Tag Archives: Renastere

Michelangelo Galilei

Lanternativa e inca aici, vie. Nu foarte vizibila, drept, dar asta e in acord cu traditia.

Acestea fiind spuse, intram intr-un nou an cu o chestie zornaitoare.

Toata lumea a auzit de Galileo Galilei – au auzit pana si aia care nu ar fi trebuit sa auda, ma rog, asta-i viata. Tatal si fratele sau mai mic au fost compozitori si teoreticieni renumiti la vremea lor – azi nici macar YT nu-si prea mai aduce aminte de ei. Nu asta-i important. Important e ca in muzica Vincenzo Galilei a creat (alaturi de altii) bazele unei revolutii care a fost destinata sa puna in cele din urma calus la gura Renasterii si sa dea semnalul perioadei barocului. Michelangelo a compus urmand teoriile muzicale create de daddy.

Muzica se asculta cu tot trupul. Creeaza vibratii care sunt simtite peste tot. Pitagora, Platon, Aristotel si alti filosofi greci au scris in extenso despre impactul avut de sunet asupra omului. Vincenzo cunostea foarte bine aceste teorii – problema era cum sa le transporti in interiorul crestinismului. Teribil de complicata chestiune. De aici corespondenta cu Girolamo Mei, analizele lui Marin Mersenne (contemporan cu Michelangelo) etc.

Ce mai ramane de auzit cand, asa cum scria batranul Foucault,

“with the end of the Renaissance, the eye was thenceforth destined to see and only to see, the ear to hear and only to hear”?

Annibale Padovano

Un compozitor superb, descoperit recent de lanternativistul vostru incoerent. Annibale Padovano, de la moartea caruia se implinesc si ceva ani care se termina in 5, a fost un compozitor si organist italian aciuat la curtea lui Carol al II-lea, impreuna cu Orlando di Lasso.

Prea multe detalii despre viata lui Annibale nu se cunosc, iar Dictionarul Grove nu ajuta nici el prea mult. Cateva extrase din articolul dedicat padovanului puteti citi mai jos:

(Padua, 1527 – Graz 1575). He was an organist at S Marco, Venice, from 30 November 1552 until 2 August 1565. On 1 August 1545 he became organist at the court of Archduke Karl II of Austria in Graz. Shortly before 1570 he assumed the title of director of music. His book of ricercares, published in 1556, brings together for the first time most of the stylistic elements of the mature Venetian ricercare: a dignified and homogeneous level of rhythmic activity; diatonic, largely conjunct thematic material; the linking of thematic material by means of subtle motivic interconnection and variation; the variation of thematic material by constant rhythmic permutation and by learned devices (augmentation, diminution, inversion and stretto). Padovano was also a master of the toccata: he may have been the first composer to expand the form and make it more important. In 1568 – together with Lassus – he composed much of the music for the wedding of Duke Wilhelm V of Bavaria to Renata of Lorraine. His eight-part instrumental battaglia was performed on this occasion; also probably performed were a 12-part instrumental work (lost) and a 24-voice mass. He probably also composed music for the wedding between Archduke Karl and Mary of Bavaria, in Vienna on 26 August 1571; a letter from the duke of Mantua to Hippolito Nuvolono of Graz, dated 19 September 1571, speaks of a Dialogo a 7 composed by Padovano in honour of the couple.

Am subliniat in textul de mai sus Messa deoarece, dupa ce a fost  interpretata la nunta lui Wilhelm V, duce de Bavaria (educat la iezuiti, trebuie mentionat!) cu Renata von Lothringen, a cazut in uitare, ea fiind cantata a doua oara dupa mai bine de 400 de ani, in 2000.

Kyrie:

Gloria:

Agnus Dei:

___________

De sunteti curiosi, mormantul minimalist al Renatei.

ECMania: The Dowland Project

Ascultand discurile publicate de proiectul Dowland, which is

an attempt to re-discover the essence of renaissance song from the point of view of a modern performer

mi-am adus aminte de ce scria Herder cu ceva milenii in urma intr-una din carticelele sale numita, in orig., Fragmente über die neuere deutsche Literatur:

Oh accursed word “classical”! It has transformed Cicero for us into a classical school rhetorician, Virgil and Homer into classical poets, Caesar into a pedagogue, Livy into a phrasemonger. It has divided expression from thought, and thought from the event that has generated it…this word has become a wall between us and all true education which would have seen the ancients as living exemplars…this word has buried many a genius beneath a heap of words…crushed him under a millstone of a dead language…When a German poet is described as a second Horace…as a new Lucretius, a historian as a second Livy, that is nothing to be proud of; but it would be a great, rare, enviable glory for us if one could say about such writers: “this is how Horace, Cicero, Lucretius, Livy, would have written if they were writing about this topic, at this particular stage of culture, at this particular time, with this particular purpose, for this particular people, with its particular outlook and its own language”.

Firminus Caron – Kyrie Jesus:

Albumul poate fi DL de aici: Part. I & Part. II.

Savall si regatul amintit

In loc sa va las in compania unor piese extrase din acest album, fascinant as putea spune, si in loc sa ma apuc sa bat campii despre cine au fost catarii si ce au vrut ei atat de tare incat sa ajunga sa fie exterminati de’a binelea, am sa va las in compania unui documentar in care Maestrul vorbeste despre muzica sa, despre fabuloasa si scandaloasa dinastie de Borgia – a 500-a aniversare a S. Francis Borgia – si despre multe alte lucruri.

N.B. Filmul este fara subtitrare.

Al 9-lea cutit

Cred ca stiti filmul lui Polanski, The Ninth Gate. Un film foarte dragut, as putea spune. Carti vechi, biblioteci, editii rare etc. Una dintre aceste carti, numita pompos De Umbrarum Regni Novem Portis, continea o serie de gravuri care, in fiecare dintre cele trei editii existente, contineau elemente diverse. Puse cap la cap, aceste elemente se transformau in calea de acces catre regatul celui-ce-poarta-lumina.

De ce al 9-lea cutit? Ei bine, pana la urma problema cu gravurile din De Umbrarum… nu este chiar atat de inventata- si aici legatura dintre A noua poarta si al 9-lea cutit devine clara. Acest cutit nu este unicul. Mai exista exemplare in U.S., Paris, Belgia, Olanda si Germania. Odata identificate toate aceste exemplare – ceea ce deja se face de cativa ani buni – se vor putea pune cap la cap bucatile muzicale inscrise pe lamele lor, creandu-se astfel o piesa unica.