#orchestra of the age of enlightenment

[gasparodasalo]

Felix Mendelssohn (1809-47) - Concerto for Violin and Orchestra in e-minor, Op. 64, I. Allegro molto appasionato. Performed by Alina Ibragimova, violin, and Vladimir Jurowski/Orchestra of the Age of Enlightenment on period instruments.

[humanitys-last-call]

So uh…what do you know about humans? Anything particularly interesting? I need it for a school project /silly /j

🐙

"Ahh... A question truly worthy of my attention. It would be my honor to enlighten you.

Humans, for starters, were far less limited in terms of what sports they practiced, compared to you Inkfish. Many of the most popular sports involved some sort of ball being tossed or kicked about, so you could argue a lack of originality, but the way these sports played all varied greatly.

I've observed a good few, and if I had to pick a favorite, I would say... Ping-pong. Tennis is a close second. I prefer the sounds of ping-pong over tennis. It also reminds me of Pong, one of the first video games mortal man ever created.

Humans also liked to hold all sorts of celebrations and extravagant ceremonies. Birthdays, celebrating the day one was born every year, do not seem as customary in Inkopolis, I've noticed. I've witnessed a good few "coming-of-age" ceremonies for when an Inkling or Octoling turns 14, but that is about it.

I think my favorite is the New Years celebration. I miss seeing those."

"A grand, global event in which people come together to commemorate another fruitful year of existence on their bustling planet. The sights, the sounds- you really had to be there. The Professor took me to see one, once. I have never forgotten it, as long ago as it may have been now.

...

Ah, how could I forget. The music. I feel very strongly towards the music. Have you ever witnessed a live performance of an orchestra? I surely have. Truly enchanting experience."

"It is no competition for my heart; I heavily prefer the music of those who came before us. Classical, traditional, swing- ahh, such heartfelt, spirited music... It bleeds the essence of life.

I have never been too keen on the electric genre, but I am a fan of electro swing. Yes, that does put the energy back in my old metal bones, haha.

Inkfish-produced music, however... It gives me a migraine. It's all the same hardcore, clamorous gunk. All the songs I hear just blend together in my processors!

Why, the last time an Inkfish composer's tracks actually made me well and honestly FEEL something, it was-"

"...

nothing worth dwelling on. Let's move on."

[leftistfeminista]

On Paul Robeson's 126th birthday, I would like to celebrate one of his lesser known songs. His rendition of Beethoven's Ode to Joy with his own interpretive translation of the lyrics. It captures the humanistic spirit of the Enlightenment, French Revolutionary and Romanticist eras in which Beethoven worked. And the egalitarian ideas Robeson championed. Those who struggle are supported and those who might dominate are kept in check. It is the deepest level of solidarity and fraternity where none are allowed to fall. A powerful antidote to an age of unchecked individualism, competition, cruelty and glorification of strength for its own sake.

..Build the road of peace before us, Build it wide and deep and long Speed the slow and check the eager, Help the weak and curb the strong. None shall push aside another, None shall let another fall March beside me, oh, my brothers, 

ALL FOR ONE AND ONE FOR ALL

Paul Robeson Sings For The Underdog 

During his career, vocalist Paul Robeson usually avoided singing classical music, once stating that European traditions had “nothing in common with the history of my slave ancestors.” He almost exclusively devoted himself to spirituals, protest songs and folk ballads, championing the oppressed through music. That was certainly the case with his unlikely but devoted relationship with group of working-class miners in Wales, whom Robeson supported in their protests against low wages and unsafe working conditions.

On the occasion he did perform classical works, he reframed them as folk music. Robeson’s “Ode to Joy” replaces the orchestra with a single piano, and he opts to sing in English rather than German, driving home the message of brotherhood to his English-speaking audiences. Robeson’s leftist politics lead to his blacklisting during the McCarthy Era, leaving him unable to travel with a revoked passport. So when the Welsh miners invited him to perform at a festival 1957, his only choice was to sing across the sea via a transatlantic telephone line. He dedicated his version of “Ode to Joy” to the crowd of 5,000, supporting their struggle for what he called “a world where we can live abundant and dignified lives.”

Chilean Women Protest A Violent Dictator

In 1973, military dictator Augusto Pinochet assumed power in Chile and oversaw the imprisonment and torture of tens of thousands of people belonging to opposition groups. At the risk of their own lives, female protesters gathered outside torture prisons to sing the “Himno a la Alegria,” a hymn based on “Ode to Joy,” to bring hope to those being held inside. You can see a clip of the protest in the documentary Following the Ninth: 

Another of his lesser known performance is of Luther's famous hymn, which launched in the religious sphere the bourgeois democratic revolt against Medieval Feudalism.

While we are still a long, long ways away from the just society Robeson dreamed of, we have at least made some progress from the McCarthyist days in which he was blacklisted, to being officially recognized today in our nation's capital.

[peashooter85]

Introducing Beethoven's Contrabassoon

from Orchestra at the Age of Enlightenment

[supercantaloupe]

Magic Flute Thoughts

i liked nathalie stutzmann's conducting a lot more in this than i did for don giovanni. granted i am much less familiar with zauberflote than i am with don g so i'm not like hyper picky about tempi or whatever yet but anyway i liked her

flute soloist! glockenspiel soloist! FLUTE SOLOIST!!!

i just like lawrence brownlee man idk what to tell you. i think he's neat. i think he's singing something here in the winter and i'll definitely try to get tickets to that if so

i really liked erin morley as pamina! actually i thought all the main cast did a good job no one stuck out to me as being particularly Amazing or Bad. kathryn lewek got a HUGE applause (and standing o) tho and i mean kudos it was her fiftieth performance like damn.

