#Buxheim

[hard--headed--woman]

Rose Valland !

She was a French Resistance fighter who rescued and recovered more than 60,000 works of art and cultural property stolen by the Nazis from public institutions and Jewish families during the German occupation!!! For that, she was nicknamed "Capitaine Beaux-Arts"

Rose was born in 1898 and died in 1980. Although she never spoke publicly about her private life and sexual orientation, she never married, and the only relationship she ever had was with a woman.

She was able to study thanks to her mother, who applied for grants for her daughter. In 1914, she entered the École normale d'institutrices in Grenoble, graduating in 1918. Gifted for drawing and encouraged by her teachers, she left to study at the École nationale des beaux-arts in Lyon.

She gained a good reputation there, because she was talented and serious, and won a lot of prizes! In 1922, she entered the École nationale supérieure des beaux-arts in Paris. She then passed the competitive examination for teaching drawing, coming 6th out of more than 300 candidates.

During the 1920s, she studied art history at the École Pratique des Hautes Études, the École du Louvre and the Institut d'Art et d'Archéologie. In 1931, she obtained her diploma from the École du Louvre on the evolution of the Italian art movement up to Giotto. At the Institute of Art and Archaeology at the University of Paris, she obtained three postgraduate certificates in modern art history, medieval archaeology and Greek archaeology. She was so intelligent and cultured, with so many diplomas, it's impressive! She published some studies and articles too, and she even learned to speak some languages like German without even studying it.

From October 1940, at the request of Jacques Jaujard, Director of the Musées Nationaux, she remained at the Musée du Jeu de Paume, officially as a curatorial attaché, unofficially instructed by Jacques Jaujard to report to him on the actions of the Germans, who had just requisitioned the museum to store works of art extorted from private collectors.

During the Occupation, the Germans began systematically looting works from museums and private collections across France, mainly those belonging to Jews who had been deported or had fled. They used the Jeu de Paume museum as a central depot before sorting and directing the works to various destinations in Germany, Austria and Eastern Europe. During the Nazi looting, Rose Valland discreetly recorded, as accurately as possible, the movements of the works passing through the Musée du Jeu de Paume, the names of the looted victims, the number of works, their destinations, the names of the agents in charge of the transfers, the names of the transporters, the marks and writing on the crates, the numbers and dates of the convoys, not forgetting the name of the artist, the work and its dimensions.

For over four years, she kept track of all the works' movements, origins and destinations. She scrupulously drew up dozens of index cards, deciphered German carbon paper discarded in the museum's garbage cans, and discreetly listened in on the conversations of Nazi officials. She provided the Resistance with essential, detailed information on the trains transporting the works, so that these convoys could be spared by the Resistance. In autumn 1944, she gave the Allies the names of German and Austrian depots (Altaussee, Buxheim, Neuschwanstein, Füssen, Nikolsburg, etc.) to avoid bombing, secure them and facilitate the recovery of stored works.

After the liberation of Paris by Allied troops, and until May 1, 1945, she worked with SHAEF (Supreme Headquarters Allied Expeditionary Force), providing the Americans with vital information on storage sites for works transferred to Germany and Austria.

From May 1945, she was seconded from the Ministry of National Education to the Ministry of War, then from 1946 to 1952, seconded as a 3rd class administrator to the Ministry of Foreign Affairs, occupying the Secretariat of State and then the General Commissariat for German and Austrian Affairs. Nicknamed "Captain Beaux-arts", she was appointed Captain in the 1st French Army, while also serving as Head of the Service de remise en place des œuvres d'art (SROA) within the Public Education Division of the French Group of the Board of Control.

She was sent to the various Allied occupation zones, British, American and Soviet, from where she repatriated a large number of works. She cooperated with American agents to conduct investigations and interrogate the Nazi officers and merchants responsible for the looting.

She played a decisive role in the February 1946 Nuremberg hearings on the plundering of art by Nazi leaders.

Between 1945 and 1954, she took part in the repatriation of over 60,000 items of French cultural property taken from public institutions and persecuted Jewish families.

Her courageous and heroic actions during the war and post-war years earned her numerous French and foreign decorations. In fact, Rose Valland was one of the most highly decorated women in French history.

