My secret garden

Let's listen to the Waltz Op 64 No 2 in C-sharp moll of Frederic Chopin.

In 1836, at a party hosted by Countess Marie d'Agoult, mistress of friend and fellow composer Franz Liszt, Chopin met French author and feminist Amandine Aurore Lucille Dupin, the Baroness Dudevant, better known by her pseudonym, George Sand. Sand's earlier romantic involvements had included Jules Sandeau, Prosper Mérimée, Alfred de Musset, Louis-Chrystosome Michel, Charles Didier, Pierre-François Bocage and Félicien Mallefille.
Chopin initially felt an aversion for Sand. He told Ferdinand Hiller: "What a repulsive woman Sand is! But is she really a woman? I am inclined to doubt it." Sand, however, in a candid thirty-two page letter to her friend and Chopin's, Count Wojciech Grzymała, admitted strong feelings for Chopin; in it she debated whether to abandon a current affair in order to begin a relationship with Chopin, and attempted to gauge the currency of his previous relationship with Maria Wodzińska, which she did not intend to interfere with should it still exist.By the summer of 1838, Chopin's and Sand's involvement was an open secret.
A notable episode in their time together was a turbulent and miserable winter on Majorca (8 November 1838 to 13 February 1839), where the four (including her two children) had gone in the hope of improving Chopin's deteriorating health. They had difficulty finding accommodations and ended up lodging in a scenic but stark and cold former Carthusian monastery in Valldemossa.
Chopin also had problems having his Pleyel piano sent to him. It arrived from Paris on 20 December but was held up by customs. (Chopin wrote on 28 December: "My piano has been stuck at customs for 8 days... They demand such a huge sum of money to release it that I can't believe it.") In the meantime Chopin had a rickety rented piano on which he practiced and may have composed some pieces.
On 3 December he complained about his bad health and the incompetence of the doctors in Majorca: "I have been sick as a dog during these past two weeks. Three doctors have visited me. The first said I was going to die; the second said I was breathing my last; and the third said I was already dead."
On 4 January 1839 George Sand agreed to pay 300 francs (half the demanded amount) to have the Pleyel piano released from customs. It was finally delivered on 5 January. From then on Chopin was able to use the long-awaited instrument for almost five weeks, time enough to complete some works: Preludes (Opus 28); a revision of Ballade No. 2, Opus 38; two Polonaises, Opus 40; Scherzo No. 3, Opus 39; a Mazurka (Opus 41); and he probably revisited his Sonata No. 2, Opus 35. This is why the winter in Majorca is still considered one of the most productive periods in Chopin's life.
During that winter, the bad weather had such a serious effect on Chopin's health and chronic lung disease that, in order to save his life, the entire party were compelled to leave the island. The beloved French piano became an obstacle to a hasty escape. Nevertheless George Sand managed to sell it to a French couple (the Canuts), whose heirs are the custodians of Chopin's legacy on Majorca and of the Chopin cell-room museum in Valldemossa.
The party of four went first to Barcelona, then to Marseille, where they stayed for a few months to recover. In May of 1839, they headed to Sand's estate at Nohant for the summer. In autumn they returned to Paris, where initially they lived apart; Chopin soon left his apartment at 5 rue Tronchet to move into Sand's house at 16 rue Pigalle. The four lived together from October 1839 to November 1842 at this address, while spending most summers until 1846 at Nohant. In 1842, they moved to 80 rue Taitbout in the square d'Orléans, living in adjacent buildings.
During the summers at Nohant, particularly 1839 through 1843, Chopin found quiet but productive days during which he composed many works. They included his great Polonaise in A flat major, Op.53, the "Heroic," one of his most famous pieces. It is to Sand that we owe the most compelling description of Chopin's creative processes, of the rise of his inspirations and of their painstaking working-out, sometimes amid real torments, amid weeping and complaints, with hundreds of changes in the initial concept and finally a return to the first idea. She describes an evening with their friend Delacroix in attendance:
Chopin is at the piano, quite oblivious of the fact that anyone is listening. He embarks on a sort of casual improvisation, then stops. 'Go on, go on,' exclaims Delacroix, 'That's not the end!' 'It's not even a beginning. Nothing will come...nothing but reflections, shadows, shapes that won't stay fixed. I'm trying to find the right colour, but I can't even get the form....' 'You won't find the one without the other,' says Delacroix, 'and both will come together.' 'What if I find nothing but moonlight?' 'Then you will have found the reflection of a reflection.' The idea seems to please the divine artist. He begins again, without seeming to, so uncertain is the shape. Gradually quiet colours begin to show, corresponding to the suave modulations sounding in our ears. Suddenly the note of blue sings out, and the night is all around us, azure and transparent. Light clouds take on fantastic shapes and fill the sky. They gather about the moon which casts upon them great opalescent discs, and wakes the sleeping colours. We dream of a summer night, and sit there waiting for the song of the nightingale...
As the composer's illness progressed, Sand gradually became less of a lover and more of a nurse to Chopin, whom she called her "third child." But the nursing began to pall on her. In the years to come she would keep up her friendship with Chopin, but she often gave vent to affectionate impatience, at least in letters to third parties, in which she referred to Chopin as a "child," a "little angel," a "sufferer" and a "beloved little corpse."
In 1845, even as a further deterioration occurred in Chopin's health, a serious problem emerged in his relations with Sand. Those relations were further soured in 1846 by problems involving her daughter Solange and the young sculptor Jean Baptiste Auguste Clésinger. In 1847 Sand published her novel Lucrezia Floriani, whose main characters — a rich actress and a prince in weak health — could be interpreted as Sand and Chopin; the story was uncomplimentary to Chopin, who could not have missed the allusions as he helped Sand correct the printer's galleys. In 1847 he did not visit Nohant. Mutual friends attempted to reconcile them, but the composer was unyielding. That year, 1847, brought to an end, without any dramatics or formalities, the relations between Sand and Chopin that had lasted ten years, from 1837.
Count Wojciech Grzymała, who had followed Chopin's romance with George Sand from the first day to the last, would later opine: "If he had not had the misfortune of meeting G.S., who poisoned his whole being, he would have lived to be Cherubini's age." Chopin would die at thirty-nine, his friend Cherubini had died, at Paris in 1842, at age eighty-one. The two composers repose just four meters apart at Père Lachaise Cemetery.

