2009年 02月 14日
was like Bach's composition or Medieval architecture;
both of them were made for God, having no negligence
or scamping whatsoever at areas and places where
no one might try to take a look at.
The other day, I felt what Wittgenstein possibly meant
when I checked Bach's cantata No. 21.
Yukari Nonoshita Seufer, Traenen, Kummer, Not
Ich hatte viel bekümmernis - Bach BWV21- 2
I listened to the two pieces and simply felt or heard the
echoes between them. These two pieces belong to the same
cantata; one feels there could be something between them working
so that they sound a little similar and different from each other,
making each piece distinct and yet in a certain harmonious way.
My ex-friend---owing to the dark sides of the crucial themes
I had been with Ray Monk's biography, I must have shocked
the tender and genuine heart---says that Magdalena Kozena
should sound the best when it comes to cantata and oratorio.
I checked Magdalena Kozena to find that Wittgenstein must
have preferred her voice to any other female voice.
Listen to this piece and you'll feel the brilliant touch and edge,
which you feel Wittgenstein's Tractatus.
One might feel some resemblances between the singer Magdalena
Kozena and Hermine Wittgenstein, whose photo one could take
a look at on the page here or Margaret Wittgenstein