She was :

-> made an Officer of the Legion of Honor

-> made a Commander of the Order of Arts and Letters

-> awarded the French Resistance Medal

-> awarded the Medal of Freedom, the highest civilian decoration in the USA

-> made an Officer of the Order of Merit of the Federal Republic of Germany

-> awarded the Latvian medal of the Order of the Three Stars in recognition of her involvement in the Latvian Art Exhibition (painting, sculpture and folk art), held at the Jeu de Paume from January 27 to February 28, 1939.

Unfortunately, as is often the case with women in history, the role she played in the Resistance, protecting French works of art and the property of deported Jewish people, was quickly forgotten, and her name is hardly ever mentioned today when this part of history is evoked. Insane, when you know everything she's done and how many decorations she got...

At an undetermined time, perhaps in the post-war years, Rose Valland met the British woman Joyce Heer, secretary-interpreter at the U.S. Embassy, who became her lover until her death. The two women shared an apartment on rue de Navarre in Paris. Rose Valland reserved a place for her beside her in the family vault.

Rose Valland died in 1980 at the age of 81 in a nursing home in Ris-Orangis, outside Paris. She is buried with her lover in the family vault in her native village of Saint-Étienne-de-Saint-Geoirs, where the secondary school and a square bear her name.

She truly was a hero, and I wish we talked about her more !

[tagungshotelportal]

Gartentage, Buxheim, Bayern, 2019:18. - 19.5. - das Tagungshotelportal.de

New Post has been published on http://www.das-tagungshotelportal.de/gartentage-buxheim-bayern-201918-19-5/

Gartentage, Buxheim, Bayern, 2019:18. - 19.5.

Gartentage Allgäuer Gartentage Buxheim Ausrichtung: Regional Sektoren: Garten- und Landschaftsbau, Gärtnereien, Pflanzen, Gartenbedarf, Gartengeräte, Gartenkunst, Balkon, Terrasse, Gartenmöbel, Dekorationen Branchen: Gartenbau, Landschaftspflege, Gartenbedarf Zulassung:  Über die Veranstaltung Gartentage In Buxheim, Deutschland, wird jährlich die Messe Gartentage �� Allgäuer Gartentage Buxheim veranstaltet. Die Gartentage wird auf dem Gelände Kartause Buxheim abgehalten. Die Messe Gartentage richtet sich an folgende […]

Ganzen Artikel lesen auf http://www.das-tagungshotelportal.de/gartentage-buxheim-bayern-201918-19-5/ Jetzt Tagungshotels Köln, Tagungshotels Berlin, Tagungshotels Hamburg, Tagungshotels Frankfurt, Tagungshotels München online buchen auf www.das-tagungshotelportal.de

[lichtblick-spreng]

[nonhapiupareti]

There's nothing to laugh about. #11

(Buxheimer Hochaltars)

[c86]

St Christopher, Buxheim, 1423

[soziwha]

Good morning from Buxheim! #goodmorning #lake #water #fog #trees #duck #buxheim #germany

[geidailib]

陳列館の展覧会「聴く絵画・観る音楽」に図書館資料を出展＆館内で関連資料展示

陳列館で本日から開催する展覧会「聴く絵画・観る音楽」に、図書館が所蔵する中世写本のファクシミリ楽譜2点を出展しています。

（ファクシミリとは、写本などをオリジナルにそっくりになるように作られた複製本のことです。）

この展覧会は、フラ・アンジェリコ(1395-1455)の「リナイウォーリ祭壇画」をテーマに、絵画、楽譜��音楽という3つの側面から15世紀イタリアの芸術に触れようというものです。 会期中にワークショップ、古楽の演奏会、シンポジウムが開かれる「体験型」の展覧会です。

また、図書館では演奏会で演奏される曲目から、3曲の楽譜を展示しています。中世写本（複製）と、それを現代の楽譜にしたものを並べて展示しているので、ぜひ見比べてみてください。

「聴く絵画・観る音楽　-リナイウォーリ祭壇画-（絵画のしくみ　Vol.2）」 会期:2019年10月9日(水)-10月14日(月) 午前10時 - 午後5時（入館は閉館の30分前まで） ※10月11日(金)、12日(土)のみ午後7時閉館 会期中無休 会場:東京藝術大学大学美術館　陳列館1階 観覧料:無料 https://www.geidai.ac.jp/…/…/2019/kikukaiga/kikukaiga_ja.htm

展覧会展示の図書館資料 スクァルチャルーピ写本（ファクシミリ） シャンソニエ・コルディフォルム（ファクシミリ）

図書館内展示資料 Buxheimer Orgelbuch ・ファクシミリ本＆現代譜 Medici Codex ファクシミリ本＆現代譜 Eton Choirbook ・ファクシミリ本＆現代譜

