Thursday, December 24, 2015

Série, presque à genoux with thread

La modérnité est un allégement de l'individualité... même les répétitions 
peuvent exprimer une sorte nouvelle d'originalité...
Paul Klee (traduction Pierre-Henri Gonthier)





- Gus Van Sant, Last Days (USA, 2005) (image distorted) + Warhol's Purple Jumping Man (also distorted) (by A/Z);


"... s’il faut que par une dialectique retorse il y ait dans le Texte, destructeur de tout sujet, un sujet à aimer, ce sujet est dispersé, un peu comme les cendres que on jette au vent après la mort... ou encore un film" (: 14).

"... fantasmatiquement, sa situation est fluide, éparpillée... se déplace dans la chose, comme le fumeur de hashish tout entier ramasé dans la fumée de sa pipe et qui 'se fume'..." (: 69). 

"Sa vieillesse: il s’entoure de chats et de fleurs... Sa concierge le trouva mort, en redingote, à genoux au milieu des pots de fleurs... [Il] avait lu Sade..." (: 188).

- Roland Barthes, Sade, Fourier, Loyola (Paris: Éditions du Seuil, 1971);


"Un double peut fixer pour un temps l'instabilité du même, lui donner une identité provisoire, mais il creuse sourtout le même en abîme, il ouvre en lui un fond insoupçonné et insondable" (253).

- Julia Kristeva, Soleil Noir (Paris: Gallimard, 1987);


"Toile d'araignée comme exemple d'isolement 'naturel' d'une carcasse (pseudo-géométrique) d'infra mince."

- Marcel Duchamp, Notes (Paris: Flammarion, 1999);
----------------------------------------------------------------

Gus Van Sant, more links:
- William Burroughs in Drugstore Cowboy (USA, 1989);
- Road scenes from My Own Private Idaho (USA, 1991);
**Essay about Paranoid Park (France/USA, 2007);

Kurt Cobain, more links:
- Aneurysm;
- Beeswax;
- Downer;
Tourette's;

***See also:
Kur-d-t My Ghost;
- Orlando 06/12;
- Pier Paolo Pasolini;
- Podem Ficar com a Realidade;
- Call me Helium;
-------------------------------------------







Pedro Américo
Cabeça de Cristo (Ecce Homo) (1885)

Thursday, December 17, 2015

Two invisible phanopoeias & a silence (by Arnaldo Antunes) + Alice Ruiz

























Arnaldo Antunes, Agora aqui ninguém precisa de si (São Paulo: Companhia das Letras, 2015)
=============================

Leminski em inglês:














Leminski in Portuguese:


































===============================
Alice Ruiz S:
































*******************************
Arnaldo Antunes (pictures taken from Arthur Dapieve's BRock):





















--------------------------------------------------------------------
Titãs: Televisão (1985)

Titãs: Comida (1987)

Titãs: O que (1986)

Titãs: Flores (1989)

Titãs: AA UU (1985)

Titãs: Lugar Nenhum (1987)



Wednesday, December 16, 2015

Ernesto Nazareth

"His increasing deafness was also a cause of suffering. In 1933, he was diagnosed as incurably insane, and the physicians were forced to commit him to a madhouse (Colônia de Psicopatas) in Jacarepaguá. In the beginning of 1934, he ran away from the institution, got lost and died drowned in a dam..." (p. 121). 

"... nobody saw him playing or dancing in soirees... Nazareth didn't belong to any dominant clique..." [Baptista Siqueira] (p. 121). 

"[Nazareth attained great popularity but...] he was not a popular composer. His compositions are very sophisticated, and were corrected painstakingly... Nazareth should be placed among erudite composers. Notwithstanding, he was able to capture essential traits of the people of Rio de Janeiro... this is why his music is so fundamental" (p. 122). 

"The admission of Nazareth to the realm of erudite composers was (and remains) difficult. It should have been undisputed, but it wasn't" (p. 123).  

