#Waldenstein

[evaheritageposts]

evangelion heritage post (september 2011)

[thegothicera]

Coat-of-arms of Florian Waldauf von Waldenstein, from Revelationes caelestes, German, 1500

[werewolvesandaccordions]

Beethoven – Piano Sonata no.23 in f minor, “Appassionata”, op.57 A couple months ago I had started a series of my favorite Beethoven piano sonatas, where I’ve been going chronologically talking about my personal selections from the 32. I took a long pause before continuing for a couple reasons. Mainly, the intimidation about talking about the “Heroic period” and later sonatas, and the fear of repetition. I don’t want to keep saying “stormy” and “Beethoven contrasts this” and “light and dark”, all of these are reoccurring themes in Beethoven’s music, but one after the other it feels repetitive and doesn’t convey the spirit of the music as well. A problem with writing about music in general, I suppose. But moving on, after “Waldenstein” we get a very light, small scale sonata in F Major, a sonata that is kind of ignored because of the ones surrounding it. It’s a lovely work, but it doesn’t carry the “Beethoven drama” that THIS sonata does, the very next sonata in the parallel minor. “Appassionata”, another nickname that didn’t come from Beethoven, and is more a marketing gimmick from a Romantic era publisher after his death. Even so, the “passionate” title fits here, and I’m willing to argue it is Beethoven’s darkest sonata. It opens with a hush, murmurs in the shadow, that is then echoed in higher notes. The “fate” motif that will become the thesis of his later fifth symphony makes an appearance! And then after a little flourish, the main theme comes out in explosive orchestral statements. Again, a contrast between thin and thick textures. The movement goes on in a restless and anxious mood with a variety of flourishes that are all important to the structure. The lines between melody and harmony, structure and ornamentation, have vanished. The recapitulation takes the main theme into the major for a moment, before modulating back into the murkiness of the minor and unstable chords. The coda completely abandons melody in favor of long arpeggios that stretch through the keyboard, and at the time it was written, spanned the complete length. After thick chords in syncopation, a quieter trill takes the movement to its close. The middle movement is a bit more uplifting and noble. It doesn’t have extroverted rhetoric plays, instead it is more calm and dignified. After a choral opening, the main melody is played in the left hand while the right hand plays subtle decoration over it. In a bit of a variation, the left hand plays faster and cheerful while the right plays the melody. They interplay, the mood becoming much more sunny than the first movement. Instead of an ending, the music transitions using diminished chords, the dramatic statement immediately goes into the last movement. Harsh chords like a hunter’s horn throws us into a toccata, with a long melody in the “tenor” while the bass and soprano elaborate over it. Also in sonata form, this final movement is excruciatingly difficult. I don’t know why, but [me being Romantic I guess] it makes me think of the narrator fleeing from the collapsing House of Usher. It’s definitely near the top of “the most exciting moments in Beethoven’s sonatas” list, and I think this specific movement is what intimidated me to shy away and hold off writing about this specific sonata for so long. So forget my words, listen for yourself and let the music rush through you. Movements: 1. Allegro assai 2. Andante con moto 3. Allegro ma non troppo – Presto

mikrokosmos: Beethoven – Piano Sonata no.23 in f minor, “Appassionata”, op.57 A couple months ago I had started a series of my favorite Beethoven piano sonatas, where I’ve been going chronologically talking about my personal selections from the 32. I took a long pause before continuing for a couple reasons. Mainly, the intimidation about talking about…

[tinas-art]