＊学外の方が図書館内の展示資料をご覧になる場合は、入館手続きが必要です。

↓図書館での展示のようす

10月15日追記

図書館での楽譜展示は19日（土）までおこないます。 また、陳列館で展示されていたパネルも数枚、借りてきて展示していますので、お時間がありましたらぜひお越しください。

[icmage]

Katharina #memmingen #kempten #ulm #augsburg #tfp #shooting #people #photo #kaufbeuren #mindelheim #smile #montag #ink #inkedwomen #inkedgirl #tattoo #tattoomodel #tattoolove (hier: Buxheim, Bayern, Germany) https://www.instagram.com/p/Bv_vaHAnwwl/?utm_source=ig_tumblr_share&igshid=1pfopp1c93fhk

[manek69]

Antworten findet man im Spiegel. Unbekannt #landscape #land #nature #reflection #land #landschaft #landscapephotography #naturelovers #art #landschaftsfotografie #sony #sonyalpha6000 #photography #photographer #photooftheday #photo #insta #instagram #instagood #instagramers #instabest #ikea #mural #pictureoftheday #picture #instadaily #instapic @shootcamp #niceday #beautiful (hier: Buxheim, Bayern, Germany) https://www.instagram.com/p/Bvh29FaFAww/?utm_source=ig_tumblr_share&igshid=1ixdvxek3z708

[redscharlach]

St Hugh of Lincoln is often depicted with a swan, because he was friends with a swan. The swan would follow Hugh around, eat from his hand, and reputedly attacked people who threatened his saintly human BFF. For this reason, the best pictures of St Hugh are the ones where the swan looks like it’s about to fuck you up. Like, massively.

MESS WITH ST HUGH AND HIS SWAN WILL END YOU.

[finanznachrichten-online]

Gartentage, Buxheim, Bayern, 2019:18. – 19.5.

New Post has been published on https://finanznachrichten.online/gartentage-buxheim-bayern-201918-19-5/

Gartentage, Buxheim, Bayern, 2019:18. – 19.5.

Gartentage Allgäuer Gartentage Buxheim Ausrichtung: Regional Sektoren: Garten- und Landschaftsbau, Gärtnereien, Pflanzen, Gartenbedarf, Gartengeräte, Gartenkunst, Balkon, Terrasse, Gartenmöbel, Dekorationen Branchen: Gartenbau, Landschaftspflege, Gartenbedarf Zulassung:  Über die Veranstaltung Ga...

Ganzen Artikel zu Gartentage, Buxheim, Bayern, 2019:18. – 19.5. lesen auf https://finanznachrichten.online/gartentage-buxheim-bayern-201918-19-5/

[unternehmensmeldungen-com]

Gartentage, Buxheim, Bayern, 2019:18. – 19.5.

New Post has been published on https://www.unternehmensmeldungen.com/gartentage-buxheim-bayern-201918-19-5/

Gartentage, Buxheim, Bayern, 2019:18. – 19.5.

Gartentage Allgäuer Gartentage Buxheim Ausrichtung: Regional Sektoren: Garten- und Landschaftsbau, Gärtnereien, Pflanzen, Gartenbedarf, Gartengeräte, Gartenkunst, Balkon, Terrasse, Gartenmöbel, Dekorationen Branchen: Gartenbau, Landschaftspflege, Gartenbedarf Zulassung:  Über die Veranstaltung Ga...

Ganzen Artikel zu Gartentage, Buxheim, Bayern, 2019:18. – 19.5. lesen auf https://www.unternehmensmeldungen.com/gartentage-buxheim-bayern-201918-19-5/ #Geschäftsreise, #Hotel, #Konferenz, #Kongress, #Messe, #Tagung Mehr Wirtschaftsnachrichten und Unternehmensmeldungen unter https://www.unternehmensmeldungen.com

[autodidact-adventures]

Music History (Part 14): Keyboard Instruments

While the violin was spreading throughout Europe, keyboard technology was also rapidly improving.  The keyboard instruments of this period used the same keyboard layout as the organ, and their mechanism worked in a similar way to a harp or lute.  Pressing the keys caused the inner mechanism to pluck the strings, which lay sideways inside the instrument.

The first mention of a harpsichord is in a court document from Padua in 1397  The oldest depiction is on an altarpiece in Minden (Germany), from 1425.