"The titles given to his compositions bear witness to Nazareth's involvement in the everyday life of his surroundings: Cruz Perigo!! Está chumbado Gemendo, rindo e pulando — Gentes: o imposto pegou? Mariazinha sentada na pedra Não caio n'outra Pipoca Podia ser pior Fonte do suspiro — Bicicleta-Club Chile-Brasil Paulicéia, como és formosa" (p. 123).

"... he composes in a very pianistic way..." (p. 123). 

Bruno Kiefer, História da Música Brasileira (Porto Alegre: Movimento, 1997). 
-----------------------------------------

"Ernestinho understood quite well that, in this lofty world, all the shafts — either notes or human beings — should stand upright, steadfast, and aloof" (p. 121).   

"... Ernesto Nazaré told me that he used to play a lot of Chopin. It came as no surprise, because of the subtle influence of Chopin's pianistic style over his entire oeuvre" (p. 123).

"... his popular simplicity is disguised under a luscious chromaticism of devilishly mellifluous twirls, in which altered notes pop up at any moment, taking us anawares as if an inhambu about to fly..." (p. 124). 

Mario de Andrade, Música, Doce Música (São Paulo: Martins, 1976). 
                                       
*******************************


See also: 
http://ernestonazareth150anos.com.br/

Monday, December 14, 2015

José Maurício Nunes Garcia (1767-1830) & Gilberto Mendes

"E nos amarga então a incúria com que... os nossos governos vivem nos seus brinquedos 
perigosos de política, sem beneficiar aos que nos devem ser caros 
pelo que de Brasil e por nós fizeram..."
Mario de Andrade, "Padre José Maurício", Música Doce Música


"... the names of his grandmothers are unknown — an important point which opens the perspective concerning the referred mixing [of races]..." (p. 9).
"... while far away from Brazil, the painter Nicolau Taunay will inquire [José Maurício's] brothers after the 'grand mulâtre'. Called to mold his mortuary mask, Manoel de Araujo Porto Alegre says: 'more than average build... the size of his bones shows that he had been a strong man'" (p. 11).
"His depressive state becomes manifest when he complains that 'the yelping of dogs... the chirping of crickets annoy me...'" (p. 11).
"... José Maurício resigned from the Order of Christ to the benefit of his son..." (p. 15).
"Besides studying music with his father, the physician Nunes Garcia studied painting with Debret, and left an oil portrait of José Maurício..." (p. 16).
"Among the four descendants that would live with his father at the time of his father's demise, Nunes Garcia refers to two younger sisters 'in a state of insanity since a long time...'" (p. 16).
"It is surprising that José Maurício, whose religious calling is at least controversial, accepted the priesthood at the age of 25... The grounds for the choice seem to be connected rather with a musical drive... it would better enable him to the position of master chaplain" (p. 19).
"José Maurício is referred to as a brilliant fellow, whose exceptional intelligence was improved by his priestly education: Philosophy, History, Geography, Latin, French, Italian as well as English and Greek" (p. 20).
"In the last years of the 18th century, already with a significant background as a composer, José Maurício became director of a music school... teaching was done for free..." (p. 23).
"José Maurício was acclaimed as an excellent organist... Sigismund Neukomm referred to his playing as that of 'the world greatest improviser'" (p. 31-32).
"D. João VI's curiosity for the mulatto musician aroused almost immediately" (p. 33).
"José Maurício had to perform many duties as composer, conductor, organist, archivist, besides having to carry out other bureaucratic tasks..." (p. 34).
"Timid, not used to curry favor, in a court plenty of arse-likers... it was only natural that the king did not give him what he didn't explicitly asked for" (p. 35).
"[In 1811] his position crumbled away, his production decays" (p. 36). 
"In december 1819, João Maurício [conducted] the first audition of Mozart's Requiem in Brazil..." (p. 37)

*****Cleofe Person de Mattos, Catálogo Temático José Maurício Nunes Garcia (Rio de Janeiro: MEC, 1970). 
-------------------------------------------------------

José Maurício Nunes Garcia:
- Requiem (1816);
- Zemira (Ouverture);