interesting choice to play the queen as physically frail as she did; i think it works and the performance is very good, although the heavy age makeup sticks out a bit on hd cameras lol

the queen's three bitches. i'm free on friday (twirling hair)

also i hope those three kids who played the old men get to borrow their outfits again come october because they have the funniest possible halloween costume opportunity in the world now

VERY funny to me that papageno's costume makes him look like he's drenched in bird shit

okay speaking of costumes. do i 100% Get It with the like suits and colors and everything....not really but i don't think i can say that i Get a lot about this opera tbh. what i did get was the very obvious dark/light symbolism going on with pamina and tamino wearing white and the queen and her cronies wearing all black. and i think zauberflote does benefit from some heavy handed symbolism bc what else is this show about actually without that....then again the fact that sarastro and his priests or whatever are all in dark colors too kind of undermines that a little so 🤷‍♀️

same thing with the whole reason vs superstition thing too like...sure you can claim Truth And Reason as good all you want sarastro but the constant invocation of isis/osiris and Mysterious Rituals kind of undermine what you're going for there lol. i think my point is that i don't feel like i really Get what zauberflote is like...going for, thematically. i mean i get the Themes but not a clear Point. maybe if i was an enlightenment era freemason i'd get it lol but alas i am not

that said......i didn't go into this one expecting a rock solid plot and honestly who does....it's zauberflote....it is very obviously not designed to work or be interpreted on a literal level and i appreciate that it never tries to ground itself in reality. that its plot and characters exist in a completely fantastic realm works and it works with the weird plot and its vague theming.

which itself is of course accomplished through good design and holy SHIT. this is truly the shining strength of this production. the design is INCREDIBLE.

the orchestra isn't totally onstage but they are raised up in the pit to the point where they are fully visible the whole show. i love an onstage orchestra so this made me very happy. and it allowed for actor/orchestra interaction which i also love!! like tamino coming down into the pit to hand the eponymous magic flute to the flute soloist and bring him onstage with him (i was wondering during the overture why the flutes and oboes were swapped places seating wise -- it's so the flutist can easily get onstage! delight!!), or when papageno brings his glockenspiel to the percussion soloist to play (the player being 'missing' at his last solo, making papageno play by himself, and he enters late with a cup of coffee...lmaoo). also stutzmann giving a big ol grin and thumbs up to papageno during his duet with papagena at the end. so sweet

also blocking around the orchestra seating of the audience and up the aisles! so much fun we love immersive theater

the set itself had this big flat platform in the center hoisted at each corner by a cord so it could raise/lower/tilt in any direction. made for some very neat staging with levels and slants and i enjoyed that, especially since the production forgoes any kind of traditional set pieces

papageno's birds were done in such a beautiful way omg...they have an ensemble in black wandering around stage and following him about when he's doing stuff and they each have a 'bird' made of a folded in half piece of paper that they flutter about stylistically (some of the orchestra members have some too that they flutter during his entrance aria). description does not do it justice, this was a beautiful way to stage it...so simple and evocative.

the designer was saying in the interview between acts that this production was meant to combine the high and low tech aspects of theater to connect present performance practice with the opera as it was originally done (hence the visible orchestra) and i looove that philosophy. and it worked here really well i think

THE FOLEY AND PROJECTION ARTISTS. STARS OF THE SHOW. i am not joking

they get to be onstage (albeit off to the sides) the whole show too and i love it. i love that the cameras on the broadcast kept cutting to them periodically to show off their work.

the use of live projection art was really well done -- he managed to make Writing On A Chalkboard captivating!!

and the foley. the FOLEY!!! i've done sound design and a bit of live foley before so i have a soft spot but wooow she did an amazing job and it was SO much fun to see all the props she played with to make the scenes come alive sonically. plus her little interactions with papageno were very funny. give her a tony award

i do think there were a couple of small moments here and there that didn't entirely work for me or a scene or two that dragged out longer than necessary but overall it was a joy to watch. the beautiful and whimsical design of the whole thing totally makes it worthwhile even if the plot itself is a bit lacking.

easily THE coolest production design i've seen the met do yet, and the best lighting and projections from them for sure. when it comes on demand i am forcing anyone i can to watch it with me bc that SET! the LIGHTING! the SOUND! the STAGING! it ticks all my boxes it hits all my buttons it was MADE for ME SPECIFICALLY

[kemetic-dreams]

Chevalier de Saint-Georges

Joseph Bologne, Chevalier de Saint-Georges(December 25, 1745 – June 10, 1799), was a FrenchCreolevirtuoso violinist and composer, who was conductor of the leading symphony orchestra in Paris.

Saint-Georges was born in the then French colony ofGuadeloupe, the son of Georges de Bologne Saint-Georges, a wealthy married planter, and an enslaved African woman named Nanon. At the age of seven he was taken to France, and at the age of thirteen educated asgendarmeto the King. He received music lessons from François-Joseph Gossec and likely violin lessons from Jean-Marie Leclair, while continuing to study fencing.

In 1764 Antonio Lolli dedicated two concertos to Saint-Georges. In 1769 he joined a new symphony orchestra; two years later he was appointed concert master and soon started composing. In 1773 he was appointed conductor of "Le Concert des Amateurs". In 1775 he introduced the symphonie concertante, using the possibilities offered by a newbow. In 1776 he was proposed as the next conductor of the Paris Opera, but was subsequently denied this role by a petition by the divas of the time to the Queen. This then put an end to any aspirations that Saint-Georges had to becoming the music director of the institution. In 1778 he lived for 2.5 months next to Mozart in the Chaussee d'Antinand stopped composing instrumental works in 1785. He knew many composers, including Salieri,Gossec,Gretry,Mozart and Gluck. He commissioned and performed the Paris Symphonies by Haydn and travelled to London where he met with the Prince of Wales and George IIIin 1787.

