et immodest. U cornutazzo face 'n on the first cumulative if gniente FISE (53), talk of cave, if he breaks them cojoni et mappoi addresses moje "They bbona, Stop, right?". Manco p '' a capa. Ala (54) avec le Intignano Duchetti tasty, 'nzino quanno them to do Ommin vèngheno a fatal collision. Er er Duchetti c'arimette fijio of pens, from accortellato ciervo lu (55). Ir apara under which Lumera na (56) unpublished, como hero et d'paragulo 'n 1, the eye of the faithless wife, ke je caruccetta ago: "Too bad you m'a nn (57) ke finger never SIEI acussì garnet (58)?". And he, young dandy, cum facial (59) de pisco soaked to the Valentino: "And you, Pekka nn ke hast never SIEI acussì Bedda finger?" (60 ).... Lu Zemlinsky text wild importance of a continuous sound currents, density of all esquís particulari: na tournure stamps swarming ac ke imaginìfichi Spigno the musicality of the phrase y de la parladura poetic blend (61) do the efflorescence of the kaleidoscopic orchestrazion . Ir job 'nflessìbil of the decoration, k refers to at the Straussian ideals of Huns xò hulled boldness firefighter King replaces cca own substance de l'invention melodic motivic y, + rather weak. Sunnu ri (62) jewelry de 'xsonaggi, nn re xsonaggi, chilli k'el composer paints (63). Et nos poeva (64) otherwise be, given the aesthetic collocazion et de poetic attitude of the 'ways in zemlinskyani s'edè just now mentioned. "A Florentine Tragedy" x n'opra symbol of the age-and culturally significant maar (65) from an historical reference pronounced lu, ke re nonpossa denunciation of independent living ac absoluta: ava, moreover, as already noted TW Adorno. N'edè further example, then the vocal line ke 'n an (66) recited lyrical expressive nuance of gray stagnates, unless absorb unreal 'Mpulsi Wagner, which they learned na' ntelaiatura harmonic og (67) Polyphonic sottèndon. Opra taste praying addonca (68), nn already résultat (69) of a great flood. Zemlinsky 1 x Menor. ************************************************** ******************************** NOTE -
(1) "The" rotated. (2) "was" Romag. (3) "envelop", T. Folengo (4) "the 'berg. (5) "mantle" (6) "fast", nap. (7) "three", spag. (8) "the", Piem. (9) "gives" (10) "exhausted" (11) "dancing" "Dance" (12) el Donau (Danube, Dunay 'n lengua czech) SECUNDO lu x x length of river course in Europe: Well km. 2850. Johann Strauss "and young" je dedicated among them a seductive waltz + de la historia d'er um-pa-pa, um-pa-pa: "An der Schoenen blauen Donau, Op. 314". No one so well played by the pe lu podium as conductor Herbert von Karajan. Mais sunt hip sfiziusi assaje, among them four hundred Straussian waltz, "Kaiserwalzer. Op. 437", "Rosen aus dem Sueden, op. 388", Wiener Blut, op. 354 "," Kusswalzer, op. ".... 400 (13) "collects", Roma (14). "Regret" (15) "frivolous" (16) "keys", liv. (17) "is" ant. Patav (18). "joints", sec. XIII (19) "Beauty" (20) "so" (21) "his", cas . (22) "widower" (23) "suggests" (24) "survivor" (25) here, "spag. (26)" transformed "(27)" exhaustion "(28)" is ", Tosca. Merid. (29) "perfume", T. Folengo (30) "recovery" nap. (31) "the", Lucca (32). "nowadays", Puglia. (33) "Anyway" (34) "that", ant. Puglia. (35) "helped", sec. XIV (36) "his", Calabar. (37) "restlessness", nap. (38) "distress", Correggio (39) "last", mil. ( 40) "old", Jan . (41) "down" nap. (42) "his", Laz. (43) "trade", mil. (44) "contemplation" sec. XIII (45) "is", sal. (46) "we", Elba (47) "event", Roma. (48) "the", tick. (49) Pulse, G. Belli (50) "almost", instr. (51) "fine", sec. XIII (52) "merchant", nap. sec. XVII (53) "was" lig. (54) "she", ant. berg. (55) "horned", nap. (56) "light", Provence. sec. XIII (57) "you", instr. (58) "strong" (59) "eyes", Dante (60) except the last x dui sentences, the free time by Sunu antre ki writes' n lenguaggio a blunt: Guaso Guaso borgataro (61) "merge" (62) "i", luc. (63) "paints" ant. (64) "could", loins. sec. XIII (65) "but" nederl. (66) "a", mant. (67) "e", Norvir. (68) "So," nap. (69) "outcome", Br.
Roccafranca The House in association with La Penta presents an evening full of entertainment and fun. "PENTA PARTY @ T Roccafranca" On 13 September at the Farm in Roccafranca VIA RUBINO 45 ... Juggling, Performance, Music and more, all accompanied by an aperitif PENTA from 18:00 