-------------------------------------------------

***The music produced in Minas Gerais in the 18th century — by composers such as Lobo de Mesquita (1746-1805), before José Maurício — is also important (worldy speaking), and has been rescued from oblivion by the German-Uruguayan musicologist Dr. Francisco Curt Lange. See Julio Medaglia, "O Milagre Musical do Barroco Mulato," Musica Impopular (São Paulo: Global, 2009), p. 151-69.
The Brazilian concretist poet Décio Pignatari writes the following in his preface to this book: "Júlio Medaglia always knew that third-worldness is a reality, but he also knew that one should snatch it from the partisan claws of the jingoists [nacionaloides], who have always prescribed subculture to underdevelopment (some of these yesterday preachers are nowadays wealthy advisers of the powers that be). And Julio Medaglia always knew that the struggle in these countries has to go hand in hand with learning — not the learning of supposed national authenticities ('our values') but of international repertory and patterns," p. 9.   
=================================

A Odisséia Musical de Gilberto Mendes (Brazil, 2005):

"39... that's how many albums and CD's have been released by my grandfather in Brazil and the rest of the world. When I asked my father why it was so difficult to find one of them in Brazil, he replied: 'Brazil isn't a country, Brazil is a mission'", Gilberto Mende's granddaughter.

"Gilberto Mendes simply hung in there, created the New Music Festival, kept composing music while everyone, literally everyone else [doing high repertory music in Brazil] just gave up", Décio Pignatari.


-----------------------------------------------

Gilberto Mendes, Son et Lumière (1968):

Gilberto Mendes, Estudo Magno (1993):

Gilberto Mendes, Blirium C9 (1965):

Gilberto Mendes, Eisler e Webern caminham nos mares do sul (1989); Estudo, ex-tudo, eis tudo pois (1998):
 

Saturday, December 12, 2015

Piano Playing (Kochevitsky)


... régner, ainsi que l'eau, dans le secret et 'par en dessous' 
(en laissant, en offrant à chaque 'sujet' la possibilité du 
plus complet, du plus heureux épanouissement...
Henri Pousseur (sur Lao-Tseu), Musiques Croisées

... il me paraît tellement important de développer une 
théorie du son et de la musique (de la matière sonore 
et musicale en mouvement) qui s'efforce de généraliser ces 
notions et d'en vérifier l'application dans des pratiques...
Henri Pousseur, Musiques Croisées

Mise à nu en forme de piano accompagné des 3 fracas et 
de souvenirs de jeunesse du gaz d'éclairage. D'un nombre 
conventionnel de notes de musique 'entendre' le 
groupe de celles qui ne sont pas jouées (refaire)...
Marcel Duchamp

Elementarism opposes to the orthogonal method of plasticism, 

that is, homogeneous with natural construction, a heterogeneous 
contrasting, labile method of expression by means of sloping 
planes relative to the static, perpendicular axis of gravity.
The van Doesburg (quoted in Linda Henderson's 
The Fourth Dimension)

Qu'est-ce que dessiner? Comment y arriver? C'est l'action

de se frayer un passage à travers un mur de fer invisible, 
qui semble se trouver entre ce que l'on sent  et ce que l'on 
peut. Comment doit-on traverser ce mur, car il ne sert de
rien d'y frapper fort...
Van Gogh (cité par Artaud)

Van Gogh est peintre parce qu'il a recollecté la nature, 

quíl l'a comme retranspirée et fait suer...
A. Artaud

... there is a critical blindspot. The more intently we look for 
the answer in terms of the grid, the more impossible the 
task becomes.
Thomas P. Kasulis

... a mouvement from that which the everyday self understands 
to be the ground of the Being of beings to the invisible basho 
grounding that basho vis-à-vis being. Observing with a detached 
seeing is the state in which the self's consciousness of itself 
disappears and the actor sees even his own dancing figure from 
the outside, as one observing from the audience.
Yasuo Yuasa

When one moves on command, one first puts oneself in the 
total emotive situation... The cognitive function of 'pointing 
to' becomes possible only after the active, potential 'holding' has 
taken place... the existential arc first grasps its goal potentially 
by means of the bodily scheme.
Merleau-Ponty/Bergson/Yuasa