Following the 1789 outbreak of the French Revolution, the younger Saint-Georges served as a colonel of the Légion St.-Georges(established in 1792), the first all-African regiment in Europe, fighting on the side of the French First Republic. Today the Chevalier de Saint-Georges is best remembered as the first well-known classical composer of African ancestry. He composed numerous string quartets and other instrumental pieces, violin concertos as well as operas. Ludwig van Beethoven held his music and his views very highly.

Joseph Bologne was born in Baillif, Basse-Terre as the son of a planter and former councilor at the parliament of Metz, Georges de Bologne Saint-Georges (1711–1774) and Nanon, his wife's 16-year-old enslaved African servant of Senegalese origin, who served as her personal maid. Bologne was legally married to Elisabeth Mérican (1722–1801) but acknowledged his son by Nanon and gave him his surname

Starting in the 17th century, a Code Noir had been law in France and its colonial possessions. On April 5, 1762, King Louis XV decreed that "Nègres et gens de couleur" (Africans and people of color) must register with the clerk of the Admiralty within two months. Many leading Enlightenment thinkers like Voltaire argued that Africans and their descendants were inferior to White Europeans. These laws and racist attitudes towards mixed-race people made it impossible for Joseph Bologne to marry anybody at his level of society, though he did have at least one serious romantic relationship.

Musical life and career

François-Joseph Gossec

Nothing is known about Saint-Georges' early musical training. Given his prodigious technique as an adult, Saint-Georges must have practiced the violin seriously as a child. There has been no documentation found of him as a musician before 1764, when violinistAntonio Lollicomposed two concertos, Op. 2, for him,[note 1]and 1766, when composerFrançois-Joseph Gossecdedicated a set of six string trios, Op. 9,to Saint Georges. Lolli may have worked with Bologne on his violin technique and Gossec on compositions.

(Beauvoir's novel says that "Platon", a fictional whip-toting slave commander onSaint-Domingue, "taught little Saint-Georges" the violin.[note 2])

Historians have discountedFrançois-Joseph Fétis' claim that Saint-Georges studied violin withJean-Marie Leclair. Some of his technique was said to reveal influence byPierre Gaviniès. Other composers who later dedicated works to Saint-Georges wereCarl Stamitzin 1770, and Avolio in 1778.

In 1769, the Parisian public was amazed to see Saint-Georges, the great fencer, playing as a violinist in Gossec's new orchestra,Le Concert des Amateurs. Four years later he became its concertmaster/conductor. In 1772 Saint-Georges created a sensation with his debut as a soloist, playing his first two violin concertos, Op. II, with Gossec conducting the orchestra. "These concertos were performed last winter at a concert of theAmateursby the author himself, who received great applause as much for their performance as for their composition." According to another source, "The celebrated Saint-Georges,mulatto fencer [and] violinist, created a sensation in Paris ... [when] two years later ... at theConcert Spirituel, he was appreciated not as much for his compositions as for his performances, enrapturing especially the feminine members of his audience."

Young Saint-Georges in 1768, aged 22. The three roses on his lapel were a Masonic symbol.

Saint-Georges's first compositions, Op. I, were a set of six string quartets, among the first in France, published by famed French publisher, composer, and teacherAntoine Bailleux. They were inspired byHaydn's earliest quartets, brought from Vienna by Baron Bagge. Saint-Georges wrote two more sets of six string quartets, threeforte-pianoand violin sonatas, a sonata for harp and flute, and six violin duets. The music for three other known compositions was lost: a cello sonata, performed in Lille in 1792, a concerto for clarinet, and one for bassoon.

Saint-Georges wrote twelve additional violin concertos, two symphonies, and eightsymphonie-concertantes, a new, intrinsically Parisian genre of which he was one of the chief exponents. He wrote his instrumental works over a short span of time, and they were published between 1771 and 1779. He also wrote sixopéras comiquesand a number of songs in manuscript.

In 1773, when Gossec took over the direction of the prestigiousConcert Spirituel, he designated Saint-Georges as his successor as director of theConcert des Amateurs. After fewer than two years under the younger man's direction, the group was described[by whom?]as "Performing with great precision and delicate nuances [and] became the best orchestra for symphonies in Paris, and perhaps in all of Europe."

Palais de Soubise, venue of Saint-Georges' orchestra

In 1781, Saint Georges'sConcert des Amateurshad to be disbanded due to a lack of funding. Playwright andSecret du RoispyPierre Caron de Beaumarchaisbegan to collect funds from private contributors, including many of theConcert'spatrons, to sendmaterielaid for the American cause. The plan to send military aid via a fleet of fifty vessels and have those vessels return withAmerican rice, cotton, or tobacco ended up bankrupting the French contributors as theAmerican congressfailed to acknowledge its debt and the ships were sent back empty. Saint-Georges turned to his friend and admirer,Philippe D'Orléans, duc de Chartres, for help. In 1773 at the age of 26, Philippe had been elected Grand Master of the 'Grand Orient de France' after uniting all the Masonic organizations in France. Responding to Saint-Georges's plea, Philippe revived the orchestra as part of theLoge Olympique, an exclusive Freemason Lodge.

RenamedLe Concert Olympique, with practically the same personnel, it performed in the grand salon of thePalais Royal. In 1785, Count D'Ogny, grand master of the Lodge and a member of its cello section, authorized Saint-Georges to commissionHaydnto composesix new symphoniesfor the Concert Olympique. Conducted by Saint-Georges, Haydn's "Paris" symphonies were first performed at the Salle desGardes-Suissesof theTuileries, a much larger hall, in order to accommodate the huge public demand to hear Haydn's new works. QueenMarie Antoinetteattended some of Saint-Georges's concerts at the Palais de Soubise, arriving sometimes without notice, so the orchestra wore court attire for all its performances. "Dressed in rich velvet or damask with gold or silver braid and fine lace on their cuffs and collars and with their parade swords and plumed hats placed next to them on their benches, the combined effect was as pleasing to the eye as it was flattering to the ear." Saint-Georges played all his violin concertos as soloist with his orchestra.