Lời chưa nói Sáng tác: đang cập nhật - Thể hiện: đang cập nhật

Một bài hát nhẹ nhàng man mác. Từng giai điệu trầm lắng chẳng hiểu tự bao giờ len lỏi vào từng ngóc ngách của trái tim, khiến cho mình lặng đi. Ngỡ như quanh mình tất cả cũng chìm vào khoảng lặng. "Đôi khi bên anh em mong được gần anh mãi Đôi khi em tin rằng em đã thầm yêu Mà sao khi bên nhau em không thấy ngượng ngùng Còn sau khi xa anh lòng em không thấy nhớ nhung Phải vì anh vội vàng nên đành lỡ mất con tim muộn màng..." Tình yêu do ngộ nhận. Chẳng biết từ khi nào, em lờ mờ nhận ra khoảng cách giữa chúng ta ngày càng xa. Hai tâm hồn không đồng điệu, cũng chẳng thể nào hiểu nổi nhau như trước đây đã lầm tưởng. Em đã mơ rất nhiều về một ngày nào đó có nắng vàng, có những giai điệu yêu thương, có anh và có em. Cho đến một ngày em chua xót nhận ra bản thân em vốn không nhớ anh nhiều như em vẫn tưởng, không yêu anh nhiều như em vẫn hay. Nhận ra, nhưng vẫn tự lừa dối mình, vẫn tin vào những viển vông, vẫn mơ, vẫn chờ... Những lần nhớ anh cồn cào dường như đã đi đâu xa xôi lắm. Phải vì anh vội vàng nên đành lỡ mất... Có lẽ, anh ạ. Tình yêu vội vàng quá, tựa như một cơn say nắng chẳng còn lý trí. Em đã tự hỏi tại sao rất nhiều. Giờ đây, em có thể tự mình giải đáp được, dù là trong phiền muộn. "Như mây lang thang ngập ngừng lời muốn nói Bao năm bên nhau sao đành chia xa Còn đâu ánh mắt nào em muốn gửi trao anh Nụ hôn nồng say ấm áp trên môi Thôi cũng quên rồi ôi dĩ vãng ngây thơ Một tình yêu dại khờ cũng theo người đi mãi xa" Đã chưa là gì mà đã đành lỗi hẹn. Cả anh và em, chúng ta còn chưa kịp cùng nhau dạo phố, chưa kịp cùng nhau cafe, chưa kịp nắm lấy tay nhau... dù là chỉ một lần. Chưa kịp gì mà bỗng đã muộn màng. Dù chẳng ai nói ra nhưng em hiểu, cố gắng chấp nhận nhau thật khó khăn. Giận dỗi, buồn phiền khiến em mệt mỏi. Đôi khi ngập ngừng lời muốn nói, nhưng mãi mãi chỉ là ngập ngừng mà thôi vì em vẫn còn tiếc quá nhiều thứ. Lời chưa nói cứ ngưng đọng bờ môi... Dường như mây gió đang trôi về miền yêu, em đành gửi theo đó những lời chưa nói. "Dẫu có anh bên mình em vẫn hay rằng em chỉ nâng cánh chim bay Chẳng bao giờ có được người yêu dấu Chất chứa trong lòng bao đắng cay..." Lời Chưa Nói Artist: Thùy Chi Composer: Xuân Phương Đôi khi bên anh em mong được gần anh mãi Đôi khi em tin rằng em đã thầm yêu Mà sao khi bên nhau em không thấy ngượng ngùng Mà vì sao khi xa anh lòng em không thấy nhớ nhung Phải vì anh vội vàng nên đành lỡ mất con tim muộn màng Như mây lang thang ngập ngừng lời muốn nói Bao năm bên nhau sao đành chia xa Còn đâu ánh mắt nào em muốn gửi trao anh Nụ hôn nồng say, ấm áp trên môi Thôi nay đã xa rồi, ôi dĩ vãng ngây thơ Một tình yêu dại khờ cũng theo người đi mãi xa ĐK: Anh tình yêu đã xa rồi Dẫu có em bên mình anh vẫn hay Rằng anh chỉ nâng cánh chim bay Dù mãi chỉ là khát khao mong nhớ, vẫn biết trong lòng như đắng cay Anh tình yêu đã xa rồi Thiêu đốt con tim bằng ngọn lửa đắm say Để lại cô đơn bằng lời nói giá băng Dù mãi chỉ là khát khao mong nhớ vẫn biết trong đời một ước mơ còn mãi Dạo này hay hát bài hát này, hay nhớ đến một người...Chuyện của mình... thì mình lại là đứa vội vàng đến ngốc nghếch. Bây giờ gặp nhau vẫn vui vui như ngày xưa, nhưng tình cảm thì nhạt rồi, ko được như cũ nữa. Hiện giờ cảm giác khi gặp lại người ấy giống như năm thứ hai. Nhanh thật, ngày nào còn ngồi trêu chọc nhau trên giảng đường, thế mà giờ thì người ta sắp thành giảng viên rồi. Ngày xưa, bọn mình đã từng có chung một ước mơ, một mục đích về nghề nghiệp...Thực sự gần đây muốn nói với người ta nhiều điều mà chẳng biết bắt đầu thế nào cả. Cảm xúc về thời sinh viên vẫn rất thật và trong trẻo như ngày nào.