If one becomes accustomed to composing in an unrestrained posture 
such as standing or lying down, one cannot compose at all on formal 
occasions... My father admonished me not to compose waka even 
for a short while without the correct sitting posture.
Teika Jiwara

... un cerebro medio contiene unos diez mil millones de neuronas, 
cada una de las cuales encierra varios millones de moléculas de 
distintos ácidos nucleicos; el número de combinaciones posibles 
es astronómico...
Hyden/Cortázar

If falling in a gravitational field can get rid of any observable 

effects of gravity, accelerating in the absence of one can create the 
appearance of a gravitational field... As everyone who has ever been 
in an elevator has experienced, when it first starts to accelerate upward, 
you feel slightly heavier; namely, you feel a greater force exerted by 
the floor on your feet. If you were in outer space, where you would 
otherwise feel weightless, and the elevator you were in started to 
accelerate upward, you would feel a similar force pushing you 
down against the floor... if I shined a laser beam in an elevator... 
I would also see the light ray's trajectory bend downward... But 
special relativity tells us that light rays move at constant speed 
in straight lines... one way to go in a straight line and also travel 
in a curve is to travel on a straight line on a curved surface... Space, 
and to some extent time, can be curved in the presence of mass or energy...
Lawrence M. Kraus, Hiding in the Mirror

Gravity is measured to be more than a billion billion billion billion times 
weaker than electromagnetism, and even weaker still when compared to
the strong force [binding quarks in subatomic clusters]. It may not seem 
so weak... but remember that you are feeling the gravitational force of
the entire earth acting on you. By contrast, even a small excess of electric 
charge on an object such as a balloon produces a large enough electric
field to hold it up on a wall against the gravitational pull of the entire
earth... In the Randall-Sundrum scheme... gravity near our brane acts
effectively much more weakly than it does outside our brane... a 
microscopic distance 'away' from our world in the extra spatial 
dimension, gravity would appear to have the same strength as
the other forces in nature...
Lawrence M. Kraus, Hiding in the Mirror

So, if string theorists are right, everywhere in visible space—at 
the tip of your nose... at the spot above the tennis court where
your racket hit the ball the last time you served—there would 
be a six-dimensional Calabi-Yau manifold of invisibly tiny size...
Lisa Randall, Warped Passages

Branes, like sower curtains and Loyd's fifteen game, trap things
on lower-dimensional surfaces. They introduce the possibility
that in a world with additional dimensions, not all matter is
free to travel everywhere... But braneworlds are interesting 
precisely because we know that not everything is confined
to a single brane. Gravity, for example... extends to the bulk
and everything interacts via gravity...
Lisa Randall, Warped Passages

... the equivalence principle, which states that the effects
of acceleration cannot be distinguished from those of
gravity... you wouldn't have any way of distinguishing
uniform acceleration from standing still in a gravitational
field... Einstein no longer saw gravity as a force that acts
directly on an object. Instead, he describe it as a distortion
of the geometry of spacetime that reflects the different
accelerations required to cancel gravity in different places...
the force of gravity is understood in terms of the curvature
of spacetime, which in turn is determined by the matter
and energy that are present...
Lisa Randall, Warped Passages


Just as [a] Vermeer could not have executed his paintings 

with a two-inch-wide brush... particles cannot be sensitive to 
short-distance physical processes unless their wavefunction varies 
over only small scales... according to de Broglie... the wavelength of 
a particle-wave is inversely proportional to its momentum... you need 
high energies to be sensitive to the physics of short distances...
Lisa Randall, Warped Passages


*********************************************************************************************


- Feel fingers as inherently connected to the whole body and mind: 
"Practicing at the piano is mainly practicing of the central nervous system, whether we are aware of it or not..." (: Preface).

- Play with the ear: 
"Although Friedrich Wieck in the earlier period of his teaching used Logier’s Chiroplast in certain cases, his first concern was with the formation of touch and with teaching his pupils to listen and to hear, 'just as singing teachers rely upon the culture of a fine tone'" (: 6).

