#Mozarteum
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jangruenwald · 1 year ago
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How to Dank Images – Methoden der Bildanalyse im Kontext des visuellen Kontrollverlusts
Das Worklab HOW TO DANK IMAGES schließt an das Worklab ‘Dank Images, Tiktok und Apokalypse. Bildhandeln im Internet’ an und extrapoliert die in 2021 identifizierten Diskurse und Leerstellen, die auf ein komplex(er)es VerstĂ€ndnis gegenwĂ€rtiger politischer, sozialer und medialer Kommunikation zielen. Ausgehend von der Annahme, dass neuartigen BildphĂ€nomenen Raum gegeben werden muss, unternimmt das Worklab eine methodische Sondierung und Sammlung von Praktiken des Forschens. Denn gerade (Online-)Bilder kommunizieren ĂŒber unzĂ€hlige Formen des AlltĂ€glichen und kommentieren politische und gesellschaftliche Ereignisse in Echtzeit. Insbesondere Krisenszenarien befeuern dabei die Bildproduktion und lassen z. B. Memes zu politischen Akteur*innen werden, die besondere Aufmerksamkeit in der Analyse und Diskussion erfahren, und angepasste Methoden erfordern. 
Das Worklab fand am 27.&28.10.2023  online statt und nĂ€herte sich dem Forschungsthema experimentell ĂŒber verschiedene offene Austauschformate, partizipative ExplorationsrĂ€ume, sowie Kurzinputs der Teilnehmenden. 
WEB: http://kunst.uni-koeln.de/dankimages
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fa-cat · 2 months ago
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blueiscoool · 2 months ago
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Unknown Mozart Music Discovered in Germany
A previously unknown piece of music likely composed by a teenage Wolfgang Amadeus Mozart was recently uncovered at a library in Germany.
The piece, which dates to the mid- to late-1760s, consists of seven miniature movements for a string trio. It lasts around 12 minutes, researchers with the Leipzig Municipal Libraries said in a statement.
Researchers discovered the work at the city's music library while compiling the latest edition of the so-called Koechel catalog, the definitive archive of Mozart's musical works.
The piece is referred to as "Ganz kleine Nachtmusik" in the new Koechel catalog, according to the Leipzig libraries.
The Koechel catalog describes the piece as "preserved in a single source, in which the attribution of the author suggests that the work was written before Mozart's first trip to Italy", according to the municipal libraries.
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The newly discovered manuscript, which consists of dark brown ink on medium-white handmade paper, was not penned by Mozart himself but is believed to be a copy made around 1780, the researchers said.
The young Mozart had been known to researchers up until now "mainly as a composer of piano music, arias and symphonies", Ulrich Leisinger of the International Mozarteum Foundation in Salzburg said in a statement.
A list by Mozart's father had alerted academics to the existence of "many other chamber music compositions" by the young artist, which were all thought to have been lost until the emergence of the string trio, Leisinger said.
"Since the inspiration for this apparently came from Mozart's sister, it is tempting to imagine that she kept the work as a memento of her brother," Leisinger said.
Born in 1756, Mozart was a child prodigy and began composing at a very early age under his father's guidance.
The piece was performed by a string trio at the unveiling of the new Koechel catalog in the Austrian city of Salzburg on Thursday. It will receive its German premiere at the Leipzig Opera on Saturday.
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mozartbachtoven · 28 days ago
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Photo Above: Mozart’s Violin
Photo Below: Mozart’s Viola
The violin is more or less in its original state. It was built in Mittenwald, a community located 60 miles south of Munich, along an important trade route to Italy. It established itself as a very important center of violin making in the final decades of the 18th-century. The Mozart concert violin was most likely built by a member of the violin-making family Klotz, and was built in 1700 or a bit later. The Mozarteum Foundation bought it in 1956, ten years before we bought the viola. The violin is really a remarkable document of what Mozart understood of the violin sound—[it] really gives a big picture and a very good impression of how he felt the sound and how he heard it. It’s really in a very good and original condition.
These instruments give us a good idea of what sound Mozart himself had in mind when writing, let's say, his violin concertos and Sinfonia Concertante. There were no loud, romantic sounds: Everything was incredibly intimate. For one, because the instruments were small and strung with gut strings, and for two, Mozart would not have played in large halls, ironically, where many performances of his music are being played today. Actually, *Mozart refused to perform on his violin in public at all, which might have been due to his not practicing the instrument, which his dad scolded him in letters for. He premiered his Sinfonia Concertante on viola*
The earliest evidence for the violin is a certificate by Marie Trestl from August 1842, stating that the instrument had been acquired by her father, Leopold Trestl in 1820 from Mozart’s sister, Nannerl Mozart. Around 1879 the instrument was in the personal possession of Adalbert Lenk—he was a violin professor at the Mozarteumand the violin remained in private possession until it was acquired by the Mozarteum Foundation in 1956—we bought it from the family of Josef Brandner. The fact that the instrument was not modernized in the 19th century makes it clear that it was regarded as a relic early on. So it is really in a very very good shape. And if you come to the Boston Early Music Festival where we will present the instruments, we will have a baroque violinist, Amandine Beyer, and you really can hear it in a fantastic situation, in a trio, and it gives a great impression of the sound of Mozart’s time.
These instruments get us much closer to hearing what Mozart himself had in his head when he was composing, though until somebody invents a time machine, that's about as far as we are going to get.
Maybe a working flux capacitor is somewhere in the near future ..👹‍🔬?
The viola has a remarkably warm tone, but has probably lost some of its former volume as a result of the adaptation of its size, but it’s a really very nice-sounding instrument. It was reduced to standard size during the 19th-century by cutting off the margins of the top and back considerably. It is assumed that the instrument originally was at least 13mm longer. At the same time, the original scroll was replaced by a new one taken from a German or Austrian instrument.
Hear Mozart’s instruments played here 👇
Live in concert in the WGBH Fraser
Performance Studio, violinist Daniel Stepner and violist Anne Black get a once-in-a-lifetime opportunity to perform a work by Mozart on instruments that the composer himself owned and played. From Classical New England's "Mozart Comes to America" special, produced in conjunction with the Salzburg Mozarteum Foundation (owner of the instruments) and the Boston Early Music Festival, Stepner and Black play the Finale of the Duo in G, K. 423, by Mozart.