Beethoven – Piano Sonata no.23 in f minor, “Appassionata”, op.57 A couple months ago I had started a series of my favorite Beethoven piano sonatas, where I’ve been going chronologically talking about my personal selections from the 32. I took a long pause before continuing for a couple reasons. Mainly, the intimidation about talking about the “Heroic period” and later sonatas, and the fear of repetition. I don’t want to keep saying “stormy” and “Beethoven contrasts this” and “light and dark”, all of these are reoccurring themes in Beethoven’s music, but one after the other it feels repetitive and doesn’t convey the spirit of the music as well. A problem with writing about music in general, I suppose. But moving on, after “Waldenstein” we get a very light, small scale sonata in F Major, a sonata that is kind of ignored because of the ones surrounding it. It’s a lovely work, but it doesn’t carry the “Beethoven drama” that THIS sonata does, the very next sonata in the parallel minor. “Appassionata”, another nickname that didn’t come from Beethoven, and is more a marketing gimmick from a Romantic era publisher after his death. Even so, the “passionate” title fits here, and I’m willing to argue it is Beethoven’s darkest sonata. It opens with a hush, murmurs in the shadow, that is then echoed in higher notes. The “fate” motif that will become the thesis of his later fifth symphony makes an appearance! And then after a little flourish, the main theme comes out in explosive orchestral statements. Again, a contrast between thin and thick textures. The movement goes on in a restless and anxious mood with a variety of flourishes that are all important to the structure. The lines between melody and harmony, structure and ornamentation, have vanished. The recapitulation takes the main theme into the major for a moment, before modulating back into the murkiness of the minor and unstable chords. The coda completely abandons melody in favor of long arpeggios that stretch through the keyboard, and at the time it was written, spanned the complete length. After thick chords in syncopation, a quieter trill takes the movement to its close. The middle movement is a bit more uplifting and noble. It doesn’t have extroverted rhetoric plays, instead it is more calm and dignified. After a choral opening, the main melody is played in the left hand while the right hand plays subtle decoration over it. In a bit of a variation, the left hand plays faster and cheerful while the right plays the melody. They interplay, the mood becoming much more sunny than the first movement. Instead of an ending, the music transitions using diminished chords, the dramatic statement immediately goes into the last movement. Harsh chords like a hunter’s horn throws us into a toccata, with a long melody in the “tenor” while the bass and soprano elaborate over it. Also in sonata form, this final movement is excruciatingly difficult. I don’t know why, but [me being Romantic I guess] it makes me think of the narrator fleeing from the collapsing House of Usher. It’s definitely near the top of “the most exciting moments in Beethoven’s sonatas” list, and I think this specific movement is what intimidated me to shy away and hold off writing about this specific sonata for so long. So forget my words, listen for yourself and let the music rush through you. Movements: 1. Allegro assai 2. Andante con moto 3. Allegro ma non troppo – Presto

mikrokosmos: Beethoven – Piano Sonata no.23 in f minor, “Appassionata”, op.57 A couple months ago I had started a series of my favorite Beethoven piano sonatas, where I’ve been going chronologically talking about my personal selections from the 32. I took a long pause before continuing for a couple reasons. Mainly, the intimidation about talking about…

[hushilda]