[rainydawgradioblog]

Randall Goosby Plays Mozart and Answers My Burning Questions

28-year-old violin virtuoso Randall Goosby had his debut performance at the Seattle Symphony performing Mozart’s Violin Concerto No. 3 on February 8-1, and I had the pleasure of catching this performance and getting in touch with him for an interview. I’ll save the interview for last, as for now, I hope you’ll indulge me as I share my thoughts on the concert. 

Despite my show name having “Mozart” in the title (how could I pass up on the alliteration and name recognition for a quippy title?), I have never been particularly fond of Mozart. Wolfgang Amadeus Mozart was an incredibly prolific composer, and despite only living to the age of 35, he was able to churn out over 600 works, many of which were full-length multi-movement works. He was also a composer that largely operated within the confines of his time period, so I have often felt that his music falls victim to the formulaism common to the classical era (roughly 1750-1820). Bearing in mind his huge body of work and 18th century musical proclivities, I’ve accepted Mozart as a musical genius whose works seldom strike a chord with my personal tastes. This acceptance, of course, arrives with the occasional exception, for how could you not enjoy at least several out of a body of 600. 

I felt that Mozartean disclaimer necessary because I rarely feel Mozart’s music delivering any emotional revelations, but somehow, Randall Goosby was able to do just that. Goosby’s sincere love for the score radiated off of him as soon as he appeared onstage. As he swayed with the music, we were offered a glimpse into a veritable dialogue between soloist and orchestra. The first movement was rather light and dancelike, but I was particularly struck by the movement’s cadenza. I felt finally enlightened to what Goosby refers to as Mozart’s “endless expressive possibilities,” as the solo had moments of incredible emotional weight and a harmonic structure that seemed, to me at least, before its time. The following two movements were both flawlessly delivered in their own right. Though Mozart violin concerti have never been particular favorites of mine, I found the entire performance to be quite enjoyable. 

Having now witnessed Goosby’s radiating talent firsthand, I was in raptures to hear his encore. He played Louisiana Blues Strut (A Cakewalk) by African American composer Coleridge-Taylor Perkinson (not to be confused with Black British composer Samuel Coleridge-Taylor, for whom he was named). Goosby’s performance of this piece was stunning, to say the least. Topping off my enjoyment was that, as it turns out, Goosby and I are both from Memphis, TN. At once I was flooded with joy at hearing the Southern and Black folk traditions that I had the opportunity of being surrounded by growing up, but don’t encounter often here in Seattle. 

I’m attempting to wrap it up here so this blawg post doesn’t drag on forever with the inclusion of an interview. However, I haven’t even touched upon the second half of the concert, which was a Shostakovich symphony that I enjoyed so fervently that I had a smile plastered on my face for most of it. So I will attempt to be brief, which, as you might have gathered, is not my strong suit. 

Shostakovich’s 9th Symphony, in my opinion, is the the height of musical sarcasm. As I’ve gathered from the conductor Christian Reif’s description and my own knowledge of the life and times of Dmitri Shostakovich, our Shosty was engaged in a near constant battle between his own artistic desires and that of Stalinist Russia. At the time of the composition of his ninth symphony in 1945, Shostakovich had previously announced that his upcoming symphony was to be a large-scale work imbued with the heroic triumph of a Soviet victory over the Nazis. The resulting symphony was anything but, as Reif stated, Shostakovich had written first movmenets longer than this entire symphony, and the mood of triumph was nowhere to be found. Instead, there were moments of sprightly whimsy, sardonic dissonance, and carnivalesque satire. I just threw a lot of adjectives at you, dear blawg reader, but such is the nature of describing such a complex work with so many moods compacted into 27 minutes of music. I’ll end this all too short description with my general impression: I loved every moment of it. 

At long last we’ve arrived at the interview, which you can read below. 

You were quite young for your debut performance, has it been a lifelong goal to be a professional musician, or did you ever consider any other paths?

When I was a kid, I wanted to be a basketball or football player like everyone else. In the beginning, violin was simply something I found really fun and just loved to do. It wasn’t until I was in high school that I decided I wanted to make a career out of it.

Was there anything that attracted you to the violin in particular?

I have no memory of why I wanted to start violin. All I know is that my mom basically said to me and my siblings (I’m paraphrasing here), “I’m gonna make you play an instrument, but you can choose what I make you play!”

Who is your favorite composer, and why?

Mozart has been my favorite composer since I was a kid. There’s a simplicity to his music, in the sense that anyone who listens to it can understand, in their own way, what it’s about or what he was expressing. But, the more you listen and study his music, you start to understand what a complex personality he was — one minute the music makes you want to dance, and before you know it, you could have tears in your eyes. Just endless expressive possibilities in the subtlety and nuance of his writing. Truly magical stuff, and to me it never gets old.

The answer to these questions may be one and the same, but what is your favorite piece to listen to, and what is your favorite piece to play?

Do you often listen to classical music, or do you diverge to other genres for your personal listening habits?

I really don’t think I can choose one favorite piece to play or listen to! At least as far as classical music goes, it changes from day to day or week to week. Today, it’s Mozart Violin Concerto No. 3! Outside of classical music, I’ve always gravitated towards soul/R&B, mostly the oldies my parents always listened to when I was growing up — Stevie Wonder, Luther Vandross, Earth Wind & Fire, Whitney Houston, the list goes on and on.

Where was your favorite place you have performed?