đŸŽ¶ đŸŽ» đŸŽ” đŸŽ» đŸŽ¶ đŸŽ» đŸŽ” đŸŽ» đŸŽ¶ đŸŽ» đŸŽ”
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diana-damrau · 5 months ago
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OlĂĄ SĂŁo Paulo! It is so wonderful to be here đŸ‡§đŸ‡· I was so humbled to see everyone at our last concert at Sala SĂŁo Paulo the other night! You were all incredibly welcoming - I was very touched đŸ„° We have one more concert here tomorrow with the fantastic Orquestra AcadĂȘmica Mozarteum Brasileiro and I hope to see you there!!
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str4wanzerin · 10 months ago
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Wenn Ivo doch auf Franz' Musikgeschmack kommt ;)
War gerade bei einem musikalischen Abend mit Miro und es war großartig! Wer es nicht weiß: ja, der gute Herr Nemec ist am Mozarteum ausgebildeter Musiker!
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opera-ghosts · 1 year ago
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Bella Paalen as Fricka; Vienna, 1919
Bella Paalen was born as Isabella (Izabella) Pollak in PĂĄsztĂł, Komitat NĂłgrĂĄd, in Austro-Hungarian Hungary on December 9, 1881. She was the oldest of the three children of a Jewish couple – Laura Pollak neĂ© Jamnitz, and Ernst Pollak. Ernst was initially a factory director, and later a representative for commercial trade agencies. The Pollaks lived in the Austro-Hungarian capital and Imperial Residence city of Vienna.
Isabella Pollak studied voice at the Conservatory of the Society of Friends of Music. Her voice teacher was a prominent interpreter of Richard Wagner’s operas: Rosa Papier. Her son Bernhard Paumgartner became head of the Mozarteum in Salzburg.
In the autumn of 1905, Isabella Pollak, whose stage name was Bella Paalen, was employed as an alto (alto voice) in Graz. In its 1905/06 season the Graz Opera House was able to achieve brilliant successes under its artistic director Alfred Cavarn.
A sensational highlight was the Austrian premiere of the opera Salome by Richard Strauss in the presence of the director of the Vienna Court Opera Gustav Mahler. Mahler had been unable to produce it himself because of censorship by the Viennese court.
In Graz, the Vienna Court Opera singer Jenny Korb, a soprano, sang the title role of »Salome«. Bella PAALEN was heard in the small alto part of »The Page of Herodias«.
On December 3, 1906, Bella Paalen sang the alto solo in Gustav Mahler’s 3rd Symphony for the first time in the Graz Opera House: an orchestral concert conducted by the composer himself. Gustav Mahler was so impressed by Bella PAALEN that he engaged the 25-year-old contralto at the Vienna Court Opera on September 1, 1907.
Bella Paalen was part of the ensemble of the Vienna Court (and later Vienna State) Opera for three decades. She sang the alto parts »Fricka«, »Erda«, »Grimgerde« and »Norn« in The Ring of the Nibelung opera cycle, »Magdalena« in Die Meistersinger von NĂŒrnberg, »BrangĂ€ne« in Tristan and Isolde and »Ortrud« in Lohengrin – all by Richard Wagner, as well as »KlytĂ€mnestra« in Elektra and »Annina« in Der Rosenkavalier by Richard Strauss along with other roles, mostly small alto parts.
»Annina« was Bella Paalen’s star role at the Court/State Opera: 173 performances between 1911 and 1937. The famous bass singer Richard Mayr also shone in Der Rosenkavalier as »Ochs von Lerchenau«.
Mayr’s birthplace, Salzburg, has a memorial for this. What has been forgotten, however, is that Bella PAALEN was part of the Mayr family’s circle of friends.
After the end of WWI, in 1919, Bella Paalen made her first summer vacation in the Salzburg spa Hofgastein. She was one of the prominent spa guests who participated in charity events and gave recitals every now and then. Bernhard Paumgartner, the son of her singing teacher Rosa Papier, had been director of the Mozarteum in Salzburg since 1917 and he acted as her piano accompanist on one occasion.
In 1920 Bella Paalen’s parents, Ernst and Laura Pollak bought house no. 34 in Hofgastein, called the »HaidenhĂ€usl«. Her parents both died in 1935. Her father first, then soon afterwards her mother during a performance of the opera Lohengrin at the Vienna State Opera, which caused a sensation because Bella PAALEN broke off her performance as »Ortrud« when she learned about her death:
 Miss Bella Paalen’s mother, who was well into her seventies, has always been the most attentive fan of her daughter, who is not only one of the most popular members of the [opera company], but also the one who has been here for the longest, namely since 1907. The elderly Frau Paalen wasn’t only nervous, she suffered from a serious heart condition that had made her daughter very anxious when the old lady attended the opera 
 Kleine Volks-Zeitung, May 19, 1935
Bella Paalen inherited her parents’ house in Hofgastein. Her younger brother, the artist Benedict Fred Dolbin, emigrated to the USA in October 1935. Her youngest brother Otto Friedrich Pollak had died in the First World War as a soldier in the Austro-Hungarian army.
It has been said that Bella Paalen was honored with the title »Austrian Chamber Singer« in 1933, but that isn’t correct. In fact she only received the title in September 1937 when she was 56 years old and already »retired«.
Bella Paalen was 52 years old when she first appeared in a small alto role at the Salzburg Festival in 1934: as »First Maid« in the opera Elektra. In the 1936 summer festival she had the small role as »Manuela« (the maid of Juan Lopez) in the Hugo Wolf opera Der Corregidor.
The festival audience was able to see and hear Bella Paalen again in the summer of 1937, lastly on August 22nd, as »First Maid« in the opera Elektra – with only a few appearances that hardly received any attention in the reviews.
Bella Paalen made her last glamorous appearance at the Vienna State Opera as »Marthe« in Charles Gounod’s opera Margarethe on July 6, 1937. Irene Harand’s philosemitic magazine Gerechtigkeit [Justice] reported:
 The last two performances of the current opera year took place in front of a sold out house; this extraordinary public interest was not only aroused by the guest performances of Elisabeth Rethberg and Ezio Pinza, but also in the farewell to an artist whose whole life and all her strength were dedicated to our company for thirty years 
 The drastic Marthe was Bella Paalen, to whom the audience gave a roaring farewell with frenetic applause; and when she bowed for the last time, it was certainly not only she who had tears in her eye. Ks. Gerechtigkeit, July 15, 1937
What went unmentioned, however, was that Bella PAALEN, who had retired, was Jewish and had not converted to Christianity to further her career. Not coincidentally the reasons why she had been honored only so late in her career remained obscure:Bella Paalen, who retired at the end of the previous season, was awarded the title of Austrian Chamber Singer. Even if this honor came a little late, it will please everyone who is indebted to the artist for great experiences over countless years. Ks. Gerechtigkeit, September 16, 1937
Despite her retirement, the artist was unable to quit her thirty year career so quickly. In the annals of the Vienna State Opera it is recorded that Bella Paalen had two more appearances: as »Palmatica, Countess Nowalska« in Millöcker’s Bettelstudent on October 11, 1937 and as »Filipjewna« in Tchaikovsky’s Eugene Onegin on March 11, 1938.
