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To Ana, this old-fashioned greeting.
Years ago I heard that an old and admired teacher, Don Isidro Bango Torviso , the top seeds were paintings by Hieronymus Bosch's triptych The Temptation of St. Anthony in the Museu Nacional de Arte Antiga Lisbon and the Adoration of the Magi, in the Prado in Madrid. The match with him at that time was only partial. I looked and I still think an absolute wonder Lisbon box, but my preferences about Madrid were determined and radically by The Garden of Earthly Delights.
Following several months, over seven long years, watching carefully and photographing, when institutions are allowed, all the paintings of Hieronymus Bosch to which I was able to access (and I assure you were few and that half of Europe kicked me spending hours and days in the Prado, the Lázaro Galdeano or El Escorial in Madrid, in the Louvre in Paris, at the Museum of Fine Arts in Brussels and Ghent, Bruges in Groeningen, in the aforementioned museum in Lisbon in Ducal Palace of Venice, in the National Gallery in London and at the Academy of Fine Arts in Vienna), I discovered several things. That there are a few of his works, at least, of doubtful authorship, that have been said many, many silly things about his life and his work and that my dear teacher had every reason in the world: the Adoration of the Magi is a most excellent picture.
See it and enjoy it because as soon as possible because although the pictures are from the author of this blog, probably more nationalist political alliances soon developed a new law might come Sinde and SGAE and on behalf of the English art gallery me close the log, which everything will come and if not, at the time. Paséense slowly in the details, get off all the pictures you want that, today, are my own and I know the gift. They will surely have as much fun now as I discovered I enjoyed it and trapping the Bosco through a telephoto lens. Of course, those who live around here and if it was not long ago that pass through the halls of Flemish paintings, go pay him a visit, sure that his spirit and his eyes are grateful.
Notice how the triptych is a master beyond doubt? For this painting curiously unnoticed spend a lot more visitors to the Prado than others because it has no rare birds or mussels that engulf bodies, and rivers overflowing with lewd pictures or phallic symbols to the gates of hell. And, from my point of view, Bosco has been interpreted by the general and until recently, bad, very bad. It was a visionary, no Adamite, let alone a "surreal." No, it was just a good believer, a craftsman who was lucky to make a good marriage and become a leading citizen in a small town and, above all, a painter of extraordinary quality and workmanship, heir of the Flemish painting technique and a medieval culture where the icons and images were a form of learning, educating and proselytizing. Nothing in the boxes Jeroen van acken a single figure, however strange it is, that did not exist before in the corbels or gargoyles and flying buttresses of Gothic and Romanesque churches, in the marginalia of manuscripts hidden in monasteries or books of hours or religious devotionals, both of his time as above. He did not invent anything. Was limited to follow the guidelines indicated he sponsors. I assure you that the iconographic program of Temptation San Antonio de Lisboa is of such knowledge and intellectual caliber that necessarily had to be of marked step by step by someone from a culture wide, deep and delicious and, therefore, with great purchasing power.
I do not know if your opinion about this inspiring artist has changed somewhat with what I said. If you are now able to look at it another way, stripped of topics will find much more fascinating is unreal yet. Because he had the ability to draw the figures of the books, the margins of the architectural elements of the churches to give them the principal and most important category of painting. And that is an achievement dramatically in the realm of art in the late fifteenth century.
Well, well, well. Pedantorro finished speaking on the table, they play harder now, because music comes from. It is not the first time that some of the pieces to be heard today throughout by the Variations. Two years ago, and to celebrate these days, I posted a similar entry in which he spoke of the composer and gave some general guidelines on the first work that I bring. If they want to refresh your memory or have time, can take a look at what I wrote about Heinrich Schütz.
What today is to offer guidance hearing, among many possible, for the Nativity Story of this German maverick. If they wish, continue to work with me, my dear lectoyentes (I definitely like that word, I think I'll use it generously before the coming of Monsieur le Mamoncin and I close the kiosk and make a display of piracy, copying and letting listen or download music that should only belong to its "rightful creators" EEOC , EMI, Deutsche Grammophon, Warner, Philips, Harmonia Mundi, whose nose the thing).
