By Kurt Cobain
Los Diarios de Kurt Cobain constituyen los angeles mejor biografía del artista. Las cartas, dibujos, comentarios humorísticos y esbozos de letras de canciones de su puño y letra permiten el acercamiento y l. a. comprensión de su vida y de su muerte.
Kurt Cobain, vocalista y compositor del trío Nirvana, se suicidó pegándose un tiro a los veintisiete años cuando period l. a. estrella del rock más influyente de su generación.
Desde los años ochenta hasta mediados de los noventa llevó un diario donde plasmó sus pensamientos más íntimos. En estas páginas se dan a conocer, de un modo descarnado, los primeros pasos en su carrera profesional, su angustia frente a l. a. fama, los problemas con los angeles adicción a los angeles heroína, l. a. depresión y los angeles compleja relación con su mujer, Courtney Love, y su hija.
Entre cartas, dibujos, comentarios humorísticos y esbozos de letras de canciones estos diarios dan forma a los angeles que fue durante una época l. a. estrella más grande del landscape musical. Kurt Cobain, una figura escuálida de los angeles ciudad de Aberdeen, Seattle, se convirtió en un Mesías del sufrimiento y los angeles rabia, los angeles perfecta representación del espíritu rebelde, del marginal atractivo, de un millonario punk; una contradicción que convirtió su existencia en algo insostenible. «Dios mío, estoy tan harto de l. a. banalidad del rock. Me pregunto qué voy a hacer cuando sea viejo si ya lo sé todo sobre el rock¿n¿roll a los diecinueve años», escribe Cobain.
Y de este modo, a través de los angeles escritura angustiada de un adolescente a l. a. exaltación de sí mismo, entre autoanálisis agudos y l. a. representación de estados anímicos con sus dibujos y garabatos, estos diarios constituyen los angeles mejor biografía de Cobain. Y su lectura es l. a. manera más clara de conocer y entender su vida y su muerte, tal como explica l. a. nota de suicidio incluida en estas páginas.
«Un básico para conocer al músico. Nada es más amargo y oscuro que sus propias palabras.»
«Un relato [...] que sirve para calibrar los efectos de l. a. gloria sobre un basic mortal.»
The lyrics workstation and private journals of Kurt Cobain, iconic singer of the band Nirvana.
Kurt Cobain stuffed dozens of notebooks with lyrics, drawings, and writings approximately his plans for Nirvana and his strategies approximately status, the country of song, and the folk who obtained and bought him and his song. His journals demonstrate an artist who enjoyed song, who knew the background of rock, and who was firm to outline his position in that historical past. here's a spell binding, incomparable portrait of the main influential musician of his time.
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Additional info for Diarios de Kurt Cobain Spanish
Sometimes we set the metronome a notch or two slower than the actual performing tempo - following the theory that by making something more difficult one ultimately makes the real thing easier. Malzel's ingenious invention proved to us that the music really works this way, and so the composer was seen to be right yet again. Another approach to this movement would be to 'make something' of it; in other words, to try to keep the listener's attention by ultra-expressive means : lingering on this note, exaggerating the shape of that phrase, and so on.
This amazing episode increases even further in tension, to arrive ultimately at a point of stress which only percu_s sion has the force to carry. Brass return to the first theme, are answered insolently by a distorted version on strings, who then drop inexplicably into a parody of a waltz that, without warning, literally dissolves . Angrily the orchestra makes a series of mighty efforts (the dynamic rising from pp to ffffj) to wrench iself out of this apparent impasse and �egain the comparative security of the first theme, but it achieves only another distorted version on trumpets and muted trombones .
It is entirely appropriate that the cello should dominate here, but those ardently impassioned, Janacek-like sixths - made by the cello well up his A string with the first violin, in a particularly rich lower register, underneath him - are not entirely straightforward in terms of achieving a satisfactory balance and blend . This has to be worked at carefully if the effect of this unusual scoring is not to be weakened and made to sound incongruous . Furthermore, the other two players are faced with a problem of providing sufficient support for these intensely sustained lines with their march-like pizzicati� Were the cello at the bottom of the texture there would be no such problem, but of course he is at quite the opposite extreme of his register and the viola has to provide the resonance and depth underneath the rest of the ensemble; this does involve taking a certain risk with each note, but to hold back here would be very tame indeed (as in similar passages involving pizzicato in the Twelfth and Fifteenth Quartets) .