Bella Paalen, who lived in the 1st district, probably left National Socialist Vienna only after the »Reichskristallnacht« pogroms of November 1938. At least it is on record that the 57 year old singer arrived in New York as a »Hebrew« on the transatlantic liner Hansa on January 13, 1939.
Bella Paalen didn’t have any engagements as a singer after her arrival in New York. She was however very successful as a voice teacher. In the 1950s she sold her house in Hofgastein and lived temporarily in Vienna. Her last address was in New York City – on 85th St. in Jackson Heights Queens.
Bella Paalen died at age 83 in the Elmhurst Hospital, Queens New York, on July 28, 1964. Her urn was placed in the Vienna Central Cemetery grave of her parents on December 3, 1964.
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blackswaneuroparedux · 2 years ago
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Those who have achieved all their aims probably set them too low.
- Herbert von Karajan
The Soprano Christa Ludwig described him as ‘Le bon Dieu’, while scores of musicians, reviewers and listeners have long regarded him as simply untouchable in the art of conducting. There was, however, much about Herbert von Karajan that was distinctly ungodlike. Ruthlessly ambitious as a young man and grimly autocratic in his later years, his life story is marked by bitter rivalries, feuds and, most notoriously, membership of the Nazi party.
But then, just listen to the results. It’s fascinating to look at the career, the controversy and the achievements of a conductor who still intrigues fans and detractors like no other musician long after his death.
The early career of Herbert von Karajan continues to be swathed in controversy.
Was he an ardent Nazi or an ambitious opportunist? If he was a zealous party member, should we revere his recordings as much as we do? To what extent should any moral accountability weigh against Karajan’s musical achievement? And how much latitude can we extend to people who have artistically given so generously?
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Karajan is not alone in occupying this uncomfortable situation during this era. Similar debate surrounds Richard Strauss, Carl Orff and Karl Böhm. Indeed, Wagner also evokes hostility in certain quarters with regard to his racial sentiments.
When Adolf Hitler swept to power in January 1933, the 24-year-old Austrian Herbert von Karajan had already notched up nearly four seasons as an up-and-coming opera conductor in the South German city of Ulm.
Born in Salzburg in 1908 into a prosperous family, he had demonstrated gifts as a pianist and conductor while studying in Vienna. After graduation, his debut orchestral concert with the Salzburg Mozarteum Orchestra in January 1929, featuring works by R Strauss, Mozart and Tchaikovsky, caused a local sensation and helped to secure him the contract in Ulm.
Karajan seized on the opportunity to learn his trade in Ulm and cut his teeth on much of the operatic repertory from Mozart and Beethoven to Puccini and R . Strauss, including the opera Schwanda der Dudelsacker by the Czech Jewish composer Jaromir Weinberger.
Yet, after the Nazi take-over, Karajan’s future wasn’t assured.
In early 1933, German operatic life was thrown into turmoil as the regime hounded out musicians that were deemed politically and racially unacceptable, and also pursued a protectionist policy to limit employment for non-Germans.
Against this context, Karajan’s decision to join the Nazi Party in Salzburg in April 1933 should be understood as an opportunistic move which was probably designed to safeguard his position at Ulm. Whether it also signalled enthusiasm for Nazi policy is open to speculation, though he no doubt hoped that the strong-arm methods of the Nazis would bring cultural stability to Germany.
Karajan retained his Ulm job for a further season, during which he expanded his repertory to include a praised account of Strauss’s opera Arabella. But in March 1934 he was fired for professional intrigue involving a potential Jewish rival.
He did not have to wait long for a new post. Three months later he was made general music director in Aachen.
Working in a larger theatre enabled Karajan to tackle more ambitious repertory, such as Wagner’s Ring cycle, Verdi’s Otello and Strauss’s Elektra. He also consolidated his reputation in the concert hall, taking charge of Aachen’s annual season of orchestral and choral concerts. One pre-condition for accepting was that he should re-apply for membership of the Nazi Party, his earlier membership in Salzburg having lapsed. This was confirmed in March 1935.
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Although in his denazification trial in March 1946 Karajan argued that he had joined the Party to further his career, he could not escape his obligation as Aachen’s general music director to provide the musical background for political occasions.
On 29 June 1935 he took part in a huge open-air orchestral and choral concert that celebrated the NSDAP Party Day and at a similar ceremony four years later he conducted the close from Wagner’s Meistersinger. But his concert programmes seemed untainted by political interference – works by Debussy, Ravel, Kodály and Stravinsky rubbed shoulders with German ones. In 1938 he flouted the law by programming Dukas’s Sorcerer’s Apprentice. Party authorities must have overlooked that Dukas was of Jewish descent.
Karajan conducts Dvoƙák’s “New World” Symphony No. 9, performed by the Vienna Philharmonic Orchestra
By 1937 Karajan’s achievements in Aachen were attracting national interest.
In a special edition devoted to Germany’s conducting legacy, the journal Die Musik singled him out as a man who ‘can lead the new organisation of our cultural life in the spirit and direction which National Socialism demands’. Concert engagements in Gothenburg, Vienna, Amsterdam, Brussels and Stockholm helped to spread his name beyond Germany.
Yet for all this, Karajan set his sights even higher by hoping to make an impact in Berlin. This ambition was realised in 1938 with a ‘Strength through Joy’ concert with the Berlin Philharmonic and engagement as conductor at the Berlin State Opera in Wagner’s Tristan und Isolde in October of the same year.
Karajan may not have anticipated that with his move to Berlin he was stepping into a political cauldron over which he would have little control.
It began with a review of his Tristan which appeared in the Berliner Zeitung. Under the title ‘Karajan the Miracle’, the critic Edwin von der NĂŒll lavished praise on the performance suggesting that in conducting Wagner’s score from memory the 30-year-old conductor had achieved ‘something our great men in their fifties might envy’.
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This was calculated to offend the conductor Wilhelm FurtwĂ€ngler who had previously ruled the roost in the same theatre. Karajan was set up as a pawn in the struggle for control of Berlin’s cultural institutions between Propaganda Minister Joseph Goebbels, a FurtwĂ€ngler supporter, and Minister of Interior Hermann Goering, the patron of the Berlin State Opera.