Favorite place I’ve played is a tough one. If we’re talking about concert halls, probably Wigmore Hall, Carnegie, or the Concertgebouw. If we’re talking more generally, I’d say Korea or Japan — such an excitement and appreciation for classical music there, they had me feeling like a rock star! Also Japanese and Korean foods are my top 2 favorite in the world!

As a recording artist for Decca Classics, is there any recording that you are most proud of? 

I’ve only put out 2 records with Decca, but I’m very proud of both of them! I’m grateful for the opportunity to record and share the stories of great composers with people all over the world!

Are there any upcoming events or performances that you are particularly excited about? 

Really excited to take Florence Price’s Violin Concerto No. 2 on tour in Europe with Yannick Nezet-Seguin and the Rotterdam Philharmonic this Spring!

Special thanks to Randall Goosby, whose new single is above, Alison Ward & the SSO’s PR team for their continued support & connecting me with Goosby’s team, and Brandon Patoc for the photo. 

Thanks for heeding my classically inclined ramblings, until next time,

Addie

[simmyfrobby]

I have to ask have you ever considered the Matthew & Jesus dichotomy for Marchand & Bergeron bc you get both the reviled apostle (tax collector/resident ice pest) & the worshipped savior (Bergeron the same in every interpretation) + Matthew (along with other apostles) took on some of Jesus's role after his death to spread the gospel (to be a good leader? What does it mean to inherit Bergeron's legacy) - this being a much more obnoxiously optimistic approach to both Marchand + Bergeron and the post-Bergeron bruins ofc

Okay so first of all this is a much kinder interpretation of Marchand so I actually really like it. It still touches on a lot of the same notes (saint/sinner, love, devotion, loss, legacy) without having to deal with the betrayal. Excellent take. Thank you for sharing it!

"Bergeron the same in every interpretation" made me feel so !!!!!!!!!!! and also it reminded me of this:

(Last Days of Judas Iscariot.. again)

Now here comes my defence of Judas as Marchand

(.. again)

(I'm sorry)

(I love talking about it)

So part of the reason Judas is an easier fit than St. Matthew is because there is just so much more written about him in terms of poetry

(and theatre, which I assume from your ask you've already read my other post about so I won't repeat all that)

Here's a few of my favourite Judas lines:

To: Judas Iscariot, Thérèse Naccarato

"Damned to hell, damned in verse, damned to an eternity without him."

The Sacrifice, Frank Bidart

"Wiping away our sins, Christ stained us with his blood—; 

to offer yourself, yet need betrayal, by Judas, before SHOULDERING 

THE GUILT OF THE WORLD—; 

… Give me the courage not to need Judas."

The Judas Passion, Orchestra of the Age of Enlightenment

"I was called to sin-as-virtue, to virtue-as-sin… of course with a kiss: kiss of repentance, kiss of inexpressible sorrow"

Sadly there are less poems about the other saints/disciples. I did initially look into St. Peter (Jesus washing his feet, Peter cutting off someones ear in the Garden of Gethsemane), but I ultimately found it less compelling than the Judas narrative.

(the three acts of denial killed it. Marchy never shuts up about Bergeron, actually)

It's just.. the DRAMA of it all. BETRAYAL WITH A KISS. Killing the one person you love more than anyone in the world. This idea of Judas, who is universally seen to be the worst person in the whole entire world, just being so Human and Flawed and wonderfully relatable. Judas' REGRET after the fact when its already too late!!

It's just so !!!!!!!!!!!

There's doomed by the narrative and then there's damned by the narrative.

(somewhere on this app there is a post about how as a kid who grew up Different, seeing monstrous and unloved things makes you go: "but what if I loved them. what if they were secretly good. just misunderstood. what if I gave them a hug." and so maybe there's an element of that in there too)

Marchand's narrative arch needs some violence and some villainy and awfulness and questionable decisions I'm afraid (said with love). It is important to me that Judas' crime occurs AFTER he's gotten to know Jesus. It is not a Part Of His Life Before. One of my favourite things about the Bergeron / Marchand dynamic is that Bergeron sees Marchand exactly for who he is - good and bad - and loves him anyway. He doesn't try to change any part of him. That's love baybey!

Also Marchand fighting anyone who even looks at Bergeron funny?? Where is that post that goes: it my fault my love language is acts of service and all I know how to do is kill?

But ok sorry for rambling. Back to your ask: the retirement point you bring up is something I've been playing with as well. I'll post the first draft of this poetry post because the original poem was actually a LOT MORE BLASPHEMOUS, but it also does a better job explaining the parallels between the narratives..

Full poem can be found here.

It's just.. casting Marchand as Judas and Bergeron as Jesus doesn't just change the way I look at their dynamic, it also changes the way interpret the Bible story. OF COURSE THEY LOVED EACH OTHER. Because look: Bergeron and Marchand love each other.

[scotianostra]

Happy Birthday Scottish operatic soprano Isobel Buchanan.

Buchanan was born in 1954 in Glasgow,and won a scholarship to the Royal Scottish Academy of Music and Drama, where in 1974, she was awarded with Student of the Year prize. She also won the Governor’s Recital Prize that same year.

In 1975 she auditioned for Richard Bonynge and Joan Sutherland and was offered a three year contract with the Australian Opera. Her professional debut was in January 1976, singing the role of Pamina in Mozart’s The Magic Flute, one she was to repeat many times throughout the world.

She made her British debut at Glyndebourne in 1978, again singing Pamina, in the Cox/Hockney production and in 1981 she sang The Countess in Peter Hall’s production of The Marriage of Figaro, a role repeated for the 50th Anniversary of the company in 1984 with Bernard Haitink conducting.

1978 saw her as Micaela at the Vienna State Opera in the legendary production by Franco Zefirelli, with Domingo, Obratsova and Mazurok. Conducted by Carlos Kleiber, the performance was broadcast live throughout Europe and released on CD and DVD.