- Less is more (it is not a matter of strength but of optimizing movement): 
"... the laws of work of the central nervous system, which directs our motor activity, exclude any possibility of making such calculations while playing, and limit the ability to control muscle work while practicing. Although muscles need regulation, and indeed extremely fine regulation, this has to be achieved in a quite different way" (: 10).
"A man with the muscles of a Hercules could be very clumsy in his walking..." (: 11).
"The requirements of an individual finger in piano playing are usually much less than its natural ability [Oscar Raif’s experiments]" (: 12).
"... beginning practice starts with too much expenditure of force" (: 13). 
"... the energy of a movement is conditioned by the clarity and strength of the artistic imagination" (: 14).
"[Otto] Ortmann made many important observations that helped expose the fallibility of some existing ideas in piano pedagogy. He said, for example: 'Electrical stimulation has shown that, muscularly and mechanically, the normal infant is as ready to play a rapid five-ginger sequence as is the trained adult...'" (: 15).
"... the psycho-technical school suggests that the more our consciousness is diverted from the movement, and the stronger it is concentrated on the purpose of this movement, the more vividly do artistic idea and tonal conception persist in the mind" (: 17).
"Listening to great pianists not only miraculously influences a pupil’s musicianship but his motor sphere as well" (: 17).
"Never think of your music in terms of execution (of what your hands and fingers should or are going to do) but in terms of interpretative rendering (what you would expect it to sound like if a performer from heaven were executing it for you) [Bonpensiere]" (: 17).
"The human brain contains many billions of nerve cells which are connected with each other through nerve fibers" (: 21).
"We are not conscious of how we function but are concerned with the purpose of our action. ... The spatial and temporal regulation of movement forms depends on the fine collaboration of the cortex with the sub-cortical centers..." (: 22).
"What is important is strong, active finger work, since we receive much weaker sensations from weak movements than from strong ones./ A slight pressure into the key after its full depression is recommended in slow practicing... At the slightest sensation of fatigue in the upper parts of the arm, this practicing should be stopped" (: 25).
"The reason for difficulty in executing a trill is usually not the lack of capability of the fingers involved" (: 27).
"... the auditory stimulation (conditional stimulus), must always precede the motor reaction (unconditional stimulus), in performance as well as in practicing... The musical incentive has to be a signal provoking the motor activity" (: 28).
"Sometimes excessive industry and strenuous practicing can result in failure... Fatigue of the central nervous system, which is not noticed by the player, is the reason for this failure" (: 29).

******George Kochevitsky, The Art of Piano Playing (Evanston: Summy-Birchard Company, 1967).
===================================

"... in playing, the fingers should be arched, and the muscles relaxed. The less these two conditions are satisfied, the more attention must be given to them. Stiffness hampers all movement, above all the constantly required rapid extension and contraction of the hands... through intelligent practice it is easy to achieve that which can never be attained by excessive straining of the muscles... never undertake more than can be kept under control in public performance, where it is seldom possible to relax properly or even to maintain a fitting disposition... as a means of learning the essentials of good performance it is advisable to listen to accomplished musicians. Above all, lose no opportunity to hear artistic singing..." (Bach's Essay) (: 27-30).
"... a physical approach that ruled out all affectation and unnecessary movement" (Mozart’s "ideal Viennese technique") (: 52).
"Hummel 'feels that three hours a day of practice at the most should be enough for the advancing student to achieve excellence... unbecoming habits should be carefully avoided; as holding the face too near the book, biting the lips, nodding the head... that an adagio is much more difficult to perform with propriety than an allegro is a fact acknowledged by every one...'" (: 70-77).
"... the crescendo should never be produced by a visible exertion of the hands, or by lifting up the fingers higher than is usual... but only by an increased internal action of the nerves, and by a greater degree of weight" (Czerny’s approach) (: 112).
"... then [Liszt] had Calerie play the elementary exercise: do-re-me-fa-sol-fa-me-re-do, striking each note six, eight, or twelve times while holding down the notes not involved. Valerie had trouble folding them down and occasionally released the third or fourth fingers. Liszt then asked her to play the exercise as fast as she could and without holding down any keys. 'Can you hear how uneven it is'?" (181).
"[Prentice]... emphasized the importance of deep breathing exercises for the pianist" (: 233).
"The arm must be in a state of complete rest and passivity, and simple allow itself to be guided as whole through the prescribed motions... each separate finger, quite unaffected by the task which its neighbor has to perform, must carry out with perfect independence the commands transmitted to it from the brain" (Caland) (: 257-59).
"... for [Leschetizky], music making was a vital experience, as urgent and important as life itself" (: 272).
"Annette Hullah recalled that [Leschetizky] felt that four or, at the most five hours a day of concentrated practice was sufficient… 'concentrated thought is the basis of his principles'" (: 274).
"Leschetizky teaches his pupils to save their bodies fatigue by devitalizing the muscles not called into play. Let anyone support the extended arm of another, and then at a given word allow the arm to drop. If it falls to the side instantly and quite limp, it is said to be devitalized, but many people find difficulty in letting the arm go entirely in this way with all their muscles relaxed" (: 279).