Beethoven – Piano Sonata no.23 in f minor, “Appassionata”, op.57 A couple months ago I had started a series of my favorite Beethoven piano sonatas, where I’ve been going chronologically talking about my personal selections from the 32. I took a long pause before continuing for a couple reasons. Mainly, the intimidation about talking about the “Heroic period” and later sonatas, and the fear of repetition. I don’t want to keep saying “stormy” and “Beethoven contrasts this” and “light and dark”, all of these are reoccurring themes in Beethoven’s music, but one after the other it feels repetitive and doesn’t convey the spirit of the music as well. A problem with writing about music in general, I suppose. But moving on, after “Waldenstein” we get a very light, small scale sonata in F Major, a sonata that is kind of ignored because of the ones surrounding it. It’s a lovely work, but it doesn’t carry the “Beethoven drama” that THIS sonata does, the very next sonata in the parallel minor. “Appassionata”, another nickname that didn’t come from Beethoven, and is more a marketing gimmick from a Romantic era publisher after his death. Even so, the “passionate” title fits here, and I’m willing to argue it is Beethoven’s darkest sonata. It opens with a hush, murmurs in the shadow, that is then echoed in higher notes. The “fate” motif that will become the thesis of his later fifth symphony makes an appearance! And then after a little flourish, the main theme comes out in explosive orchestral statements. Again, a contrast between thin and thick textures. The movement goes on in a restless and anxious mood with a variety of flourishes that are all important to the structure. The lines between melody and harmony, structure and ornamentation, have vanished. The recapitulation takes the main theme into the major for a moment, before modulating back into the murkiness of the minor and unstable chords. The coda completely abandons melody in favor of long arpeggios that stretch through the keyboard, and at the time it was written, spanned the complete length. After thick chords in syncopation, a quieter trill takes the movement to its close. The middle movement is a bit more uplifting and noble. It doesn’t have extroverted rhetoric plays, instead it is more calm and dignified. After a choral opening, the main melody is played in the left hand while the right hand plays subtle decoration over it. In a bit of a variation, the left hand plays faster and cheerful while the right plays the melody. They interplay, the mood becoming much more sunny than the first movement. Instead of an ending, the music transitions using diminished chords, the dramatic statement immediately goes into the last movement. Harsh chords like a hunter’s horn throws us into a toccata, with a long melody in the “tenor” while the bass and soprano elaborate over it. Also in sonata form, this final movement is excruciatingly difficult. I don’t know why, but [me being Romantic I guess] it makes me think of the narrator fleeing from the collapsing House of Usher. It’s definitely near the top of “the most exciting moments in Beethoven’s sonatas” list, and I think this specific movement is what intimidated me to shy away and hold off writing about this specific sonata for so long. So forget my words, listen for yourself and let the music rush through you. Movements: 1. Allegro assai 2. Andante con moto 3. Allegro ma non troppo – Presto

mikrokosmos: Beethoven – Piano Sonata no.23 in f minor, “Appassionata”, op.57 A couple months ago I had started a series of my favorite Beethoven piano sonatas, where I’ve been going chronologically talking about my personal selections from the 32. I took a long pause before continuing for a couple reasons. Mainly, the intimidation about talking about…

[dariaandjanelanefanboy]

Beethoven – Piano Sonata no.23 in f minor, “Appassionata”, op.57 A couple months ago I had started a series of my favorite Beethoven piano sonatas, where I’ve been going chronologically talking about my personal selections from the 32. I took a long pause before continuing for a couple reasons. Mainly, the intimidation about talking about the “Heroic period” and later sonatas, and the fear of repetition. I don’t want to keep saying “stormy” and “Beethoven contrasts this” and “light and dark”, all of these are reoccurring themes in Beethoven’s music, but one after the other it feels repetitive and doesn’t convey the spirit of the music as well. A problem with writing about music in general, I suppose. But moving on, after “Waldenstein” we get a very light, small scale sonata in F Major, a sonata that is kind of ignored because of the ones surrounding it. It’s a lovely work, but it doesn’t carry the “Beethoven drama” that THIS sonata does, the very next sonata in the parallel minor. “Appassionata”, another nickname that didn’t come from Beethoven, and is more a marketing gimmick from a Romantic era publisher after his death. Even so, the “passionate” title fits here, and I’m willing to argue it is Beethoven’s darkest sonata. It opens with a hush, murmurs in the shadow, that is then echoed in higher notes. The “fate” motif that will become the thesis of his later fifth symphony makes an appearance! And then after a little flourish, the main theme comes out in explosive orchestral statements. Again, a contrast between thin and thick textures. The movement goes on in a restless and anxious mood with a variety of flourishes that are all important to the structure. The lines between melody and harmony, structure and ornamentation, have vanished. The recapitulation takes the main theme into the major for a moment, before modulating back into the murkiness of the minor and unstable chords. The coda completely abandons melody in favor of long arpeggios that stretch through the keyboard, and at the time it was written, spanned the complete length. After thick chords in syncopation, a quieter trill takes the movement to its close. The middle movement is a bit more uplifting and noble. It doesn’t have extroverted rhetoric plays, instead it is more calm and dignified. After a choral opening, the main melody is played in the left hand while the right hand plays subtle decoration over it. In a bit of a variation, the left hand plays faster and cheerful while the right plays the melody. They interplay, the mood becoming much more sunny than the first movement. Instead of an ending, the music transitions using diminished chords, the dramatic statement immediately goes into the last movement. Harsh chords like a hunter’s horn throws us into a toccata, with a long melody in the “tenor” while the bass and soprano elaborate over it. Also in sonata form, this final movement is excruciatingly difficult. I don’t know why, but [me being Romantic I guess] it makes me think of the narrator fleeing from the collapsing House of Usher. It’s definitely near the top of “the most exciting moments in Beethoven’s sonatas” list, and I think this specific movement is what intimidated me to shy away and hold off writing about this specific sonata for so long. So forget my words, listen for yourself and let the music rush through you. Movements: 1. Allegro assai 2. Andante con moto 3. Allegro ma non troppo – Presto