Isobel’s Covent Garden debut was in Parsifal, conducted by Solti. Among other roles, she went on to sing Sophie in Werther, with Alfredo Kraus and Teresa Berganza, later recording the opera with Jose Carreras and Frederica von Stade, Sir Colin Davis conducting. She has appeared in opera houses in Cologne, Paris, Munich, Santa Fe, Brussels,Hamburg,Sydney, Wellington Chicago (with Pavarotti and Bergonzi) and Monte Carlo (with Raimondi).

She has also appeared with all the major British orchestras and has collaborated with many of the world’s leading conductors, including Solti, Haitink, Andrew Davis, Colin Davis, Celibidache, Pritchard, Mariner, Kleiber and Menuhin.

Isobel has made numerous recordings and in 1981 the BBC made a documentary, La Belle Isobel, of her career up to that time. She has had her own television series and has also appeared on such programmes as Face the Music and The Michael Parkinson Show.

After bringing up her two daughters, Isobel has recently resumed her career singing recitals with Eugene Asti and Malcolm Martineau at St John’s, Smith Square, as well as performing Sheherezade with the South Bank Sinfonia and, most recently, Haydn with the Orchestra of the Age of Enlightenment and Walton’s Façade with Jason Thornton and the Bath Phil at Longleat.

She also teaches voice privately, is a regular tutor for the Samling Foundation, gives master classes and workshops throughout the UK and teaches at the Guildhall School as a visiting professor.

I’m quite biased because this was my mums favourite Burns song, just listen to the clarity in her voice, Perfect….

[culmaer]

happy birthday to G. Ph. Telemann !

born on this day, 24 March, in 1681. below, his Trio Sonata in C minor for Recorder, Oboe and Cello (Allegro mvt) performed by the Orchestra of the Age of Enlightenment

[madame-yus-wife]

put 5 songs u listen to, post it, then send this ask to 10 of your fav followers!! (You don’t have to do this but I figured it would be fun ❤️)

Thank you for the tag, @thegoddamnfeels

I'll just post the most recent ones I listened to:

1 [Theme Song] Wu Ji / Yibo & Xiao Zhan (The Untamed OST)

2 Where'er you walk from SEMELE / Andreas Scholl, Orchestra of the Age of Enlightenment under the baton of Roger Norrington

3 Untouched / The Veronicas

4 Special K / Placebo

5 Choco Chip Cookie / Goo Hara

Whoever wants to do this, consider yourself tagged

[gasparodasalo]

Felix Mendelssohn (1809-47) - Incidental Music to "A Midsummer Night's Dream," Op. 61, VII. Wedding March: Allegro vivace. Performed by Charles Mackerras/Orchestra of the Age of Enlightenment on period instruments.

[wethinkwedream]

Get ready for an enlightening journey through the leafy pathways of your nutrient-dense vegetable garden, with an unexpected friend - aromatic herbs, that besides their innumerable benefits, also attract ladybugs. Here, you’ll find valuable insights into a horticultural strategy on companion planting and effective growth cycles that has been resonating with organic gardeners around the world. It’s absolutely brimming with potential to transform your green patches into bountiful areas at mealtime, and it’s called companion planting. This method can also help protect your plants from pests and diseases. What is Companion Planting and How Can it Maximize Your Salad Growth? Aromatic Herb and Leafy Vegetable Pairings for Perfect Salads: Your Guide to Companion Planting Understanding the Basics of Companion Planting In the grand orchestra of the organic vegetable garden, companion planting is the conductor, ensuring every ‘instrument’ - from the crunchiest lettuce to the most fragrant herb - plays its part towards a harmonious symphony of growth. Companion planting is an age-old practice where specific plants are paired together to mutually benefit one another's growth cycle and yield a nutrient dense harvest. For example, certain aromatic herbs and flowers from the Asteraceae family are known to repel pests while their leafy vegetable comrades like spinach and Brussels sprouts make excellent host plants. Top Benefits of Companion Planting for Salad Gardens Aside from creating the perfect crunchy and nutrient-dense salad with fresh herbs, companion planting varieties to choose from offers benefits such as enhancing the flavor of a variety of fruits and vegetables. From providing shade and nutrients, acting as a live mulch, to aiding in pest control by attracting ladybugs, these vegetative duos work together in harmonious perfection. The leafy green partners, such as lettuce, spinach, parsnip or arugula, help improve the soil by adding organic matter in their growth cycle and also grow well with members of the asteraceae family. Meanwhile, herbs like dill, oregano, or thyme invite beneficial insects, crafting a vibrant ecosystem in your very own salad green garden and fostering healthy growth for young seedlings. Vine plants can also grow within this setting, adding an extra touch of biodiversity. Steps to Implement Companion Planting in Your Garden Use your green thumb effectively by starting to companion plant different varieties of a cool-season crop like chard, which can attract beneficial insects and enhance garden health. Begin with the establishment of a vegetable garden containing leafy greens like kale, romaine, or arugula, then intersperse it with aromatic herbs, and allow some plants like squashes to sprawl as they grow. Select varieties to choose from based on their growth habits, nutrient needs, and pest resistance for companion planting. For optimal results, you might consider implementing a trap crop system to lure pests away from the main attraction, lettuce varieties. Which Leafy Greens Make Good Companions for Herbs? A man adorned with a plant on his head, featuring an aromatic herb. Pairing Lettuce with Herbs for Healthy Salads Lettuce is a low in calories leafy vegetable that enthusiastically embraces the company of good companion herbs in its nearby vicinity. Fragrant marigold, parsley, and cilantro, known for their pest-repelling properties, protect the wonderful addition of delicate greens like chard, while also attracting ladybugs. Not only does this introduce a variety of flavors to your salad mix, but it also makes them a great deterrent to aphids and slugs. Spinach and Herb Pairs: Creating Nutritious Green Mixes An excellent way to boost the health of cool-season crop like Spinach, which has an impressively high vitamin C and folate content, is by pairing it with herbs like dill and oregano. Pungent aromatic herbs deter many pests affecting spinach, such as aphids and leaf miners and promote a nutrient dense harvest.