The oldest-surviving harpsichord is a clavitherium (a harpsichord with the soundboard & strings mounted vertically) from the about 1480, and is held in the Royal College of Music, but it no longer has its inner mechanism.  It may have been built in Ulm, its keyboard spans only 41 notes, and it is 1.42m tall.

Minden altarpiece.  The second angel is playing a psaltery.

RCM clavicytherium.

The harpsichord was popular from the late 1400's until the mid-1700's, when the piano was gaining popularity.  The oldest-surviving complete harpsichord is Italian, from 1521.  Its mechanism is quite sophisticated, suggesting that the techniques for making these instruments was already quite advanced.

In England, France and Holland, well-off families owned virginals, called a “pair of virginals”, although it was one instrument, because it was played with two hands.  Henry VIII ordered five in 1530.

Flemish virginals, built by Hans Rucker in 1583.

With keyboard instruments, like the lute, you could play many multiple lines of music at the same time, but the harpsichord had more flexibility & ease of movement than the lute.  In the 1500's, music began to be composed specifically for instruments, rather than just for accompanying singers.

The keyboard music of the English composers Tallis, Byrd and John Redford was originally written for singers, but later adapted (by them and others) to be virginals music.  The new trend of instrumental music was soon adopted by composers on the continent.  Instrumental music was often very difficult, so as to show off the player's skill, especially when the composer & player were the same person.

The most complex instrument of the 1500's was the organ.  The oldest playable organ in the world was built sometime between 1390-1435, and is in the Valère Basilica, in the Swiss canton of Valais.

Valère organ.

From the 1200's, a lot of music was written specifically for the organ, although little of it has survived.  A collection of about 250 pieces for organ was compiled between 1450-70, possibly with the help of Conrad Paumann, who was a well-known blind organist of that time.  The compilation is held in the library of Buxheim, a small town in Bavaria (Germany).

[nunoxaviermoreira]

Cloister in the Charterhouse Buxheim by rosch1949 https://flic.kr/p/2gbhnDc

[manek69]

Die Wildnis ist es, die die Welt bewahrt. Henry David Thoreau #nature #naturephotography #natur #blackandwhite #landscape #landscapephotography #land #landschaftsfotografie #schwarzweiss @shootcamp.at (hier: Buxheim, Bayern, Germany) https://www.instagram.com/p/BuR7zQIF-k3/?utm_source=ig_tumblr_share&igshid=1poxu50wsmwqu

[elmartillosinmetre]

En la corte de Enrique VIII

[El conjunto Tasto Solo: desde la izquierda, Angélique Mauillon, Guillermo Pérez y David Catalunya. La foto es de  Chantal de Corbiac]

Tasto Solo, el conjunto creado y dirigido por el barcelonés Guillermo Pérez, se adentra en su última grabación en la Inglaterra renacentista

Guillermo Pérez (Barcelona, 1980) es uno de los máximos especialistas mundiales en los instrumentos de teclado medievales, muy singularmente en la práctica con el organetto, pequeño órgano portátil que tañe un solo instrumentista, que acciona el fuelle con una mano mientras accede al teclado con la otra. Es el fundador y director de Tasto Solo, conjunto que acaba de dedicar su tercer disco a música de la corte de Enrique VIII de Inglaterra.

-El grupo se sale de su territorio natural. ¿Qué ha buscado con este trabajo? -Llevaba tiempo preguntándome por qué, cuándo y cómo desaparecen estos instrumentos, singularmente el organetto, pues otros instrumentos de cuerda y tecla, como el clavisimbalum, pasaron sin duda a ser los claves y los virginales. El organetto simplemente desaparece. Tenía ganas de investigar sobre esto y ver si podía aportar algo desde la práctica sobre el uso del instrumento. Llevo años buscando información, mirando si quedan documentos sobre la cuestión. Y quedan. Desaparece a partir de 1530-40, pero su uso está aún documentado en las dos o tres primeras décadas del siglo XVI.

-¿Conocemos las causas de esa desaparición? -Hay muchas razones. Una de las principales es que por entonces se fragua el concepto de teclado moderno como hoy lo conocemos, un instrumento que se toca con dos manos, que tiene tesituras cada vez mayores, que desarrolla mucho trabajo polifónico. El organetto forma parte de otro mundo, otra cultura, otra estética. Montar un programa como este era también armar una especie de taller experimental práctico. Ver cómo es el repertorio de tecla de esta época, si hay diferencias con el de 30 o 40 años anterior, si el instrumento aún funciona, si tiene sentido usarlo, si su empleo trae consigo problemas técnicos, organológicos...

