Håndskrevne noter fra symfoni nr 9 og Ludwig van Beethoven. Av Portrett: Joseph Karl Stieler. Falt i det fri (Public domain) Source
Beethoven Piano Sonata No. 29 in B-Flat Major, Op. 106 Hammerklavier 3. Adagio sostenuto
1970 Beethoven Piano Sonata No 29 B♭ major Op 106 Hammerklavier Alfred Brendel
“The nobility of Brendel’s interpretation is beyond any description. It leads into another world entirely.”
“RIP Alfred Brendel (5.1.1931 – 17.6.2025). I have listened to this performance of the immense Hammerklavier Sonata op 106 before and it is just outstanding. Never heard him live, sadly, but love his Beethoven, Schubert, Liszt, Haydn, Brahms, well…just about anything he recorded really. Brendel is partly responsible for my love of Beethoven’s Sonatas, and especially the later ones, and the Concertos too and of course the Diabelli Variations. There’s a Brendel Diabelli performance from Japan in about 1988 on YouTube, and it is mind-blowingly brilliant. And to think that Brendel was mainly self-taught, was not a prodigy and, by his own admission, didn’t have a great memory. After his retirement, he helped out younger pianists making their way. Once walked past him on Hampstead Heath in 1989: those thick-lensed spectacles, the long dark overcoat, suit and tie on underneath, hands behind his back, deep in thought. One of the greats for sure.” @AutumnLeaves2766-e1s
(Chorus) It’s the Sabbath day Yeah, the Sabbath day Keep it holy Keep it holy Oh, the Sabbath day
(Verse) Seven days to work, and one day to rest This is the day that the Lord has blessed No grinding, no sowing, no working for gain Just lift up your voice, and call on His name Children of Israel, you know what to do The commandments of God are for me and for you
(Chorus) It’s the Sabbath day Yeah, the Sabbath day Keep it holy Keep it holy Oh, the Sabbath day
I call my reflection in the window tonight Didn’t look away, didn’t dim the light All the little doubts tried calling my name But I smile back, I’m not the same
Every step I took left a mark on the floor I know what I’m worth now, more than before I’ve been quiet long enough to hear my voice Now every move I make is a choice
I don’t need permission, I don’t need a sign I’ve been waiting on me all this time
I’m standing in my light I feel it shine No shadows on my mind tonight I’m standing in my light Clear and bright This is me and it feels right
Used to second guess every word I say Now I let it roll, let it sway Every scar tells me I survive Every beat says I’m alive
I made peace with who I’ve been I see power in my skin No more running, no disguise I trust the fire in my eyes
I walk steady, head up high Not chasing stars, I am the sky Every breath feels so true I finally see it through and through
I’m standing in my light I feel it shine No shadows on my mind tonight I’m standing in my light Strong and bright This is me and it feels right
I woke up feeling lighter than before Like I finally know what I’m here for The mirror didn’t ask me who to be Just smiled back honestly
I used to carry weight, the world in mind Old fears, old words stuck in time Now I let them fall behind my feet Every step feels incomplete, no complete
I don’t rush the moment, I don’t fight the flow I’m exactly where I need to go
I’m clearer than yesterday Strong today I trust my heart, I trust my way I’m clearer than yesterday No delay I’m here, I’m real, I’m here to stay
I hear my name when the silence calls Not afraid of my rises or my falls Every lesson carved into my sound Every truth keeps me grounded now
I don’t hide what I feel inside I let it move me, let it guide There’s a rhythm in my spine It says this life is truly mine
I don’t need to prove a thing tonight I glow steady, not too bright I walk forward, calm and sure What I am feels solid, pure
I’m clearer than yesterday Strong today I trust my heart, I trust my way I’m clearer than yesterday No delay I’m here, I’m real, I’m here to stay
Beethoven Piano Sonata No. 29 in B-Flat Major, Op. 106 Hammerklavier 3. Adagio sostenuto
Alfred Brendel
Brendel was born on 5 January 1931 and died on 17 June 2025.
Alfred Brendel was a Czech‑born Austrian pianist, writer, and lecturer, widely regarded as one of the great interpreters of the Austro‑German canon, especially Beethoven, Schubert, Mozart, and Liszt. His playing is often described as architectural, lucid, and intellectually rigorous, with a strong emphasis on fidelity to the score rather than overt personal display.
“I’d be happy to discuss “The Rose,” though I should note that while Judy Collins did record a beautiful version of this song, it was originally written and performed by Amanda McBroom and famously recorded by Bette Midler for the 1979 film The Rose.
The song is a poignant meditation on love and its challenges. It uses the metaphor of a rose throughout, exploring how love can be perceived in different ways – as something that causes pain, demands too much, or seems impossible to find.
The core message is one of hope and resilience. It suggests that what might seem like an end (like a seed buried in winter) can actually be the beginning of something beautiful. The song encourages listeners not to be afraid to love, even when it feels risky or painful, because love has the power to bloom and transform, much like a rose emerging in spring.
The imagery moves from harsh descriptions of love as something that wounds or drowns, to the gentler realization that beneath the difficulties, there’s potential for growth and beauty. It’s ultimately an uplifting song about vulnerability, perseverance, and the transformative nature of love.”
Source: Perplexity.ai
What is this type of music called?
“The Rose” is typically classified as a pop ballad or adult contemporary ballad.
The song has a slow, emotional tempo with a focus on heartfelt lyrics and melody, which are hallmarks of the ballad form. It features:
A piano-driven arrangement
Emotional, introspective lyrics
A gradual build in intensity
A focus on vocal performance and expression
Depending on the version, it can also have elements of:
Soft rock (particularly in Bette Midler’s original recording)
Folk (in versions like Judy Collins’, which emphasizes acoustic instrumentation and a more intimate vocal style)
Easy listening or MOR (Middle of the Road) – terms used for accessible, melodic popular music
This style was especially popular in the late 1970s and 1980s, characterized by emotional depth, strong melodies, and production that highlighted the vocalist. Songs like “The Rose” became standards partly because they transcended genre boundaries and appealed to a broad audience through their universal themes and memorable melodies.