This method provides a nutritious mix of different varieties of leafy green vegetables for your perfect salad and also ensures a healthy and pest-resistant spinach harvest. The Role of Kale in Companion Planting Whether it is the brassica family like the curly or Tuscan kale variant, they appreciate the company of many plants, especially aromatic herbs. Companions like rosemary, sage and calendula, not only repel cabbage moths and aphids but also enhance the nutrient density of your salad at mealtime, providing a powerful combo of vitamin K, C and calcium. Herb Companions for Romaine, Arugula, and Other Popular Salad Greens Aromatic Herb and Leafy Vegetable Pairings for Perfect Salads: Your Guide to Companion Planting Romaine Lettuce and its Aromatic Herb Pals While butterhead, with its crispy leaves and delicate flavor, makes a delightful salad base, it opens up many possibilities for herb companions, including those that sprawl and emit savory scents. Parsley, thyme, and basil work splendidly to ward off pests, ensuring your romaine and butterhead, as well as Brussels sprouts, remain in prime condition for when you are able to harvest. Best Herb Partners for Arugula Arugula, the leafy green with a delectable peppery flavor, can benefit greatly from being planted alongside herbs like dill and fennel, which entice beneficial insects and protect young seedlings. These companions, in addition to enhancing the salad's flavor profile, assist in pest control and make the growing process a breeze for young seedlings. Choosing Herbs for Less Common Salad Leaves From radishes to beet greens, broccoli, even down to the stalk of less common salad leaves, like savories and parsnips, all benefit from good companion planting. Plants from the Asteraceae family can also serve as beneficial companions. Aromatic herbs like sage, mint, and tarragon all make excellent partners, enhancing flavor profiles and deterring pests that might otherwise find their way to your salad greens. Lettuce-herb Companions: Pairs that Deter Pests and Promote Growth Aromatic herbs growing in a greenhouse. Using Aromatic Herbs to Protect Your Lettuce from Pests A well-planned companion plant team composed of different varieties can fortify your lettuce against invaders, protecting its soft leaves and enhancing the growth of other plants. Aromatic herbs, particularly members of the daisy family like dill, fennel, and oregano, are wonderful at repelling common pests and protect young seedlings, especially when combined with mulch. Not only do they create a more pleasant aroma around your garden, but they also inhibit the growth of harmful bugs, enhance the flavor of both fruits and vegetables, and contribute to a nutrient dense yield. Herbs that Stimulate the Growth of Lettuce While lettuce companions such as cucumber and beet help in keeping the soil moist, herbs such as cilantro and parsley can stimulate the growth and fortify young seedlings of lettuce. These herbs, including several members of the Asteraceae or daisy family, aid in maintaining soil health, catering for acidic conditions, and providing the necessary nutrients for brassica family members like lettuce and cauliflower to thrive. Herb-Lettuce Combinations for Optimal Soil Health An ideal pairing of herbs and lettuce doesn't just provide a well-rounded and nutritious salad bowl. The roots of these plant partners play a crucial role in enhancing soil health and structure, creating a conducive environment for roots to expand and access water and nutrients, and in turn aiding the growth of many fruits and vegetables. Implementing Marigolds and Other Herbs in Your Lettuce Garden Why Marigold is a Garden’s Best Friend Besides adding a splash of sunshine-yellow to the garden landscape, marigold, a member of the Asteraceae or daisy family, serves a more practical purpose, with its strong scent helping to protect nearby plants from pests. This aromatic

herb releases a strong scent that deters pests like whiteflies and nematodes, making them one of lettuce's best friends in the garden, and can also enhance the flavor of other crunchy vegetables. Diversifying Your Garden with a Variety of Herbs Brassica family members like lettuce, colorful chards, and cabbages, paired with a diversity of herbs, not only create a spectacular tapestry of greens but also weave in a powerful defense mechanism against pests and diseases. This rich diversity encourages the growth of beneficial insects, contributes to a resilient garden that flourishes across growth cycles, and ensures an able to harvest, nutrient-dense yield season after season. Companion Planting for a Sustainable and Prolific Salad Harvest In the end, companion planting isn’t just about maximizing your able to harvest yield, or the growth cycle of cool-season crops like butterhead lettuce and parsnip, although these are worthy goals. Companion planting is an excellent way to be in harmony with nature while embracing ecological balance. By doing so, not only will your garden teem with nutritious leafy vegetables and aromatic herbs for your perfect salads, but you will also contribute towards a more sustainable planet by attracting beneficial insects and enhancing the growth of many other plants. The crunch of that fresh lettuce leaf or vine-ripened tomato in your salad will resonate a deeper satisfaction at mealtime - the taste of your labor, your respect for nature, and the promise of continued abundance. ERIC - Education Resources Information Center: ERIC provides a vast database of indexed and peer-reviewed academic literature in education and related fields, making it an invaluable resource for educators, researchers, and students seeking comprehensive, research-based information on a wide array of topics. Explore ERIC. National Institutes of Health (NIH): The NIH is a part of the U.S. Department of Health and Human Services and is the nation’s medical research agency—making important discoveries that improve health and save lives. Visit NIH for detailed information on medical research initiatives, health resources, and training opportunities. Oregon State University: Oregon State is a leading public research university located in Corvallis, Oregon, offering a wide range of academic programs, research opportunities, and extension services. With a commitment to excellence and innovation, OSU provides valuable resources and information for students, educators, and the public. Learn more about Oregon State University.

