tunnused, too vähemalt2-3 pildinäidet 3. Tee kokkuvõte itaalia barokk-laemaailst (Carraccid, del Pozzo), too paar näidet 4. Tee kokkuvõte Bernini skulptuuriloomingust, nimeta boroklikke uuendusi, too paar näidet 5. Võrdle Botticelli ja Carvaggio teoseid (süžee, tehnika, koloriit, kompositsioon, kujutamine) Abistav materjal http://www.paideyg.ee/kunstiajalugu/kunstilugu/barokk/index.htm Alessandro Botticelli. Lamentation over the Dead Christ with the Saints Jerome, Paul and Peter. –(Kristuse taganutmine/leinamine pühakute poolt)c.1490. Tempera , tahvelmaal Caravaggio. The Crucifixion of St. Peter Püha Peetruse ristilöömine. 1600-1601. Õlimaali tehnika lõuendil.
Muusikal oli tähtis koht Henry VIII õukonnas, ka kuningas ise kirjutas muusikat. Väljapaistvamad heliloojad olid : 1. John Taverner · J.Taverner Sanctus - http://www.youtube.com/watch?v=-9fPoigD0wY · J.Taverner- Missa o Michael- http://www.youtube.com/watch?v=VRl3qSAXGio · J.Taverner- Missa Gloria tibi Trinitas - http://www.youtube.com/watch? v=TnfdA7oWKr4 2. Thomas Tallis · T.Tallis Lamentation- http://www.youtube.com/watch?v=yNAFeCLDSgE · T.Tallis- Spem In Alium - http://www.youtube.com/watch?v=Ju_AT1Ckrbc · T.Tallis- Videte miraclum - http://www.youtube.com/watch?v=8oYwrgs6rzQ 3. William Byrd · W.Byrd Agnus Dei - http://www.youtube.com/watch?v=ePqqoag8s1E · W.Byrd- Gloria http://www.youtube.com/watch?v=-OHkVV4qGXI · W.Byrd Ave Verum Corpus - http://www.youtube.com/watch?v=vFZZMF7SRRo Zizzle
Fifth level Apollo and the Muses (Parnassus) 1630s Oil on canvas, 125 x 197 cm Museo del Prado, Madrid Nicolas Poussin Click to edit Master text styles Second level Third level Fourth level Fifth level Lamentation over the Body of Christ 162829 Oil on canvas, 101 x 145 cm Alte Pinakothek, Munich Nicolas Poussin Click to edit Master text styles Second level Third level Fourth level Fifth level
enough. The second movement (Fl solo) sounds calm and epic. 1 First performance: 25 Dec. 1959. ERSO conducted by Roman Matsov. The following two movements contain neither outstanding thematic materials nor the character of fixed subjects. A row of single contemplating motifs appears in the fourth movement. An example: Example 87. The Finale includes one theme with a core consisting of only one bar. The general feeling is one of lamentation and nervousness. A sequence of chords stands for the second theme and is repeated in recapitulation: Example 88. The constructive thinking has obtained a sharp expressiveness: the rhythmic- motivic ”block” in the Allegro movements excludes coherent symphonic development. In principle one cannot have anything against constructions, as they can be met everywhere in music but the question always arises: which creative thought has been expressed through them
H. Juurika andmeil võis kava 12. punkti all mängitud olla Sarah Leanderi laulud “Ma seisan sajus ja ootan sind” ning kolmanda meloodiana “Sa oled mu õnnetäht” (H. Juurika intervjuu E. Jõgile). 1 Ojakäär 2000: 324 175 LISA 4. P. VEEBELI 3. KONTSERDI KAVA (täpsustustega) 1. Sensation E. Köstner orkester 2. Mexikana, eksootiline rapsoodia E. Plessow orkester 3. Lamentation Coleman Hawkins Saksofoni soolo R. Gross arr. P. Veebel 4. Naȧla, fox-trot intermetso Léo Delibes arr. A. Lange 5. Hör mein Lied, Violetta R. Lukesch orkester 6. Bei mir bist du schoen arr. P. Veebel svingsekstett koosseisus: R.Flink – trompet, O. Vichmann – klarnet, A. Eller – tenorsaksofon, V. Roots – klaver, H
Mortification meant bringing the body near the point of death by fasting, but also denying oneself any of the little pleasures of the body. T h e y believed the body needed to be humbled or mortified from time to time, so it knows the mind is the master. T h e absence of things that were normally taken for granted created a renewed appreciation for them. It also focused the minds of the people and reminded them o f the possibility o f death that was always near. Lamentation was an important part of the ritual at this point. People were supposed to meditate sympathetically on the death of the hero-god-king until the tears ran down their faces. Special songs were composed with the aim of triggering the emotions of grief and sorrow. T h e dramatic form of tragedy was developed from the rituals, chants, and dances of mourning that tried to evoke sympathy for the suffering god or king. Tragedy comes from the word "tragos" or goat, because goats
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