The theme of this work, contrary to what is normal then, is the narrative of the Evangelist. The intermediate explained in more detail what it describes counter history. Recitative, a natural wonder and in charge of a baritone, gives meaning and unity to all the work and the choir or singing passages are only intermediate . However, and lest they be excessively long and although Schütz oratory gave him a wealth of hitherto unknown emotional nuances to recited texts, I have just deleted them and I leave the intermediate. (Anyway, in the post to which I referred above recited and may select some texts and translations). So string but also hear wind and will gain by the brilliance of the latter ring Of course, grant me the benefit of the error, my ear is not always easily distinguishable and more the case of a disk, different instruments doubling the voices.
work begins with what the author called Symphony. Two choirs, with organ continuo and cello, horns, trombones, violas da gamba, recorders. The orchestra and chorus in full. Because it is the solemn prelude to the narrative that starts the Evangelist.
In the first intermission, the angel is directed to pastors announcing the coming of Jesus. The voice, soprano here, is bent recorders, cello and violas high. The tone is smooth and lively, repetitive in its phrases and has the feel of a lullaby. Sweet very sweet. Sometimes it even melancholy and then remade into a new sound of good news. Remember some passages written by the composer for The Seven Last Words of Christ on the Cross. Announces an important event.
In the second intermission, the event has happened and it is a choir of angels to sing a hymn of praise: "Glory to God in heaven .... and on earth peace to men of good will." Polyphony, alla maniera rinascimentale, invades the score but the language is much newer and fees and even dispute the primacy leaks. Solemn and successful at a time, followed by ligation with total finesse.
In contrast, the third intermediate is fully descriptive pastors painted with a single tone and a real popular one box, and you seem to see the nature around and the night light. The tone is fun and kind. The recorders dialogue of equals with the 3-voice choir.
now is the Magi who appear in the hand also the flute and recorders, following the star and asking for the newborn child in the recess. The Three Tenors (and I do Graciet) play a music that, under the appearance of lightness, hides a mysterious sense closed, as corresponds to the characters. The violins and help maintain low precisely that evening feeling of something hidden and mysterious. And
attention, immediately afterwards, ill come into play. Deep baritones and basses, very low, treacherous, perfidis. The chief priests and scribes embody the solemnity of the prophecy about the Messiah, through a religious anthem. We are in the middle fifth. Solemnity and bad omens that portend the future Passion and the role that Jewish priests of the church played in it. They are accompanied by the trombones, folding. Ultimately appears in the shadow of death. Death is, moreover, necessary for subsequent redemption.
Herod is the next to make an appearance (we are in the sixth interval). So clever and cryptic is interested in the newly born child. Horns, like seemingly festive tone of the score give us an idea of \u200b\u200bits falsity, played by a low not too dramatic. It is devious and the entire piece prefigures the envy and the supremacy of the endangered. The seventh and eighth
intermediate bring us to the angel warns Joseph of the danger since Herod ordered the slaughter of the innocent. The tone is urgent, monitoring and care. In the first, becomes the soprano voice, violin and viola all. The tone becomes progressively much more dramatic, trying to flee as soon as Joseph in Egypt. The bass viol contributing factor to this feeling. In a repeated theme, tone up and interpreted by a countertenor, to enhance the idea of \u200b\u200burgency that we need to hurry. repetition, almost the same text we create a sense of anxiety and the danger is real and immediate.
And we at the conclusion of the work. A solemn singing of praise to Christ and to thank him because the birth is the first step and the preamble of the passion, death and resurrection, that will accomplish the redemption of sins. As in the original symphony, all string, wind, low continuous and the two choirs join together in a beautiful setting
The theme of this work, contrary to what is normal then, is the narrative of the Evangelist. The intermediate explained in more detail what it describes counter history. Recitative, a natural wonder and in charge of a baritone, gives meaning and unity to all the work and the choir or singing passages are only intermediate . However, and lest they be excessively long and although Schütz oratory gave him a wealth of hitherto unknown emotional nuances to recited texts, I have just deleted them and I leave the intermediate. (Anyway, in the post to which I referred above recited and may select some texts and translations). So string but also hear wind and will gain by the brilliance of the latter ring Of course, grant me the benefit of the error, my ear is not always easily distinguishable and more the case of a disk, different instruments doubling the voices.
work begins with what the author called Symphony. Two choirs, with organ continuo and cello, horns, trombones, violas da gamba, recorders. The orchestra and chorus in full. Because it is the solemn prelude to the narrative that starts the Evangelist.