mikrokosmos: Beethoven – Piano Sonata no.23 in f minor, “Appassionata”, op.57 A couple months ago I had started a series of my favorite Beethoven piano sonatas, where I’ve been going chronologically talking about my personal selections from the 32. I took a long pause before continuing for a couple reasons. Mainly, the intimidation about talking about…

[egonkv]

Gern mag man seyen, derer Herrn zu Waldensteyen! #waldenstein #schloss #kärnten #wolfsberg #thebeardedhomo #beardedmen #beardedgay #history #österreich #igers #igersvienna #igersaustria #sommerfrisch (hier: Waldenstein, Kärnten, Austria) https://www.instagram.com/p/BznAGL2i8l2/?igshid=gpwepqxrksh8

[moha-madhoun]

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[schleimzeit]

do you have a main/personal blog? i love your work!

it’s waldensteiner ;) thank you so much!

[mikrokosmos]

Beethoven - Piano Sonata no.23 in f minor, “Appassionata”, op.57

A couple months ago I had started a series of my favorite Beethoven piano sonatas, where I’ve been going chronologically talking about my personal selections from the 32. I took a long pause before continuing for a couple reasons. Mainly, the intimidation about talking about the “Heroic period” and later sonatas, and the fear of repetition. I don’t want to keep saying “stormy” and “Beethoven contrasts this” and “light and dark”, all of these are reoccurring themes in Beethoven’s music, but one after the other it feels repetitive and doesn’t convey the spirit of the music as well. A problem with writing about music in general, I suppose. But moving on, after “Waldenstein” we get a very light, small scale sonata in F Major, a sonata that is kind of ignored because of the ones surrounding it. It’s a lovely work, but it doesn’t carry the “Beethoven drama” that THIS sonata does, the very next sonata in the parallel minor. “Appassionata”, another nickname that didn’t come from Beethoven, and is more a marketing gimmick from a Romantic era publisher after his death. Even so, the “passionate” title fits here, and I’m willing to argue it is Beethoven’s darkest sonata. It opens with a hush, murmurs in the shadow, that is then echoed in higher notes. The “fate” motif that will become the thesis of his later fifth symphony makes an appearance! And then after a little flourish, the main theme comes out in explosive orchestral statements. Again, a contrast between thin and thick textures. The movement goes on in a restless and anxious mood with a variety of flourishes that are all important to the structure. The lines between melody and harmony, structure and ornamentation, have vanished. The recapitulation takes the main theme into the major for a moment, before modulating back into the murkiness of the minor and unstable chords. The coda completely abandons melody in favor of long arpeggios that stretch through the keyboard, and at the time it was written, spanned the complete length. After thick chords in syncopation, a quieter trill takes the movement to its close. The middle movement is a bit more uplifting and noble. It doesn’t have extroverted rhetoric plays, instead it is more calm and dignified. After a choral opening, the main melody is played in the left hand while the right hand plays subtle decoration over it. In a bit of a variation, the left hand plays faster and cheerful while the right plays the melody. They interplay, the mood becoming much more sunny than the first movement. Instead of an ending, the music transitions using diminished chords, the dramatic statement immediately goes into the last movement. Harsh chords like a hunter’s horn throws us into a toccata, with a long melody in the “tenor” while the bass and soprano elaborate over it. Also in sonata form, this final movement is excruciatingly difficult. I don’t know why, but [me being Romantic I guess] it makes me think of the narrator fleeing from the collapsing House of Usher. It’s definitely near the top of “the most exciting moments in Beethoven’s sonatas” list, and I think this specific movement is what intimidated me to shy away and hold off writing about this specific sonata for so long. So forget my words, listen for yourself and let the music rush through you.

