Caroline Parigote

C'est mieux que si c'était pire....

[Caroline Parigote @CarolinePo28620]

@RobertLeCocker Elle devrait te remercier, c'est hyper féroce un torchon sauvage ..
😬

[Caroline Parigote @CarolinePo28620]

@39Alun Le mobile

[Caroline Parigote @CarolinePo28620]

@HChalvignac FAKE ET PAS DRÔLE

[Caroline Parigote @CarolinePo28620]

@39Alun Jacques Balutin

[Caroline Parigote @CarolinePo28620]

@gkierzek @LePoint En espèrant que les futurs gouvernants agiront mais j'ai un doute 🤔🙂‍↕️

[Caroline Parigote @CarolinePo28620]

@lippyent Ghost

[Caroline Parigote @CarolinePo28620]

Un matin, l'un de de nous manquant de noir, se servit de bleu : l'impressionnisme était né.
Pierre-Auguste Renoir

[Scott @Havenlust]

In Blue

[Caroline Parigote @CarolinePo28620]

Magnifique 🌟🌟🌟

[𝗖𝗹𝗮𝘀𝘀𝗶𝗰𝗮𝗹 𝗠𝗲𝗹𝗼𝗱𝗶𝗲𝘀 @Old_But_Gold50s]

This is the Piano Sonata No. 16 in C major, K. 545 (commonly known as the Sonata Facile or the Sonata for Beginners) by the composer Wolfgang Amadeus Mozart. The performer of this work is the world-renowned pianist and conductor Daniel Barenboim.

To seek the deepest wellspring of the greatness of K. 545, we must descend to the very notes themselves as they take shape upon the keys.

The law of growth from the opening notes:
Many praise the initial chain of three notes, C–E–G. Yet what merits even greater attention is the interval between them: Mozart allows the melody to ascend through two successive thirds (C to E being a third, and E to G another third). He does not leap at random, but adheres to a natural mathematical order. The human mind possesses an innate sensitivity to, and affection for, such patterns; thus, from the very first moment the music sounds, it bestows upon us a profound sense of rightness and euphony.

Nevertheless, Mozart’s genius lies in knowing precisely when to cease. Had the melody continued its ascent unchecked—into C–E–G–B–D and beyond—the piece would at once have become a dry technical exercise. Instead, having reached the high G, Mozart turns the line downward, tracing a perfect arc.

This motion recurs throughout the work, mirroring with uncanny fidelity the biological rhythm of natural breathing: inhalation must be followed by exhalation; ascent to a climax must yield to a gentle descent into repose.

The singing melody and its inner dialogue:
A fine Mozartian phrase always resembles a complete utterance in everyday speech. In the opening sentence of K. 545, the listener perceives a structure with a clear beginning, development, and resting point, akin to the natural intonation of a courteous greeting: “Good day,” rather than a fragmented or superfluous “Good… day… to… you.” Musicologists term this quality cantabile—that is, a truly singable melody. It is why pianists have long passed down the classic dictum: “To play Mozart well, one must first know how to sing.”

Nor does Mozart’s music merely sing; it engages in an unbroken conversation. Having presented an idea in the first phrase, he does not hasten to introduce an entirely new subject. The following phrase answers the one before it.

It is rather like an intimate exchange between two old friends: one remarks, “What a beautiful day,” and the other replies at once, “Indeed, the sky is so clear.” This tight, organic connection—without interruption, overlapping, or abrupt shifts of topic—imbues the work with an unassailable inner logic.

The left hand and the breathing of the earth:
Many mistakenly regard the left-hand part, with its steady broken-chord figuration (C–G–E–G), as mere monotonous padding intended to fill the voids. In truth, its role is far more profound.

Imagine the right-hand melody as a bird soaring and wheeling across the sky. Were the ground beneath it utterly still and silent, the bird would seem suspended and adrift. By maintaining a smooth, continuous motion in the left hand through the Alberti bass, Mozart does not seek to rival the right hand for attention; rather, he creates the subtle yet vital impression that “the earth below is still breathing,” supporting the bird in its flight. It is this union that renders the music so alive and suffused with vital energy.

