Yet the moment he began to play his music he became the proverbial butterfly breaking free from his cocoon. The passion and precision displayed by Nathanial were more than just a story after Steve got to watch him play. Nathanial became a sort of personal crusade to Steve and after he wrote an article about him a woman donated a cello, which as it turns out was the true instrument of choice for Nathanial. He allowed Nathanial to store the cello at the local mental health center called LAMB which is a dual diagnosis center in L.A. Steve is told by Nathanial that he was a student at Julliard and Steve does a background check and finds out that he was a student for two years but dropped out after two years. Lopez gets more information from Nathanial’s family and he finds out that he
Anthony Brown Professor Suderman ENC 1102-93010 15 April 2015 Alzheimer’s In Kelly Cherry’s poem Alzheimer’s, she descriptively paints a picture of someone suffering with Alzheimer’s (Cherry 968). It seems logical based on general knowledge of the disease that a multitude of families and ones who are ill experience exactly what Cherry conveys in the poem. She begins describing a man as a “crazy old man” in the first stanza of the poem. As she pens the poem with a vivid account of the crazy man’s house, car, plants, and his love for music, a sense of familiarity or kinship is birthed between the man and the reader. Finally, the last stanza substantiates Cherry’s claim about the man being crazy for he does not recognize his wife in the door welcoming him.
Throughout the two works, the color red was associated with the temptresses Ethan and Newland fell in love with. When Ethan first spotted Mattie Silver, there was a “cherry coloured ‘fascinator’ about her head”(26) and Ethan loved her instantly, but thoughts of his wife Zeena, a sickly woman waiting for him at home, had caused him to refrain from revealing his true feelings. On the other hand, when Newland had his first chance to reunite with Ellen Olenska, she was draped in a long red dress at the van der Luydens’ dinner party. In both instances, the women were wearing the color red, symbolic of both the passion in the affairs between the two pairs and the danger of their relationships. In Ethan Frome, when Ethan thought about Mattie’s room, he envisioned her red and white quilt
There, Schumann immediately fell in love with Clara’s piano playing and moved in with her family in order to study music with Wieck. During that period, Wieck recognized Schumann’s talent, however doubted him as an unstable and undisciplined being – which was perhaps be one of the reason that Wieck objected to his marriage with Clara later. During Schumann’s time with Wieck, Schumann’s passion for Clara grew and finally they were in love in 1835. When Clara was on tour in Europe, they sent letters that expressed their love and the excruciating pain it was to endure without seeing each other. When Clara turned nineteen, she confessed to Wieck about her relationship with Schumann.
"At a supper party in January of 1842, Virginia was playing the harp when she suddenly caught her breath and coughed violently, then blood spouted from her mouth, staining her white dress." (Mondragon 1997) This is the first reference to her disease within "The Masque of the Red Death" where Poe states, "Blood was its Avatar and its seal-the redness and horror of blood." (Poe 1842) Virginia’s affliction with this disease was not the first time Poe dealt with tuberculosis within his family. Both his mother and father died of consumption when he was just a little boy. (Mondragon 1997) He knew the tell-tale traces of blood upon Virginia’s lips began a new chapter of horror in his life.
Vivaldi was progressive musically. He established the concerto form as an instrumental standard, played with the idea that the soloist was at war with the larger orchestra and using the contrasts to dramatic effect, not only between players but in speed and volume levels as well, and he pushed the envelope on violin technique, something in which he probably remained untouched. His usual writing style was antiphony, a simple style, which allowed him to experiment with instrument solos and maintain a light and innocent texture to the music. Vivaldi was one of the rare Italian composers interested in woodwind instruments. He composed several concertos for the bassoon, oboe, recorder and flute, as well as the rarer clarinet.
Antonio Lucio Vivaldi Antonio Lucio Vivaldi was born on March 4, 1678 in Venice, Italy, and died on July 28, 1741, in Vienna, Austria. Vivaldi was an Italian music composer who lived during a period of art commonly known as the Baroque era. His father, a barber and a talented violinist at Saint Mark's Cathedral had helped him in trying a career in music and made him enter the Cappella di San Marco orchestra. Vivaldi's health was a problem during his childhod with a form of asthma. This did not prevent him from learning to play the violin, composing or taking part in musical activities, but it did stop him from playing wind instruments.
Ian McEwan’s novel, On Chesil Beach, is set in 1962 England, describing the young, newly married couple, Florence and Edward’s, fears and struggles on their wedding night – he, a passionate graduate historian and she the timid lead violinist in a string quartet, aspiring to perform at Wigmore Hall. The tragic love story is set up immediately in McEwan’s opening line, ‘They were young, educated, and both virgins on this, their wedding night, and they lived in a time when a conversation about sexual difficulties was plainly impossible.’ In this sentence McEwan manages to confine almost everything the reader needs to know about Florence and Edward immediately, setting up the rest of the novel. The honeymoon location chosen by Florence and Edward, is ‘a Georgian inn’ ‘on the Dorset coast.’ The novel starts with McEwan describing the newlyweds’ nuptial dinner, ‘eating in their rooms before the partially open French windows’, where they start ‘with a slice of melon decorated by a single glazed cherry’ before ‘roasted beef in a thickened gravy, soft boiled vegetables, and potatoes of a bluish hue.’ This description hardly sounds like the perfect wedding night, hinting at the forthcoming doom already, as waiters stand by intrusively. There are also already hints from McEwan of the impending tragedy between the lovers, as Florence decided it was not warm enough to eat outside on the terrace, but ‘Edward thought it was, but, polite to a fault, he would not think of contradicting her on such an evening.’ showing how he is already hiding what he truly thinks from Florence. McEwan has structured the whole novel to revolve around the wedding night but continuously flashes back until it reaches the present.
Franz was like Mozart in that he was somewhat of a child prodigy. He showed remarkable talent with the piano as well as in sight reading music. Franz had a turning point in his career when at nineteen he came across the great violinist Paganini. Paganini would bedazzle audiences with his abilities on the violin. Franz vowed then, and there to be the pianist version of Paganini.
All of the musical elements in the movement correspond to the key characters and ultimately give the ready a more fully rounded perception of their roles in the play in relation to on another as well as their role in developing the theme. The tone of the play very closely resembles the dark and ominous tone of the movement due to the continuously changing volume and intensity of the sound to emphasize Paulina and Gerardo’s unhealthy and unpredictable relationship. The light high pitched, and rather delicate violin playing relates to Gerardo’s caring and benevolent tone of voice when talking to Paulina. He soothes her with words such as “Poor little love. It must’ve got cold” and “If you knew how much I love you.” as he takes her in his arms.