-¿Y por qué escogió Inglaterra como banco de pruebas? -En primer lugar, porque tenía muchas ganas de hacer música inglesa. En segundo lugar, porque en el entorno de la corte de Enrique VIII confluyen una cantidad espectacular de instrumentos, de repertorios, de estéticas. El rey era un melómano, un músico él mismo y mostró gran interés por el pasado, quizá porque políticamente toma como referencia cultural la corte de los duques de Borgoña, pero el hecho es que en los manuscritos con el repertorio asociado a su corte hay música muy antigua, incluso piezas de Dunstable, un compositor nacido a finales del siglo XIV. Esto nos daba pie a que pudiéramos entrar con nuestros instrumentos antiguos.

-¿Qué aportan sus instrumentos a este repertorio? -Usamos dos fuentes principales, una es conocida como el Manuscrito de Enrique VIII, e incluye piezas vocales e instrumentales a 3 y 4 voces, algunas atribuidas al propio rey. Lo interesante es que en él hay piezas llamadas consorts, que son pequeñas fantasías instrumentales tocadas en su época seguramente con grupos de violas, flautas o mixtos. Es el nacimiento del consort inglés. Hemos optado por dos maneras de trabajarlas: una, adaptarlas a la tecla, con las voces puestas en tablatura para que las toque un instrumento solo (el clavisimbalum o el arpa); y dos, con cada uno de los instrumentos tomando una voz, en forma de broken consort. Qué aportamos aquí: la sonoridad de nuestros instrumentos. La segunda fuente es un manuscrito muy interesante, con obras de tecla de 1520-30, piezas que avanzan lo que será el repertorio virginalista posterior, con variaciones, preludios, fantasías. Las hemos hecho de las dos mismas formas: unas con instrumentos a solo y otras en consort, sobre todo las que están construidas sobre bajos ostinados. Y esta es una música que se ha hecho muy poco, ya que los teclistas que trabajan los siglos XVI y XVII lo consideran repertorio histórico en proceso. Así que nuestra aportación es divulgarlas. Además, de forma general, refrescamos el repertorio, pues la discografía que hay en torno a él es vieja. Hubo una primera generación de intérpretes de música antigua que se preocupó mucho por él, pero luego pasaron al Barroco, a la vez que crecía el interés por repertorios aún más antiguos, y esta zona ha quedado un poco como terra incognita. Y además lo hacemos desde la perspectiva de repertorios justo anteriores. Esto es para mí muy excitante, porque reconozco cosas que me son familiares al lado de otras que están desarrollándose y moviéndose hacia adelante. El hecho de hacerlo con esta visión y de ir creciendo nosotros con el repertorio aporta cosas nuevas al fraseo, las articulaciones.

-¿Cuál será el siguiente paso de Tasto Solo? -Hay un capítulo importante, que es el trabajo con las voces. Tenemos dos discos en proyecto que tendrán una aportación vocal muy importante. Uno, que incluirá repertorio religioso del manuscrito de Buxheim, y completará la trilogía en torno a esos repertorios que abrimos con nuestros dos primeros discos. Será toda la liturgia mariana del siglo XV en Alemania, y las voces van a tener parte importante en motetes, canto llano, siempre planteado en diálogo con los instrumentos. El segundo proyecto es un programa que presentaremos este verano en el Festival de Utrecht: polifonía de principios del XVI, música de Agricola, De la Rue y Josquin entre otros.

-¿Cómo va adaptando el grupo su propio orgánico a estos nuevos repertorios? -Igual que en nuestros inicios, ampliando poco a poco a partir de formatos pequeños. Empezamos añadiendo una voz, luego, dos y tres, lo ideal sería reunir una capilla vocal de cinco voces. En cuanto a los instrumentos, nunca hemos dejado de evolucionar. Para el repertorio litúrgico del siglo XV tendremos cuerda pulsada, laúd, pequeñas guitarras; en la polifonía renacentista introduciremos violas y posiblemente un arpa doble. Yo me veo también tocando un órgano mayor, a dos manos, e incluso me gustaría en el futuro hacer el gran repertorio inglés del consort de violas. Como no me veo es haciendo carrera de clavecinista, esa no es mi disciplina.

[Diario de Sevilla. 23-07-2017]