In June 1939 Karajan conducted Wagner’s Die Meistersinger at the State Opera without a score. The performance collapsed when the baritone, a drunk Rudolf Bockelmann, made a serious error. Alas Hitler, in the audience, was furious, blaming instead Karajan’s insufficiently Germanic approach to Wagner by conducting from memory.
Further problems arose over his marriage in 1942 to the quarter Jewish Anita GĂŒtermann, technically against the law.
Yet, despite this and the continuing hostility and suspicion of Goebbels and Hitler and FurtwĂ€ngler’s jealousy, his career prospered during the war. He conducted Bach’s B Minor Mass in Paris for the occupying German soldiers in 1940 and returned to the French capital in 1941 to present his performance of Tristan with the Berlin State Opera.
From 1940 he appeared in Italy and gave concerts in Romania and Hungary. A major achievement was to secure popularity for Orff’s Carmina Burana, a score that had aroused some hostility from the Nazi hierarchy at its first performance in 1937 before Karajan’s performances in Aachen and Berlin during the early 1940s.
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Driven by a fanatical love of music and a desire to advance his career, there’s little doubt that Karajan’s involvement with the Nazi regime was opportunistic.
Doubtless though there were also areas of Nazi policy that may well have chimed in with his own views. At the same time falling foul of the regime on occasions, his personal ideology can be best described as a montage of greys; nothing is ever clear-cut and nor perhaps should be our assessment of his work.
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unofficialbabayaga · 6 months ago
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so so funny that when he wants to practice my cousin will close the doors to the sitting room & dining room at the b&b and then expects us not to be able to hear him, a semi-retired professional opera singer with vocal projection that he learned at the mozarteum
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jpbjazz · 7 months ago
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LÉGENDES DU JAZZ
LïżœïżœUNIVERS DE STANLEY COWELL 
‘’The wonder of Stanley Cowell will live forever.” 
- Charles Tolliver
NĂ© le 5 mai 1941 Ă  Toledo, en Ohio, Stanley Cowell était le fils de Stanley Cowell Sr. et de Hazel Lytle. Homme d’affaires, le pĂšre de Cowell avait construit la premiĂšre ville modĂšle. Il Ă©tait Ă©galement violoniste amateur.
Cowell avait commencĂ© Ă  Ă©tudier le piano classique Ă  l’ñge de quatre ans. Enfant-prodige, Cowell avait commencĂ© Ă  composer dĂšs son plus jeune Ăąge. ÉlevĂ© dans une famille musicale, Cowell avait trois soeurs, Mary, Dolores et Esher, qui avaient toutes Ă©tudiĂ© le piano. Cowell avait Ă©galement une niĂšce qui Ă©tait devenue musicienne professionnelle. Comme Cowell l’avait expliquĂ© plus tard, ‘’J’ai Ă©tudiĂ© la musique avant mĂȘme d’avoir atteint l’ñge de 4 ans. A trois ans, mes sƓurs m’avaient dĂ©jĂ  enseignĂ© pas mal de choses au piano.’’ Se rappelant de ses dĂ©buts, Cowell avait ajoutĂ©: ‘’Mon pĂšre jouait du violon. Il accompagnait les prĂ©dicateurs ambulants et jouait avec eux au coin des rues. [
] Il jouait des hymnes, de la musique religieuse pendant que le reste de la famille Ă©coutait et chantait.’’
PropriĂ©taire d’un motel Ă  Toledo qui Ă©tait un des seuls endroits ouverts aux visiteurs de couleur, le pĂšre de Cowell opĂ©rait Ă©galement un magasin de disques et un restaurant. Le pĂšre de Cowell Ă©tait Ă©galement trĂšs proche du pianiste Art Tatum. À l’invitation du pĂšre de Cowell, Tatum avait d’ailleurs interprĂ©tĂ© le standard “You Took Advantage of Me” en duo avec le jeune pianiste qui n’était alors ĂągĂ© que de six ans. Comme Cowell l’avait prĂ©cisĂ© plus tard, ‘’Art Tatum est venu Ă  la maison une fois, en 1947, j’avais 6 ans. Mon pĂšre lui avait demandĂ© de jouer pour moi. Art a rĂ©pondu qu’il prĂ©fĂ©rait que je joue le premier [
]. Art a jouĂ© "You Took Advantage of Me”. C’est la seule fois oĂč j’ai vu Art Tatum jouer live.’’
Excellent pianiste de stride un peu comme Jaki Byard et Roland Hanna, Cowell pouvait passer trĂšs naturellement d’un style Ă  l’autre. Comme beaucoup de musiciens de jazz, Cowell avait d’abord commencĂ© Ă  jouer dans les offices religieux. Il expliquait: ‘’J’ai Ă©tĂ© l’organiste et un temps le directeur de la chorale dans une Ă©glise Ă©piscopale quand j’étais adolescent. Les cloches des Ă©glises, les chƓurs, les tambourins, les pianos et les claquements de mains se mĂ©langeaient et se fondaient en une expĂ©rience sonore. Cette expĂ©rience peut m’avoir entraĂźnĂ© Ă  inclure de l’improvisation dans les prĂ©ludes, interludes et conclusions.’’
AprĂšs avoir d’abord Ă©tudiĂ© le piano et l’orgue, Cowell avait suivi des cours de musicien classique jusqu’au milieu de l’adolescence. À l’ñge de seulement quinze ans, Cowell avait interprĂ©tĂ© le Concerto pour piano no 3 de Dmitry Kabalevsky avec le Toledo Youth Orchestra. AprĂšs ses Ă©tudes secondaires, Cowell avait Ă©tudiĂ© le piano classique avec le lĂ©gendaire Emil Danenberg au Oberlin Conservatory of Music, en Ohio. En 1973, Cowell avait d’ailleurs rendu hommage Ă  Danenberg dans sa suite "Musa: Ancestral Dreams". C’est dans le cadre de son sĂ©jour Ă  Oberlin que Cowell avait fait la rencontre du multi-instrumentiste Rahsaan Roland Kirk. Cowell avait aussi Ă©tudiĂ© Ă  la Mozarteum Academy, de Salzbourg, en Autriche. Il avait aussi fait des Ă©tudes aux universitĂ©s du Michigan, de Wichita, au Kansas, et de Southern California.