Movements:

1. Allegro assai

2. Andante con moto

3. Allegro ma non troppo - Presto

[francis-alianovna]

ARTIST LIST V - $%&

If you find any mistakes here, please let me know! **I am not keeping up with artists’ URL changes! They are current as of the date they are added to the archive**

V

v-ac - v6studios - valchurya - valentinesstar - valenwithers (aka blazingfiire) - Valerio Schiti - valuvi - Vanessa Lalonde - vanessasketch - vanitasmorgue - vanwizard - varrans - varshavijayan - vashito - vasira96 - velvet-crowbar - velvvetcat09 - venator-signum - vershh - vesiel - Vicente Cifuentes - vicespresident - victoryinfailure - vidathari - videaviceart - vieryplus - viioll - vikingsif - vinnie2757 - violettavonviolet - viromes - virtual-spell - viscountess - vitamindy - vivasharkart - vivb-draws - vividabyss - void-bee - voisb - volcaneus - voodooling - voronwy - vulcanyounot - VulpesLunaris (aka annablume) - vvernacatola - vylla-art

W

wagarts - wakandacoconutoil - wakandan-shuri - walanganumanpo - waldensteiner - wander-ghoul - wandering-hobbit - was-namseokie - watadrag - waterme-stories - wayhella - waywardcrow - waywaywayward - weearts - weird-and-unusual (aka the-ace-widow) - weknownotnow - welcometoweebyhutjr - wesangdirges - wewellbealright - whalechief - whann - whatidowith (aka mcfreeze770) - whatthefoucault - wheelsup-sevenup - when-it-rains-it-snows - whileothersreap - whispering-imp-arts - white-forest - whitestuffknowslimits - whoisnivelle - wholewheatsociety - whoreallyevenknowsanyway - wickedica - widowsresolve - widowylena - wienzard93 - wildmagesapprentice - wildmomodoesart - willi-arts - williamkaplan - wimbearn - wincerind - wingedcorgi - wingheadloveshellhead - winson-2 - winter-parades - winterchrisart - winterhawkkisses - wintersoldiercomics - wintersolqiers - wintersxsoul - wintorsoldier - wiredollalchemist - wisesnail - wistfuldarkmindpalace - with-a-q - wittyxtina - won-by-soldiers - wonderingrabbit - wonderland-chan - wonduhhwoman - wooddan - workthatbucky - wotcherangie - would-die-for-fitzsimmons - wratshit - wrokesmoke - wrongweasley - wrote-my-own-deliverance - wumbonumbah5 - wyattthenerd - wytchwoods

X

xAniChanx - xaioloon - xanseviera - xcandyslice - xena-michele - xenon-tk - xeyoaa - xfreischutz - Xi Ding - xiconhoca - xjordyleighx - xxMimoLikesCheesexx - xshaunx - xshioxx - xxx-shadow-xxx - xxxxxx6x

Y

ya-myo - yadarntootin - yamii-cat - yamiinux (aka thekeythief) - yamisnuffles - yan-li - yaosiii - yawpkatsi - yazzdonut - ycow - ycxycf - yellowis4happydraws - yesterdaysluminary - yi-qi - yi27 - yi960862 - yingjue - ylchen - youareglitched - youraveragejoke - yousirius - yssab - yuko94 - yumecmt - yumitaisho (aka alamarri) - yummidoesnothing - yummyman - yuripliscatsky - Yusuf Idris - yuushishio - yzderia