******Reginald R. Gerig. Famous Pianists and Their Technique (R. B. Luce, 1974).
==================================









Da Vinci
study (1499)
Image from 
Julian Bell's
Mirror of the World







See also:
- view from Berthe Trepat's apartment
- pick a soul;

Friday, December 11, 2015

Scenes worth a proof of God's existence



Ontem, os Estados Unidos foram atingidos
com força pelo ciclone BLIND FAITH.
Gerald Thomas, Entre Duas Fileiras

Et maintenant, elle explose!
Paul Virilio, L'Université du désastre

... je saisis vos pirouettes...
Julia Kristeva, Le vieil homme et les loups

What does she care for the atom bomb, the bedbugs...
William Burroughs, Naked Lunch



First of all, the ending of Stanley Kubrick's Dr. Strangelove (1964):

Then a little Sid Vicius...

Evgny Kissin playing Scriabin (Etude Op. 42 N. 5):

Schubert's Fantasy in F minor (Lucas & Arthur Jussen):


(to be continued...)
----------------------------

We'll meet again
Don't know where
Don't know when
But I know we'll meet again
Some sunny day
Keep smiling through
Just like you always do
'Till the blue skies
Drive the dark clouds far away...

("We'll meet again" — Ross Parker and
Hughie Charles, 1939; Vera Lynn's rendition)
----------------------------------------------- 

A Poem by Mario Quintana:














Fita Amarela (Noel Rosa):

Manifesto Juliana Dorneles:

Elements of Musical Language (by Bruno Kiefer) & Brazilian Popular Music

Synchrony:
- rhythmic factors: duration, intensity, waves (fluctuations of intensity, caused by variations of pitch, timbre etc.) (p. 23-26);
- elements that shape melodic intervals: tension, luminosity (p. 49); 
- chord: the simultaneous sounding of three or more sounds (p. 70);
----------------------
- figure: melodic fragment that, inside a piece, turns out to be indivisible (p. 51);
- motive: has a complementary or contrary fragment that generates tension in relation to it (p. 54); 
- theme: melodic fragment (made of one or more figures), used in the building of a section (p. 61); structural bloc, with a melodic, rhythmic and/or harmonic character (p. 63);
----------------------------
- repetition: if literal, produces monotony; it might take place through ascendant or descendant progression  (p. 52); 
- imitation: repetition that occurs between different voices (with or without variation) (p. 52, 61-62);  
- variation: "repetition with superficial or more deep changes in the model"; it might involve direct motion, inversion and retrograde motion, with augmentation or diminution of rhythmic values (p. 52-53);
--------------------------------
- polyphony: superposition of two or more voices (which are rhythmically or melodically independent; each voice should have its own expressive meaning); vertical (harmonic) factors are also important (otherwise we would have only a cacophony) (p. 65); the voices might imitate one another or not (p. 67-68);
-------------------------------------
- fugue: the theme "remains"  (p. 62); 
- sonata-allegro form: two themes are presented (A), the material is developed (B), the themes are presented again (p. 63) [exposition-development-recapitulation, as says John Bauer in his Music Theory Through Literature, Vol. 2 (New Jersey: Prentice-Hall, 1985) p. 10];