DÉBUTS DE CARRIÈRE
AprĂšs avoir obtenu une maĂźtrise en piano classique Ă  l’UniversitĂ© du Michigan Ă  Ann Arbor, Cowell s’était installĂ© Ă  New York en 1966. La mĂȘme annĂ©e, Cowell avait fait ses dĂ©buts sur disque avec le saxophoniste de free jazz Marion Brown et son ancien camarade de classe Roland Kirk, dans le cadre de l’enregistrement de l’album ‘’Three for Shepp’’.
C’est dans le cadre de sa collaboration avec Brown et Kirk que Cowell avait fait la rencontre de l’ancien percussionniste de John Coltrane, Rashied Ali, qu’il avait accompagnĂ© lors de ses dĂ©buts comme leader au Slugs en mai 1967. La mĂȘme annĂ©e, Cowell s’était joint au quintet de Max Roach avec qui il avait participĂ© au Festival de jazz de Newport. Faisaient Ă©galement partie du groupe le trompettiste Charles Tolliver et le saxophoniste Odean Pope (qui fut bientĂŽt remplacĂ© par Gary Bartz). Cowell Ă©tait demeurĂ© avec Roach durant trois ans. La collaboration de Cowell Ă  l’album ‘’Don’t Get Weary’’ (1968) de Roach avait jouĂ© un grand rĂŽle dans sa formation de compositeur. L’’album ‘’Don’t Get Weary’’ comprenait d’ailleurs deux compositions de Cowell: “Equipoise” et “Effi”.
GrĂące Ă  la crĂ©dibilitĂ© qu’il avait acquise dans le cadre de sa collaboration avec Roach, Cowell avait pu enregistrer un premier album comme leader intitulĂ© ‘’Blues for the Viet Cong’’ (1969), qui Ă©tait trĂšs influencĂ© par la musique Ă©lectronique et le jazz-fusion. TrĂšs engagĂ© politiquement et socialement, Cowell avait abordĂ© dans son travail de compositeur plusieurs enjeux majeurs de l’époque comme les problĂšmes sociaux, l’histoire des Afro-AmĂ©ricains et le mouvement de la Conscience noire.
AprÚs avoir quitté le groupe de Roach, Cowell avait fait une tournée avec Miles Davis, avant de se joindre aux groupes du vibraphoniste Bobby Hutcherson et des saxophonistes Harold Land et Stan Getz.
Durant la mĂȘme pĂ©riode, Cowell avait Ă©galement fait une incursion dans le jazz modal dans le cadre de collaborations aux albums ‘’Patterns’’ (1968) et ‘’Spiral’’ (1979) du vibraphoniste Bobby Hutcherson, qui mettait aussi en vedette le saxophoniste Harold Land (ce dernier avait Ă©galement participĂ© Ă  Brilliant Circles, un des premiers albums de Cowell en 1969). À la mĂȘme Ă©poque, Cowell avait aussi collaborĂ© avec le batteur Jack DeJohnette dans le cadre de l’enregistrement de l’album ‘’Complex’’, qui mettait Ă©galement en vedette Bennie Maupin, Miroslav Vitous, Eddie Gomez et Roy Haynes.
DĂ©crivant cette pĂ©riode comme ‘’the beginning of everything’’, Cowell avait collaborĂ© de 1969 Ă  1973 avec le trompettiste Charles Tolliver, un ancien collaborateur et protĂ©gĂ© de Roach, avec qui il avait fondĂ© le groupe Music Inc. C’est en se produisant avec le big band de Tolliver que Cowell avait amorcĂ© sa carriĂšre de compositeur et d’improvisateur, tout en devenant un collaborateur de premier plan avec plusieurs sommitĂ©s du bebop et du free jazz.
Considérant Cowell un peu comme son frÚre jumeau, Tolliver avait déclaré plus tard:
“If ever there were two people on this planet who were twins and alter-ego matched it was Stanley and I. From our first meeting at the first rehearsal after being summoned by Max Roach to join his new quintet in 1967, there was an unbroken steadfast musical and personal immortal bond. Stanley’s importance as a great artist and my lifelong comrade can best be explained in that scripture-based hymn, ‘[the Lord] God moves in mysterious ways his wonders to perform.’ The wonder of Stanley Cowell will live forever.” 
À l’époque, des rumeurs avaient laissĂ© entendre que Cowell succĂ©derait bientĂŽt Ă  Herbie Hancock dans le groupe de Miles Davis. MĂȘme la rumeur ne s’était pas matĂ©rialisĂ©e, le seul fait que Cowell ait Ă©tĂ© mentionnĂ© sur un pied d’égalitĂ© aux cĂŽtĂ©s de Chick Corea comme successeur potentiel de Hancock Ă©tait une bonne indication de sa crĂ©dibilitĂ© comme pianiste Ă  l’époque.
En 1969, tout en voyageant en Europe avec Hutcherson et Getz, Cowell avait accompagnĂ© le violoniste Jean-Luc Ponty Ă  Paris aux cĂŽtĂ©s de Jean-François Jenny-Clarke et Bernard Lubat. Lors d’un sĂ©jour Ă  Londres, Cowell avait enregistrĂ© un album (toujours demeurĂ© inĂ©dit) avec la section rythmique de Bobby Hutcherson composĂ©e de Reggie Johnson et Joe Chambers. C’est d’ailleurs lors de ce sĂ©jour Ă  Londres que Cowell avait enregistrĂ© son premier album pour leader, ‘’Blues for the Vietcong’’ avec la section rythmique du groupe de Tolliver. Cowell avait enregistrĂ© un dernier disque avant de rentrer aux États-Unis, ‘’Ringer.’’
AprĂšs avoir collaborĂ© dans le cadre du Detroit Jazz Ensemble, Cowell et Tolliver avaient fondĂ© en 1971 la compagnie de disques Strata-East, avec qui ils avaient enregistrĂ© deux albums: ‘’Charles Tolliver Music In’’ (une captation d’un concert au club Slugs de New York en mai 1970) et ‘’Music Inc. & Big Band’’. En plus des albums du duo, la compagnie avait Ă©galement produit des albums comme ‘’Winter in America’’ de Gil Scott-Heron et Brian Jackson (1974). La compagnie avait aussi collaborĂ© avec de grands noms du jazz comme Clifford Jordan, Billy Harper, Sonny Rollins, les frĂšres Heath et Charlie Rouse. Avec les maisons de disques Black Jazz et Tribe, Strata-East avait ainsi formĂ© une sorte de sainte-trinitĂ© des compagnies de disques indĂ©pendantes contrĂŽlĂ©es par des musiciens de couleur.