The art of restraint and the weight of every note:
The most wondrous aspect of Mozart’s compositional thought is that every note carries an immense functional weight. A note appearing on the third beat of a bar is never merely a pleasing sound. It simultaneously fulfils several duties: it confirms a new harmony, propels the melody forward, prepares the cadence, and maintains equilibrium with the first beat so as to pave the way for what follows. Scholars describe this as the pinnacle of artistic economy: achieving the greatest effect with the most economical means.

This restraint is most evident in Mozart’s creation of tension. In the central Development section, he has no need for dozens of clashing dissonances or tempestuous outbursts to unsettle the listener. Like a supremely refined gentleman, Mozart need only raise a subtle eyebrow—through the alteration of a single note or a shift into a nearby minor key—and the listener senses his gravity. As soon as a fleeting unease is felt, he restores the melody to the tonic harmony, bringing back the warm smile of the opening.

Such smoothness is made possible by his masterful voice-leading. When moving from one chord to the next, Mozart ensures that no note leaps chaotically. Where a note can remain stationary, it does so; where movement is necessary, he permits it only the shortest possible step to its neighbour.

Thanks to these gentle transitions, the listener experiences no jarring sensation of sudden harmonic change. The musical line flows with natural, uninterrupted continuity. Mozart always does less than one expects; he neither prolongs nor embellishes unnecessarily, nor seeks to display cleverness. It is precisely this self-mastery that gives rise to the characteristic elegance and nobility of the Classical style.

Finally, if one must identify the deepest source of K. 545’s beauty, the answer lies not in any single bar or isolated triplet of notes, but in a governing principle that runs throughout: every note looks simultaneously in two directions—it is both the natural consequence of what precedes it and the logical preparation for what follows.

One may picture the entire sonata as a chain forged with exquisite precision. Each individual link may appear unremarkable in isolation, yet if even one is altered or removed, the whole structure collapses and loses its strength. The listener feels that K. 545 is “absolutely right” and perfect not because of any single overwhelming moment, but because the entire chain of relations—between notes, phrases, and harmonic progressions—moves with such effortless fluency and naturalness that every trace of the human hand arranging it is effaced.

[Caroline Parigote @CarolinePo28620]

@VieDeLaJoconde Vide

[Caroline Parigote @CarolinePo28620]

@TorrefModerne @_alleizarg_ Euhhhhhhh tout dépend de la tronche du type 🤔

[Caroline Parigote @CarolinePo28620]

@MattdUnkerque Moi 😁

[Caroline Parigote @CarolinePo28620]

@etpatapouf @SandZaraA Par contre pour les pédophiles, 3 pour le Prix d'un c'est parfait 🙄🙄🙄

[Caroline Parigote @CarolinePo28620]

@39Alun Trapèze

[Caroline Parigote @CarolinePo28620]

@barriere_dr Ah ? Tiens donc..... 🤔

[Caroline Parigote @CarolinePo28620]

@FaycalJelil Faut pas leur dire quand vous arriverez aux urgences, sont déjà saturés par les joggueurs, vont pas être ravis 🙄🤨

[Caroline Parigote @CarolinePo28620]

@Aerotof @LesRorschach Ce matin ils viennent (Météo France )d'annoncer une remonter des températures pour la fin de semaine et très possible retour d'une grosse canicule .....

[Caroline Parigote @CarolinePo28620]

@midasveh Pas de vent ? Pas de courant d'air possible?

[Caroline Parigote @CarolinePo28620]

@gkierzek @MacLesggy Si tous Les incompétants des différents gouvernements, au fil des années , avaient démissionnés, il y a longtemps que la France serait une monarchie 🙄

[Caroline Parigote @CarolinePo28620]

@VieDeLaJoconde Son innocence

[Caroline Parigote @CarolinePo28620]

@LeContempIateur Ahhhhh enfin, MERCI 👏👏👏