Z

zabblesart - Zac Roane - zacksdoodles - zainabbart - zajelimilogin - zaki - zartbitter-salat - zashache - ze88 - zealouscorgi - zebraflinches - zeemendoza - zeeewa - zeekappa - zeeloo - zepph - zevvin - zhaana - zombietonbo - zphal - zsomeone - zuckershrugs - zumbadorcito - zuretha-metal - zwieback

-

-wondersmith  ║  いい夫婦  ║   奈緒  ║   ナナサキ  ║   鶏  ║   澪  ║   渋谷   ║   瀧瀬 霞  ║  藤沢奈永  ║   ニワトリ  ║   ゅぅ仔  ║   白緑  ║   神人  ║   アズマ  ║   ごむ  ║   U太  ║   灰莉  ║   くまぬ  ║   四ツ谷  ║   春杉  ║   桐たろ  ║   芥ろく  ║   六銘  ║   ほずみ aka hozumi13 ║    李嵐  ║  ひ小  ║   やまのべ  ║   ニトラ  ║   ぺと  ║   ひでおのスパコミはネ50a  ║  梅吉   ║  アネナカ   ║   じろうチキン  ║    橘田＠通販開始     ║   天野のんき  ║   シマ  ║    梅小路 庵(ヒト)    ║    チバコ    ║  ロク aka rogu_o  ||   可恶啊靠  ||

[hallimaschkomplex]

Auf dem Mond, weil es so schmerzhaft wäre wie auf der Erde

"Das Vergangene ist nicht tot; es ist nicht einmal vergangen. Wir trennen es von uns ab und stellen uns fremd." (Kindheitsmuster, Christa Wolf)

Vier Prostituierte warten auf Kundschaft. Eine von ihnen Roma B., die ihre karge Ausbeute am Ende des Tages ihrem Freund und Zuhälter Franz B. übergibt und im Gegenzug Schläge erhält - eine der hier gültigen Liebeswährungen. ​Hinzu kommt Anton Saitz, genannt der “Reiche Jude”, in Begleitung eines Zwerges​. Anton sieht in Roma mehr als die anderen Freier und macht sie dafür reich. Romas Vater, Müller, tritt im Rotlichtmilieu als Transvestit auf, entlarvt sich jedoch im Tageslicht als überzeugter Faschist und potentieller Mörder der Eltern von Anton Saitz.

Am Beispiel Fassbinders begegnen wir Figuren, die gefangen sind in einem Geflecht aus Abhängigkeiten und Zuschreibungen. Faschismus und Gewalt sind - scheinbar unausweichlich - in alle Ebenen ihres Lebens eingeschrieben.

Die eigene Geschichte ist keine Haut, die sich abstreifen lässt. Sie pulsiert in unseren Adern, steckt in jeder Zelle des Körpers, beeinflusst unsere Gedanken. Sie steckt in uns fest. Oder wir in ihr? Auch in der vierten Generation nach dem Holocaust bestimmen Trauma und Schuld die Identitäten unserer Gesellschaft. Die Wunden der Vergangenheit brennen und es drängt sich die Frage auf: Wie viel Faschismus steckt heute noch in uns?

„Es singt seine Lieder, wer Text hat, die stummen Rollen erschrecken die Kinder“ (Fassbinder, “Der Müll, die Stadt und der Tod”)

Die Premiere fand am 5.7.2018 im Thalia in der Gaußstraße in Hamburg statt.

Beteiligte: DENISE AGYEI-MANU (Kostümassistenz), JACOPO ASAM  (Regieassistenz), ALEKSANDRA COROVIC (Zwerg / Asbach-Lilly), FINNJA DENKEWITZ (Dramaturgie), MARLEN DUKEN  (Kostüm), LUKAS FRIES (Bühne),  HILKE FOMFERRA (Bühnenassistenz), KATHARINA FRÖHLICH (Dramaturgie), LINDA GUNST (Asbach-Lilly, Miss Violet / Anton Saitz), LEA  HARBERTS (Regieassistenz), COLINE JUD (Kostümassistenz), REBECCA  JUNGHANS (/Miss Violet), MAKHAM KHAKPOUR (Kostümassistenz), MAX KURTH (Franz B / Müller), JANA  MEHNER (Bühnenassistenz), ALEXANDER MERBETH (Anton Saitz / Franz B), JANOSCH PANGRITZ (Musik), MERLIND POHL (Gesang / Emma von Waldenstein), FRIEDRICH RICHTER (Roma B / Hans von Gluck), LUDWIG SANDER (Mickeymousing Sounddoublage/Regieassistenz), RIEKE SÜßKOW (Regie), JULIA CARINA WACHSMANN (/Roma B), RICHARD ZAPF (Müller, Emma von Waldenstein / Müller)