En plus de diriger la compagnie de disques et de participer Ă  plusieurs sessions comme accompagnateur, Cowell avait trouvĂ© le temps de participer Ă  de nombreux projets comme leader de ses propres formations. Parmi ceux-ci, on remarquait ‘’Brilliant Circles’’ (avec Woody Shaw et Bobby Hutcherson en 1969) et ‘’Illiusion Suite’’ (1972), un excellent album en trio avec le contrebassiste Stanley Clarke et le batteur Jimmy Hopps, ‘’Musa-Ancestral Dreams’’ (dans lequel il avait utilisĂ© le piano Ă  pouces africain, 1973), ‘’Talkin’s Bout Love’’ (1978) et ‘’New World’’ (1981). Dans les annĂ©es 1970, Cowell avait Ă©galement enregistrĂ© avec Joe Henderson, Art Pepper, Johnny Griffin et Roy Haynes.
En 1972, Cowell avait aussi mis sur pied un groupe trĂšs innovateur qui Ă©tait composĂ© de sept (et parfois jusqu’à neuf !) pianistes, le Piano Choir. Cowell avait eu l’idĂ©e de former le groupe aprĂšs avoir appris que James Reese Europe, un chef d’orchestre afro-amĂ©ricain du dĂ©but du 20e siĂšcle, avait dĂ©jĂ  donnĂ© un concert en utilisant un total de quatorze pianos. Comme Cowell l’avait expliquĂ© au cours d’une entrevue qu’il avait accordĂ©e au Washington Post en 2000: “I thought it was a possibility that hadn’t been exploited in modern jazz.’’
Cowell avait Ă©galement fait partie des membres fondateurs du Collective Black Artists Inc., une organisation Ă  but non lucratif qui avait pour but de donner aux musiciens de couleur plus de contrĂŽle sur leurs compositions, leurs enregistrements et leurs performances sur scĂšne. En 1974, Cowell avait aussi collaborĂ© avec d’autres compositeurs et arrangeurs de talent comme Gil Evans et Sy Oliver dans le cadre d’un concert Ă  Carnegie Hall prĂ©sentĂ© par la New York Jazz Repertory Company.
AprĂšs avoir mis fin Ă  son association avec Tolliver, Cowell avait voyagĂ© en tournĂ©e avec les Heath Brother et Roy Haynes durant une dizaine d’annĂ©es Ă  partir de 1974. Dans le cadre de ces diffĂ©rentes collaborations, Cowell avait un peu jouĂ© le rĂŽle d’un facteur ‘’X’’, en ce sens qu’il avait le don de mettre en Ă©vidence le talent de ses collaborateurs. Par exemple, sur la piĂšce ‘’Dr, Jackle’’ avec Cecil McBee et Haynes en 1977, certains des phrasĂ©s de Cowell Ă©taient tantĂŽt inspirĂ©s par le bebop et tantĂŽt par un jazz plus modal.  En 1975, Cowell avait enregistrĂ© l’album ‘’Regeneration’’, dans lequel il avait tentĂ© de rĂ©aliser une symbiose entre les instruments d’origine occidentale avec les instruments d’origine africaine.
DERNIÈRES ANNÉES
En 1980, Cowell a enregistrĂ© l’album ‘’In the Tradition’’ avec le saxophoniste de free jazz Arthur Blythe dans le cadre d’une session qui comprenait Ă©galement la section rythmique du Air Trio composĂ© de Fred Hopkins et Steve McCall. Durant la mĂȘme dĂ©cennie, Cowell avait Ă©galement enregistrĂ© l’album ‘’Such Great Friends’’ avec Billy Harper, Reggie Workman et Billy Hart, ainsi que ‘’We Three » avec Buster Williams et Freddie Waits.
À la fin des annĂ©es 1980 et au dĂ©but des annĂ©es 1990, Cowell avait fait partie du quartet du tromboniste J.J. Johnson.
Également professeur, Cowell avait enseignĂ© Ă  la Mason Gross School of the Arts, une composante de l’UniversitĂ© Rutgers, au New Jersey, jusqu’à sa retraite en 2013. Cowell avait aussi Ă©tĂ© professeur au Amherst College, au Lehman College in New York (1988-99) et au New England Conservatory (1988-89).
En plus de continuer de travailler rĂ©guliĂšrement en studio et en tournĂ©e, Cowell avait collaborĂ© de façon intensive avec le guitariste de jazz-fusion Larry Coryell, en plus de se produire au Japon avec son trio We Three. Durant cette pĂ©riode, Cowell avait Ă©galement enregistrĂ© plusieurs excellents albums comme leader, et plus particuliĂšrement dans le cadre de ses enregistrements en trio ‘’Sienna’’ (1989), ‘’Departure No 2’’ (1990) et ‘’Live at Copenhagen Jazz House’’ (1993). ParallĂšlement, Cowell avait aussi composĂ© certaines oeuvres de longue durĂ©e comme son Piano Concerto No 1 (composĂ© en hommage Ă  son idole Art Tatum), qui a Ă©tĂ© prĂ©sentĂ© en grande premiĂšre en 1992 par le Toledo Symphony Orchestra. MĂȘme si sa carriĂšre de professeur l’avait tenu trĂšs occupĂ© jusqu’à la fin de vie, Cowell avait continuĂ© de se produire rĂ©guliĂšrement dans le cadre de rĂ©unions avec ses amis, de projets avec ses Ă©tudiants et d’improvisations en piano solo. ParallĂšllement, Cowell avait continuĂ© de diriger Ă  l’occasion ses propres groupes.
En 1999, Cowell avait enregistrĂ© l’album ‘’Dancers in Love’’ (d’aprĂšs la cĂ©lĂšbre composition de Duke Ellington) avec Tarus Mateen Ă  la contrebasse et Nasheet Waits Ă  la batterie. Dans les annĂ©es 2000, Cowell avait commencĂ© Ă  se produire avec sa fille Sunny, une violiste et chanteuse.
Dans les annĂ©es 2010, Cowell avait continuĂ© d’enregistrer rĂ©guliĂšrement avec de petites compagnies de disques comme Steeplechase. Parmi ses derniĂšres parutions, on remarquait ‘’Welcome To The New World’’ (2013), ‘’Are You Real ?’’ (2014) et ‘’No Illusions’’ (2017). AprĂšs avoir pris sa retraite de l’UniversitĂ© Rutgers, Cowell avait enregistrĂ© en 2015 un album intitulĂ© ‘’Juneteenth’’, qui comprenait plusieurs compositions pour piano solo inspirĂ©es par les mouvements des droits civiques et du Black Power. Un peu comme l’album ‘’The Prisoner’’ d’Herbie Hancock, le disque avait souvent Ă©tĂ© sous-estimĂ© malgrĂ© l’excellence de sa musique et le message politique qui rĂ©flĂ©tait plusieurs des prĂ©occupations de l’époque. RejetĂ© par les maisons de disques amĂ©ricaines, l’album avait finalement Ă©tĂ© publiĂ© par une compagnie française.