Diachrony
- from the 9th century onwards: polyphony: importance of vertical dimension (p. 70);
- gothic period: strong beat: consonant sounds (perfect octave, perfect fifth, perfect fourth, unison); weak beat: dissonant sounds (great liberty) (p. 71);
- 13th century: thirds are admitted as imperfect consonant sounds (p. 71);
- 14th century: sixths are admitted as consonant sounds (Philippe de Vitry) (p. 71);
- 15th century: increase in the use of perfect major and minor chords (root position and first inversion) (gain in terms of sensuous qualities) (p. 71);
- baroque: increase in the use of dissonances (dramatic/expressive purposes) (seventh chords) (Monteverdi) (p. 72);
- baroque (third phase): consolidation of the tonal system (p. 72);
- Beethoven onwards: harmonic innovations (p. 73);
- romanticism: great enrichment of harmony; introduction of elements contributing to the dissolution of the tonal system (p. 73);
- Schoenberg (second phase): atonalism (p. 73);
- Pierre Schaeffer: concrete music (p. 73);
- electronic music (p. 74);

*****Bruno Kiefer. Elementos da Linguagem Musical. Porto Alegre: Movimento, 1987.
============================================

Brazilian Modinhas e Lundus:


"... the music there was peculiarly bewitching and delightful, the modinhas... 
it was all which made the merit of music in antiquity, and belonged to poetry and sense... 
that melody and harmony which steals into the heart... melts the soul... 
Such music is irresistible in its effects in the southern climate..."
William Thomas Beckford 

"Le lundù a des charmes qui tournent les têtes les plus solides."
Santa-Anna Nery 


- most remarkable characteristic of both modinhas and lundus: syncopated melodic lines (semiquaver — quaver — semiquaver); 

"... descending melodic lines are the most common. The beginning of those lines is generally attained by significant ascending leaps or by ascending arpeggios... Such characteristics lend the modinhas simplicity, intimism, sweetness, longing. The modinha is a sequence of sensual sighs... it is far away from the grandiloquence of arias in Italian operas [but frequently harmed by the shadow of bel canto]..." (Bruno Kiefer, Raízes da Música Popular Brasileira: da modinha e lundo ao samba. Porto Alegre: Movimento, 2013, p. 28).

- Joaquim Manuel da Câmara, Triste Cousa;
- Anonymous, Lundum;
- Joaquim Antônio da Silva Calado, Lundu Característico;


Thursday, December 10, 2015

Poème du retour: Paulo Leminski et l'éternel moustache de Nietzsche (& outros)


Nishida's basho vis-à-vis nothing is the basho that can be reached by denying the fact that the self 
is such an ego-consciousness or, to be more precise, by letting it disappear.
Yasuo Yuasa

...basal consciousness, becoming a thing and exhausting it... does not mean to lose the body, nor that it
becomes universal. On the contrary, the self is deepened, it is thoroughly at the base of one's body.
Kitaro Nishida/Yasuo Yuasa

There is an end to life, but No is endless.
Zeami

... l'identité... tourne autour du Différent...
Deleuze (Différence et répétition)

... la mort dérobant la conscience, non seulement j'ai conscience de mourir:
cette conscience, en même temps, la mort la dérobe en moi...
Georges Bataille

Les contenus se perdant les uns dans les autres, des diverses formes de dépense définissaient d'eux-mêmes
 une loi de communication réglant les jeux de l'isolement et de la perte des êtres.
Georges Bataille



"desaparecença

    Nada com nada se assemelha.
Qual seria a diferença
    entre o fogo do meu sangue
e esta rosa vermelha?

    Cada coisa com seu peso,
cada quilômetro, seu quilo.
    De que é que adianta dizê-lo,
isto, sim, é como aquilo?