Rollen: (Stimme / Kopf)

„Man muß die Mechanismen erkennen, die die Menschen so machen, daß sie solcher Taten fähig werden, muß ihnen selbst diese Mechanismen aufzeigen und zu verhindern trachten, daß sie abermals so werden, indem man ein allgemeines Bewußtsein jener Mechanismen erweckt. Nicht die Ermordeten sind schuldig. Schuldig sind allein die, welche besinnungslos ihren Haß und ihre Angriffswut an ihnen ausgelassen haben. Solcher Besinnungslosigkeit ist entgegenzuarbeiten, die Menschen sind davon abzubringen, ohne Reflexion auf sich selbst nach außen zu schlagen.

Man kann von der Klaustrophobie der Menschheit in der verwalteten Welt reden, einem Gefühl des Eingesperrtseins in einem durch und durch vergesellschafteten, netzhaft dicht gesponnenen Zusammenhang. Je dichter das Netz, desto mehr will man heraus, während gerade seine Dichte verwehrt, daß man heraus kann. Das verstärkt die Wut gegen die Zivilisation. Gewalttätig und irrational wird gegen sie aufbegehrt.

Ein Schema, das in der Geschichte aller Verfolgungen sich bestätigt hat, ist, daß die Wut gegen die Schwachen sich richtet, vor allem gegen die, welche man als gesellschaftlich schwach und zugleich – mit Recht oder Unrecht – als glücklich empfindet. Soziologisch möchte ich wagen, dem hinzuzufügen, daß unsere Gesellschaft, während sie immer mehr sich integriert, zugleich Zerfallstendenzen ausbrütet. Diese Zerfallstendenzen sind, dicht unter der Oberfläche des geordneten, zivilisatorischen Lebens, äußerst weit fortgeschritten. Der Druck des herrschenden Allgemeinen auf alles Besondere, die einzelnen Menschen und die einzelnen Institutionen, hat eine Tendenz, das Besondere und Einzelne samt seiner Widerstandskraft zu zertrümmern. Mit

ihrer Identität und mit ihrer Widerstandskraft büßen die Menschen auch die Qualitäten ein, kraft deren sie es vermöchten, dem sich entgegenzustemmen, was zu irgendeiner Zeit wieder zur Untat lockt.” (Erziehung nach Auschwitz, Theodor W. Adorno)

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[daniibeatrice]

I found this picture!!

It was in Burg Waldenstein 🏰 as I played Masi‘s Blue guitar and sang one of my own songs called „cry for love!“ (Check in my YouTube playlist) I remember that day so well. I was so nervous but had so much fun. In the background on the left is my Blue cort guitare, my fat Bertha.

I have always been supported by friends, fans and family.

I learned and still learn. Life is always an up and a down, but no matter where I go, where I am, or where I’ll be.... music never leaves 🎵🎶🎵🎶🎵🎵🎶🎶

#singing #songwriting #music #sound #love #keeponsinging #instruments #soul #daniibeatrice #Jamusic #onstage #entertain #cometogether #dance #musicforever #lyrics

[imwd2030]

#Conservator Lourdes Canizares restores the death shield of Florian Waldschild to Ritter von Waldenstein (circa 1510), who was once at the service of Emperor Maximilian I. The exhibition opened on March 29, 2019 in Hall in Tirol. Austria @iiconservation courtesy @luly_restaura https://www.instagram.com/p/B2T-L3zFJLG/?igshid=1hkjvgz0333qk