In the first intermission, the angel is directed to pastors announcing the coming of Jesus. The voice, soprano here, is bent recorders, cello and violas high. The tone is smooth and lively, repetitive in its phrases and has the feel of a lullaby. Sweet very sweet. Sometimes it even melancholy and then remade into a new sound of good news. Remember some passages written by the composer for The Seven Last Words of Christ on the Cross. Announces an important event.
In the second intermission, the event has happened and it is a choir of angels to sing a hymn of praise: "Glory to God in heaven .... and on earth peace to men of good will." Polyphony, alla maniera rinascimentale, invades the score but the language is much newer and fees and even dispute the primacy leaks. Solemn and successful at a time, followed by ligation with total finesse.
In contrast, the third intermediate is fully descriptive pastors painted with a single tone and a real popular one box, and you seem to see the nature around and the night light. The tone is fun and kind. The recorders dialogue of equals with the 3-voice choir.
now is the Magi who appear in the hand also the flute and recorders, following the star and asking for the newborn child in the recess. The Three Tenors (and I do Graciet) play a music that, under the appearance of lightness, hides a mysterious sense closed, as corresponds to the characters. The violins and help maintain low precisely that evening feeling of something hidden and mysterious. And
attention, immediately afterwards, ill come into play. Deep baritones and basses, very low, treacherous, perfidis. The chief priests and scribes embody the solemnity of the prophecy about the Messiah, through a religious anthem. We are in the middle fifth. Solemnity and bad omens that portend the future Passion and the role that Jewish priests of the church played in it. They are accompanied by the trombones, folding. Ultimately appears in the shadow of death. Death is, moreover, necessary for subsequent redemption.
Herod is the next to make an appearance (we are in the sixth interval). So clever and cryptic is interested in the newly born child. Horns, like seemingly festive tone of the score give us an idea of \u200b\u200bits falsity, played by a low not too dramatic. It is devious and the entire piece prefigures the envy and the supremacy of the endangered. The seventh and eighth
intermediate bring us to the angel warns Joseph of the danger since Herod ordered the slaughter of the innocent. The tone is urgent, monitoring and care. In the first, becomes the soprano voice, violin and viola all. The tone becomes progressively much more dramatic, trying to flee as soon as Joseph in Egypt. The bass viol contributing factor to this feeling. In a repeated theme, tone up and interpreted by a countertenor, to enhance the idea of \u200b\u200burgency that we need to hurry. repetition, almost the same text we create a sense of anxiety and the danger is real and immediate.
And we at the conclusion of the work. A solemn singing of praise to Christ and to thank him because the birth is the first step and the preamble of the passion, death and resurrection, that will accomplish the redemption of sins. As in the original symphony, all string, wind, low continuous and the two choirs join together in a beautiful setting
H. Schütz (1585-1672). Weihnachts-Historie ( Nativity Story) - Symphony and Intermediate-, SWV 435. Concerto Vocale. René Jacobs, director. Harmonia Mundi, 1990
And as extra bonus , and have been able to get here, and delicious small pieces by the same author also on the Nativity. In the first, the Annunciation of Mary, soprano and dialogue countertenor with the chorus of voices and violins, viola high tenor viola, cello, violin, organ and lute. The second, a psalm of praise, is being woven by soprano and bass, doubled by organ, lute, cello and violin. The third and fourth parts are about the birth of Jesus, as the participants of the first, soprano and tenor to bass viol and organ, and in the last two choirs, with three violas da gamba (high tenor and low) , violin, organ, lute and cello.
They help me to wish, be Vds. celebrants of the winter solstice, Saturnalia or the birth of Jesus, a festival full of serenity, real love (and therefore abstain if possible by-law and brothers-number), joy and goodwill in the company of those you want. I try to be as happy as possible.
Good night of peace.
H. Schütz (1585-1672). Anderer Theil kleiner geistliche Concerten (more or less, Other small pieces of sacred music ) op.9, SWV 333, 322, 323 and 315 (1639) and Heute ist Christus geboren ( Today Christ is born ), SWV 439.Concerto Vocale. René Jacobs, director. Harmonia Mundi, 1990
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