Toujours en 2015, Cowell s’était produit durant une semaine au Village Vanguard de New York avec un trio qui comprenait le saxophoniste Bruce Williams. Cowell, qui n’avait jamais cessĂ© d’innover jusqu’à la fin, avait utilisĂ© lors du concert un systĂšme appelĂ© Kyma, qui permettait de transformer le son du piano artificiellement grĂące Ă  la technologie digitale. La mĂȘme annĂ©e, Cowell avit jouĂ© au club Barbica de Londres, en Angleterre, dans le cadre d’une rĂ©union avec ses anciens collaborateurs de Strata-East. En 2019, quelques mois avant sa mort, Cowell avait interprĂ©tĂ© sa suite Juneteenth avec un orchestre de cordes, voix et percussions au An Die Musik Live de Baltimore.
Stanley Cowell est mort le 17 dĂ©cembre 2020 au Bayhealth Hospital de Dover, au Delaware. Le dĂ©cĂšs de Cowell avait Ă©tĂ© attribuĂ© Ă  un problĂšme de circulation sanguine (choc hypovolĂ©mique). Il Ă©tait ĂągĂ© de soixante-dix-neuf ans. Cowell laissait dans le deuil sa troisiĂšme Ă©pouse Sylvia Potts, sa fille Sunny, une musicienne et avocate de Baltimore, sa fille Sienna (issue de son second mariage), une soeur et deux petits-enfants. Cowell, qui s’est mariĂ© trois fois, avait d’abord Ă©pousĂ© Effi Slaughter (elle s’était remariĂ©e plus tard au maire de Washington, D.C., Marion Barry) et Victoria McLaughlin. Le doyen du Conservatoire d’Oberlin oĂč Cowell avait fait ses Ă©tudes lui avait rendu hommage aprĂšs sa mort en dĂ©clarant:
“On behalf of the Oberlin Conservatory community, I extend my deepest condolences to Mr. Cowell’s family, friends, and loved ones. Stanley Cowell was a towering figure in the history of jazz, and the history of 20th- and 21st-century music more broadly. As a composer, performer, and thinker, his contributions shaped contemporary musical life in profound and lasting ways, and we join with colleagues around the globe in celebrating his life and honoring his memory.”
Ce n’était qu’un juste retour des choses pour Cowell. En 2010, lorsque le Odabin College avait inaugurĂ© le Bertram and Judith Kohl Building qui abritait le site des Ă©tudes jazz de l’universitĂ©, Cowell avait fait partie intĂ©grante des festivitĂ©s. Sans mĂȘme avoir Ă©tĂ© annoncĂ©, Cowell avait gravi les marches de la chapelle Finney et s’était assis sur le banc de piano Ă  cĂŽtĂ© de Stevie Wonder. Cowell avait jouĂ© durant quarante-cinq minutes accompagnĂ© par Wonder Ă  l’harmonica. L’ancien directeur des Ă©tudes jazz de l’universitĂ©, le professeur de guitare Bobby Ferrazza, qui assistait au concert, avait commentĂ© plus tard: “Stanley was an extremely kind, thoughtful person. We once had a conversation about the details of some of J.J. Johnson's music, and Stanley subsequently sent me one of J.J.'s lead sheets. He was a great musician and a truly thoughtful one.”
Cowell avait livrĂ© sa derniĂšre performance en octobre 2020 dans le cadre du concert inaugural du club Keystone Corner de Baltimore, le seul club des États-Unis Ă  permettre une assistance de 25% durant la pandĂ©mie de la Covid-19. Le concert avait Ă©tĂ© enregistrĂ© et avait donnĂ© lieu Ă  la publication de l’album ‘’Live at Keystone Korner Baltimore’’. Le concert mettait Ă©galement en vedette le trompettiste Freddie Hendrix et le saxophoniste Bruce Williams, ainsi que la fille de Cowell, Sunny, au chant.
Le proprĂ©taire du Keystone Corner, Todd Barkan, qui collaborait avec Cowell depuis de nombreux annĂ©es, lui avait rendu hommage en ces termes: “As a composer and player Stanley Cowell was one of the great voices of jazz piano. He had a unique compelling expression in his playing and composing. His composition ‘Equipoise’ captures the essence of his compositions and playing style. I enjoyed working with him for over 50 years as an artist and friend.”
Pianiste complet et trĂšs polyvalent, Cowell pouvait passer trĂšs facilement d’un style Ă  l’autre, qu’il s’agisse du stride, du jazz d’avant-garde, du jazz-fusion ou de la musique classique. Au cours de sa carriĂšre, Cowell s’était produit avec plusieurs sommitĂ©s du jazz, de Marion Brown à Max Roach, en passant par Bobby Hutcherson, Charles Moore, Art Pepper, Joe Henderson, les frĂšres Albert, Jimmy et Rodney Heath, Woody Shaw, Miles Davis, Gary Bartz, Johnny Griffin, Roy Haynes, Charles Tolliver, Clifford Jordan, Arthur Blythe, Harold Land, Sonny Rollins et Stan Getz.
Cowell a enregistrĂ© plus de trente albums comme leader au cours de sa carriĂšre. Il a aussi collaborĂ© Ă  de nombreux autres albums en compagnie d’autres artistes. DĂ©crivant le style de Cowell, le critique Owen McNally avait Ă©crit en 2013: “Always unfolding dramatically is never pretentious, never afflicted with arcane, elitist self-indulgence posing as cosmic significance to be comprehended by only a chosen few.’’
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jangruenwald · 1 year ago
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Tagung: CRINGE OR WORTHY – Lebenswelten in Kunst- und Musikpädagogik
Mit Kolleg*innen aus Salzburg habe ich eine Tagung ĂŒber die Relevanz von Jugendkulturen fĂŒr die PĂ€dagogik organisiert...die (unserer Meinung nach) ein voller Erfolg war :)
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beyourselfchulanmaria · 7 months ago
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Geza Anda: Preludes, Op. 28, Nos. 19 through 24 (Chopin) 
Hungarian pianist Geza Anda (1921 - 1976) performs Chopin's Preludes, Op. 28, Nos. 19 through 24.  In 1941, he made his debut with the Berlin Philharmonic under Wilhelm FurtwÀngler, who dubbed him "troubadour of the piano."  In the mid 1950s, Anda gave masterclasses at the Salzburg Mozarteum, and in 1960 he took the position of director of the Lucerne masterclasses, succeeding Edwin Fischer.  