[markseow]

OAE Education: Life of the Sea

26 January 2024

Handel, Purcell, James Redwood. Orchestra of the Age of Enlightenment, led by Huw Daniel.

Durham Music Service.

[bwthornton]

Semele - 'Hence, Iris, Hence Away' #Glyndebourne

Semele - 'Hence, Iris, Hence Away' #Glyndebourne

[akashasananda]

Journey into the Unknown - Shekinah Ma and Sanandaji on Awakening the Mysticism of Self-Discovery

In the celestial ballet of existence, you stand at the intersection of life, longing for a deep bond with the mystical threads that form your life's fabric. As a pursuer of divine essence and spiritual mastery, you explore the mysterious domains of self-awareness. Here, every stride is a holy exploration, and every instance echoes the synchronicity of universal love. The teachings of Shekinah Ma and Sanandaji, your spiritual guides, illuminate this exploration further, casting a radiant beacon on your path to enlightenment.

Guided by the cosmic energies and the threads of synchronicity, you have become a pilgrim on a transformational journey. The call to explore the depths of your soul echoes in the chambers of your heart, inviting you to transcend the mundane and embrace the extraordinary. This is not merely a quest for self-discovery; it is a mystical activation, a rebirth, and initiation into the secrets of the universe.

Along this path of mysticism, you encounter master healers and spiritual teachers who, like beacons of light, illuminate the way. Their wisdom transcends the boundaries of conventional knowledge, offering insights that resonate with the eternal truths of existence. In the sacred gatherings of like-minded souls, known as Mastery Gatherings, you find solace and inspiration, as the collective energy propels you towards the evolution of consciousness.

As you plunge into the cosmic orchestra, the era of Golden Age Ascension becomes perceptible to your heightened senses. The heavenly bodies, under the influence of astrological and energetic projections, steer your course with celestial exactness. The Full Moon Transmissions immerse you in a radiant glow of universal knowledge, unearthing concealed aspects of your soul and linking you to the divine rays that originate from the cosmos's core. In this intricate dance, the wisdom of Shekinah Ma and Sanandaji acts as your guiding star, illuminating your path to spiritual mastery.

In the quiet moments of introspection and contemplation, you discover the alchemy of the soul. The Kunda Rays, ancient conduits of spiritual energy, awaken within you the dormant potential for spiritual mastery. As you attune to the divine paths that weave through the mystical tapestry, you feel the transformative power of these sacred rays, unlocking the portals to your higher self.

The journey into the unknown is not without its challenges, but the community support calls serve as a lifeline, connecting you with kindred spirits who share the same divine yearning. This community, bound by the ethos of mutual growth and support, becomes a sanctuary for the unfolding petals of your soul. Together, you navigate the ebb and flow of the cosmic currents, finding strength in the collective consciousness of enlightened humanity. TwinRay

As you traverse the landscape of your own existence, you witness the rebirth and initiation of not just yourself but of the world around you. The evolution of consciousness is not a solitary endeavor but a collective dance of interconnected souls, each contributing to the symphony of divine union. It is in the shared wisdom of the mystical community that you find the support and insight needed for your personal life, for it is through the tapestry of interwoven lives that the true masterpiece of existence unfolds.

The mystical activations and spiritual explorations lead you to the threshold of universal love, where the boundaries of the self-dissolve into the boundless expanse of the cosmic heart. This is the essence of the divine union – a sacred communion with the energies that animate all of creation. In this state of oneness, you realize that the journey into the unknown is not a linear progression but a cyclical dance of eternal truths and cyclical rhythms.

As you embrace the wisdom imparted by Shekinah Ma and Sanandaji, your existence evolves into a striking testament to the power of mysticism. Your journey reflects the remarkable alchemical processes that have occurred within, turning the earthly aspects of your being into a beacon of spiritual mastery. The sacred rays, once your guiding stars, now radiate from within you, casting an aura of divine essence that influences those in your sphere.

In the sacred tapestry of existence, every soul is a thread, woven into the fabric of the cosmic design. The mystical activations and Full Moon Transmissions are the cosmic loom, orchestrating the grand symphony of existence. As you embrace the mystical currents of your own journey, you contribute to the harmonic resonance that uplifts the collective consciousness.

As you bask in the glow of Full Moon Transmissions, the lunar energies bathe you in the elixir of cosmic wisdom. The full moon, a celestial mirror reflecting the hidden recesses of your soul, becomes a conduit for divine illumination. In these moments, you commune with the sacred rays that radiate from the cosmic heart, absorbing their transformative energy and allowing it to flow through the very core of your being.

The Kunda Rays, like ancient keys, unlock the gates to higher realms of consciousness. In their divine dance, you experience the alchemical processes that transmute the base elements of your existence into the pure gold of spiritual mastery. It is a process of refinement, where the impurities of the ego are melted away, leaving behind the radiant essence of your true self. This spiritual alchemy is a sacred art, and you, the alchemist, are the vessel through which the mystical energies transmute your inner landscape. Shekinah Ma and Sanandaji guide you through this journey, their wisdom illuminating your path.

As your mystical journey unfolds, each moment presents itself as a gateway to self-discovery and spiritual embodiment. The golden age ascension isn't a far-off goal, but a perpetual unveiling of the divine path ingrained within you. Engulf yourself in the mysticism that saturates every particle of your essence; in doing so, you become a lighthouse guiding others on their spiritual quests. The threads of synchronicity, the sacred rays, and the enlightened humanity's shared consciousness come together to fabricate a tapestry of universal love—a tapestry that surmounts time and space, resonating with the everlasting truths of existence. Guided by Shekinah Ma and Sanandaji, your journey towards enlightenment continues to progress.