Tốt nghiệp được 4 tháng rồi, hôm nay mới lại đưa bài lên. Một phần vì ko muốn show ở blog 360 yahoo vì ngại bị mổ xẻ, một phần vì nó ko thành công như mong đợi, lụt dã man. Đầu tiên định đưa đồ án tư cách lên trước nhưng đồ án tư cách đang trong quá trình thu thập và tìm kiếm, hi hi:D:sherlock:. Đồ án lúc nào cũng lụt!

For a century Toronto has worked hard to lay tracks, build walls of highways and condos, pave airports and leak oil, anything that can be conceived to destroy the waterfront and the harbour. Now they are trying to fix this, and a series of competitions have been held to deal with different parts of the waterfront. The latest, the Don Portlands, was unveiled last night. It is exciting to see two hundred people come out to look at architecture and design, in one of Toronto's most spectacular spaces, the Galleria designed by Santiago Calatrava. Then we got to see four schemes that any TreeHugger would love; they all clean the river with natural remediation; green roofs and water reclamation on every building; parks, bike trails, playgrounds but also people, dense urban development, places to live by the water. They also all have people in canoes and Gordian Knots. Four teams had been short listed from twenty-nine entries and they chose very well.


STOSS INC./Brown + Storey Architects/ZAS Architects

The Don River now comes to a crashing halt against a concrete wall, takes a hard right turn through a tight channel and dumps unceremoniously into Toronto Harbour with the elegance of a flushing toilet. It also cannot handle projected loads during big floods, rendering much of the surrounding area undevelopable. The Stoss team "reclaims space for the mouth of the Don and rekindles the delicate dynamics that mark the river-lake interface."


Notwithstanding the canoeist and the dog, they also propose robust neighbourhoods with edgy "net energy exporting" buildings complete with ground source circulation loops, photovoltaics, and a very interesting "inverted airfoil roof" that increases wind velocity to aid passive ventilation. ::STOSS INC./Brown + Storey Architects/ZAS Architects


Atelier GIROT/Office of Landscape Morphology/ReK Productions

It has been a long slog, and nobody who has sat through presentations on the future of Toronto for the last 25 years can be certain that it is going to happen soon, but there was a vibe in the air, a sense that some of these schemes are too good not to happen. For once I am excited about Toronto. ::Toronto Waterfront Revitalization Corporation



The grand gesture here is the bold re-routing of the Don river, with all its flood control aspects and parkland, through the middle of the site, leaving the old channel with its hard edges in place. Thus near the existing elevated highway we get high density and a real urban edge to the water, but as you move south it becomes more park-like and lower in scale. The elevated expressway to the north of the channel is pretty spectacular at this point where it runs along the edge of the water; it is very high and relatively narrow. Here the road underneath is removed and it becomes a colonnade at the waters edge.



::Michael Van Valkenburgh Associates/Behnisch Architects/Greenberg Consultants/ Great Eastern Ecology

Weiss/Manfredi & du Toit Allsopp Hillier


"The naturalization of the Lower Don will transform the area from its post-industrial derelict condition into a vibrant public space. The release and reconfiguration of the mouth of the River introduces a collection of new natures. A relaxed configuration of water and landscape framed by new topographics simultaneously alleviates flooding, simplifies river maintenance and amplifies the latent beauty of the existing infrastructure"

This isn't the Keating Channel I ever rowed in. ::Weiss/Manfredi & du Toit Allsopp Hillier
Atelier GIROT/Office of Landscape Morphology/ReK Productions

Everyone wants to live on the water, so the "proposed development pattern balances expansion and re-naturalization of the Don Mouth Estuary with a unique arrangement of compact development on linear banks"- a network of finger piers. Gutsy buildings along a major north-south circulation route that ties the city to the lake.