He recorded the Op. 28 Preludes for Deutsche Grammophon in 1960.
Vivace  E-flat major Largo  C minor Cantabile  B-flat major Molto agitato  G minor Moderato  F major Allegro appassionato  D minor
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two-hearts-beat · 2 years ago
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Hey, hab gerade deinen Post zu Daniel gesehen. magst du deine Quellen teilen, i'm curious 🙈 ĂŒber insta lĂ€sst sich da nicht viel finden 😂
Also erstmal, ich will seine PrivatsphĂ€re respektieren. Da das alles aber öffentlich einsehbar ist und ich es innerhalb von fĂŒnf Minuten gefunden hatte, denke ich mal es ist okay das hier zu teilen đŸ€”
Es steht auf der Website der Goldenen Kamera und er hatte heute (ich schÀtze zum sechsten Geburtstag des Kleinen) den Post der Mutter, Schauspielerin/Hebamme Janina Schauer, auf seiner Story geteilt :)
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Ich schÀtze die beiden kannten sich noch aus Uni Tagen, am Mozarteum in Salzburg
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Die werte Janina Schauer geht auf ihrem Insta nicht (mehr) mit StrĂ€ĂŸer aber mit einigen Frauen auf 'TuchfĂŒhlung' (vielleicht ist sie poly? oder nur sehr in ihre Kumpellinen vernarrt?), aber wenn ich eine Interpretation wage, dann spricht sie von Schauspielkollegin Barbara Dussler wie von einer romantischen Partnerin [Edit: oder auch nicht]
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Anyway, die drei waren auf jeden Fall sehr cute 😊
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mozartbachtoven · 14 days ago
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They found a new portrait of Mozart
Experts have identified the man in the painting as the musical genius Wolfgang Amadeus Mozart.
VIENNA. The identity of the young man with a round face and voluminous hairstyle in a small portrait from the 18th century no longer confuses experts - it has been confirmed that he is Wolfgang Amadeus Mozart.
Researchers from Salzburg's Mozarteum Museum have announced that they have definitively identified the person in the painting as the Austrian musical genius Mozart.
However, the likeness does not resemble his other portraits at all. Researchers say that of the 14 known paintings, this is only one of the few in which the artist looks out of the painting directly at the viewer and does not have his famous white wig.
Expert Cristoph Grosspietch says the museum's findings are based on a detailed examination of the image and historical records from the period.
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gonzalezrigual · 2 years ago
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Rafael Cadenas
Rafael Cadenas (Barquisimeto, Venezuela, 1930) pertenece a la generaciĂłn venezolana de 1960. FormĂł parte del grupo Tabla Redonda, junto con Arnaldo Acosta Bello, JesĂșs GuĂ©dez, Ángel Eduardo Acevedo, Darlo Lancini, JosĂ© Barroeta y Sanoja HernĂĄndez. Es traductor de poesĂ­a inglesa, fue profesor universitario y cuenta con una amplia obra de ensayo considerada una referencia del pensamiento literario contemporĂĄneo en español, con tĂ­tulos como 'En torno al lenguaje' y los 'Apuntes sobre San Juan de la Cruz y la mĂ­stica'.
Cadenas, que sigue activo, es autor de mĂĄs de veinte libros de resonancia internacional, entre ellos, 'Cantos iniciales' (1946), 'Una isla' (1958), 'Los cuadernos del destierro' (1960, 2001), el poema 'Derrota' (1963), 'Falsas maniobras' (1966), 'Intemperie' (1977), 'Memorial' (1977) 'Amante' (1983), 'Dichos' (1992), 'Gestiones' (1992), 'AntologĂ­a' (1958-1993, 1996, 1999), 'Amante' (2002), 'Poemas selectos' (2004, 2006, 2009), 'El taller de al lado' (2005), 'Sobre abierto' (2012), 'En torno a Basho y otros asuntos' (2016) o 'Contestaciones' (2018).
La obra poética y ensayística de Rafael Cadenas lo ha hecho merecedor de reconocimientos, entre los cuales se encuentran el Premio San Juan de la Cruz (1992), el Premio de la Fundación Mozarteum de Venezuela (1993), el Premio FIL de Literatura en Lenguas Romances (2012), el Premio Internacional de Poesía Federico García Lorca (2015), el Premio Reina Sofía de Poesía Iberoamericana (2018), y diversos reconocimientos en su país, como el doctorado honoris causa de la Universidad Central de Venezuela y el Premio Andrés Bello de la Academia Venezolana de la Lengua, entre otros.
El poeta y Profesor Universitario recibiĂł hoy en Madrid de manos del Rey de España, el Premio Cervantes de las letras, correspondiente a 2022. Es realmente un orgullo para todos los venezolanos que el poeta Cadenas haya sido recocido con este galardĂłn, el mĂĄs importante de las letras castellanas. Siendo el Ășnico venezolano en recibirlo en la historia de ese premio. Felicitaciones apreciado y admirado maestro.
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franceshumbolt · 2 months ago
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This made me think of this short documentary. Play based education is so important.
thinking about when i was small, how my mom told me that pipe cleaners were just a tool until people started idly shaping things with them and it grew so popular that they were marketed as crafting materials. and that story about how the original frisbees were disposable pie plates that students flattened to throw. and how when i was a child i had a wooden mancala set with shiny, colorful stones, but on invention it was played with rocks and grooves dug into the dirt. and middle school, paper football and tic-tac-toe and mash and mad libs, games that just need pen and paper. and before that, games of pretend with pirates and princes and masked marauders. how at slumber parties after lights out, we used to whisper storytelling games, i say one sentence and you say the next. and shadow puppets. and the way all the kids in the neighborhood used to divide into teams and throw fallen pine cones at one another. and the floor is lava game, and the quiet game, and the games i play with my coworkers that are just words and retention. and "put a finger down" on the high school bus. and little girls clapping together, and how the first jump-rope was undoubtedly just a length of rope who knows how long ago, and how natural it is to play, how we seek play at every age and with any resources we have and with whatever time we can squeeze it into in a day. i'm not an anthropologist or a psychologist but i think after food and shelter and water and air what comes next is games and stories and laughter. i think that there is nothing -- not sex or fighting or forming unlikely bonds with animals -- there is nothing more human than to play.
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