    Tudo o mais que acontece
nunca antes sucedeu.
    E mesmo que sucedesse,
acontece que esqueceu.

    Coisas não são parecidas,
nenhum paralelo possível.
    Estamos todos sozinhos.
Eu estou, tu estás, eu estive."

Paulo Leminski, Distraídos Venceremos (1987).

********************************

"incenso fosse música

    isso de querer

ser exatamente aquilo
    que a gente é
ainda vai
    nos levar além"

Paulo Leminski, Distraídos Venceremos (1987).
=====================================

Um poema de Mário de Andrade

Improviso do Rapaz Morto (1925)

Morto, suavemente ele repousa sobre as flores do caixão.

Tem momentos assim em que a gente vivendo
Esta vida de interesses e de lutas tão bravas,
Se cansa de colher desejos e preocupações. 
Então para um instante, larga o murmúrio do corpo,
A cabeça perdida cessa de imaginar,
E o esquecimento suavemente vem. 
Quem que então goze as rosas que o circundam?
A vista bonita que o automóvel corta?
O pensamento que o heroíza?..
O corpo é que nem véu largado sobre um móvel,
Um gesto que parou no meio do caminho,
Gesto que a gente esqueceu. 
Morto, suavemente ele esquece as flores do caixão.

Não parece que dorme, nem digo que sonhe feliz, está morto. 

Num momento da vida o espírito se esqueceu e parou. 
De repente ele assustou com a bulha do choro em redor,
Sentiu talvez um desaponto muito grande
De ter largado a vida sendo forte e sendo moço,
Teve despeito e não se moveu mais. 
E agora ele não se moverá mais. 
Vai-te embora! vai-te embora, rapaz morto!
Ôh, vai-te embora que não te conheço mais!
Não volta de-noite circular no meu destino
A luz da tua presença e o teu desejo de pensar!
Não volta oferecer-me a tua esperança corajosa,
Nem me pedir para os teus sonhos a conformação da terra!

O universo muge de dor aos clarões dos incêndios,
As inquietudes cruzam-se no ar alarmadas,
E é enorme, insuportável minha paz!
Minhas lágrimas caem sobre ti e és como um sol quebrado!
Que liberdade em teu esquecimento!
Que independência firme na tua morte!
Ôh, vai-te embora que não te conheço mais!







Lasar Segall, Mãe Morta (1940)













Samico, História do Galo de Ouro (1999)

Wednesday, December 09, 2015

"Podem ficar com a realidade" (Leminski) &/ou je prefere l'ivresse


une nymphe amie d'enfance (dans le bleu une manque)
scrambled legs
kangourou langoureux 
pellicules de pelican 
Rrose Selavy

dans la mélodie engourdissante du nirvana d'une piqûre,
on se glisserait en douce derrière le tableau, et hop...
Hervé Guibert (conjurant la voix de Muzil) 

Comme le goût des groseilles sous la langue ou la 
sensation du fouet dans un bordel... 
Julia Kristeva, Le vieil homme et les loups







More Leminski:











******************************************

More Christophe Honoré:
- Metamorphoses (2014)

























La belle personne (2008)


















Tout contre Léo (2002)


















Les bien-aimés (2011);
- Après lui (2007);
- Les chansons d'amour (2007);
- Dans Paris (2006);
- Ma mère (2004);
(...)

Honoré, Ma Mère et le fantôme:

===============================================

***Louis Malle:
- Ascenseur pour l'échafaud (1958)



Le feu follet (1963):













Le souffle au coeur (1971):
























- Lacombe Lucien (1974)


===============================================
***Wilson Lambert in André Téchiné's Rendez-vous (1985):
















Omnsters (AZ):


===============================================


(Ezra Pound's
Li Po)




(Ezra Pound's 
Sappho)








(Ezra Pound)













(Heroin Chic Angelina Joline,
picture taken from the Internet)








(Léa Seydoux,
taken from the Internet)











(Léa Seydoux,
montage by A/Z)








(Francisco Lachowski,
montage by A/Z:











==========================================
See also: