Posted in Around My Idol

Around My Idol: Piece II

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Daphne and Apollo

MG

Marco Da Gagliano

born May 1, 1582, Florence [Italy]
died Feb. 25, 1643, Florence
Gagliano worked in Florence as chapelmaster at the cathedral (1608–25) and as chapelmaster at the Medici court (1609–25), primarily in service to Cosimo II; about 1625 illness curtailed his work, but he remained affiliated with those institutions for the rest of his life. He staged his first opera, Dafne, at Mantua in 1608. Il Medoro (1619), composed with Jacopo Peri (Peri Jacopo), is lost; La Flora was produced in 1628. Peri indicated that Gagliano’s way of setting text to music came closer to actual speech than any other, therefore accomplishing the aim of the Florentine Camerata* of decades before, who sought to recapture that (supposed) aspect of ancient Greek music.Gagliano followed the monodic recitative (melodic, half-spoken, half-sung) style established by the Florentine intellectuals who sought to revive ancient Greek music and drama and produced early operas. His recitative is musically richer than that of his contemporaries Peri and Giulio Caccini (Caccini, Giulio), and he provides a greater variety of set numbers. His works were eclipsed, however, by Claudio Monteverdi (Montverdi’s) Orfeo. He also composed sacred music and madrigals; some of this work was published between 1594 and 1630, but most survived in manuscript form.He was important in the early history of opera and the development of the solo and concerted madrigal.
* Florentine Camerata
Florentine Camerata, Early Opera, Castrati, and Early 19th Century Opera Florentine Camerata Name is derived from Caccini’s score for L’Euridice, which dedicated the work to Count Bardi Also known as “Camerata de’ Bardi” Met at January 14, 1573 Early Renaissance – Florence ~1570 – 1590 Gathered by Giovanni de’ Bardi and met at his house Eureka! Group of humanists, musicians, poets, and intellectuals Talked about and guided trends in the arts – music and drama especially Frequent members include Giulio Caccini and Vincenzo Galilei (who is the father of Galileo, famous astronomer) Girolamo Mei also heavily participated during 1572 – 1578 Unified because they believed that music had become corrupt, so they returned to the forms and styles of ancient Greeks o Art of music could be improved = society improved Musical experiments led to stile rapressentativo; “dramatic style” o Influenced by Girolamo Mei, who is an ancient Greek scholar
 – Greek drama was spoken rather than sung
o Emilio de’ Cavalieri first to employ it
to read further, please follow…
Gagliano was one of the most important early opera composers — he wrote several apart from Dafne that do not survive complete. He also wrote an oratorio, six books of 5-part madrigals, a volume of Musiche(monodies, secular duets and trios) and a quantity of sacred music including thirty-eight motets. In Dafne he supplements the recitative of Peri and Caccini with arias and polyphonic choruses, giving a more varied whole. In the song Valli profonde he uses an arresting variety of moods to produce one of the finest monodies of the early Baroque. Gagliano’s madrigals are more conventional, however, and his church music is distinctly old-fashioned.
Gagliano was extremely influential in his time, as could be expected of the Medici’s own appointed head of all musical activities at their court; however his popularity waned after his death, and his music has since been overshadowed by contemporaries such as Monteverdi.
Other music by Gagliano includes secular monodies* and numerous madrigals*. While the monody was a Baroque stylistic innovation, most of the madrigals are a cappella, and written in a style reminiscent of the late Renaissance (in the first decades of the 17th century, the continuo madrigal was becoming predominant, for example in the works of Monteverdi). This mix of progressive and conservative trends can be seen throughout his music: some of his sacred music is a cappella, again in the prima prattica* style of the previous century, while other pieces show influence of the Venetian School.
* secular monody-
Monody is a term with a definite historical origin. The 16th century madrigal was a polyphonic secular song form, with melodic interest shared between the (most frequently 5) voices. In the development of the more soloistic style which was one of the driving forces in the origin of the Baroque, and with it modern tonality, emphasis was shifted to a single upper line for melodic interest as accompanied by instrumental parts to fill a harmonic texture. In a prototypical example, the latter could be chords on a lute. Monody was the name given to this style. From this perspective, one might note that even recent orchestral music is frequently monodic: i.e., a primary melody in the upper range accompanied harmonically. There is some lingering overlap between the terms homophony and monody. The term monody emphasizes the distinct or soloistic role of the main melody, while the term homophony emphasizes the concord and alignment between voices in the texture. In practice, it may be difficult to give many sections of “common practice” music one label or the other. The quodlibet is frequently in quintessential homophonic form, as is the later “barber shop” music.
for more on polyphony, monody and monophony, please follow…
A petite histoire of secular monody in Europe:
 http://scottfoglesong.com/music_27/secular_monody/secular_monody.pdf
* Madrigal-
madrigal, name for two different forms of Italian music, one related to the poetic madrigal in the 14th cent., the other the most common form of secular vocal music in the 16th cent. The poetic madrigal is a lyric consisting of one to four strophes of three lines followed by a two-line strophe called a ritornello. The most important 14th-century madrigal composers were Giovanni da Cascia (also known as Giovanni da Florentia) and Jacopo da Bologna (both fl. c.1350). Their madrigals are usually for two voices in long and florid melodic lines. The 16th-century madrigal is poetically a free imitation of its earlier counterpart; musically, it is unrelated. The earliest of these madrigals were usually homophonic in four and sometimes three parts, emotionally restrained, and lyric in spirit. The classic madrigals of Cipriano da Rore (1516–65), Andrea Gabrieli, Orlando di Lasso, and Filippo da Monte (1521–1603) were usually for five voices in a polyphonic and imitative style, the expression closely allied to the text. In the last part of the 16th cent. composers such as Luca Marenzio, Carlo Gesualdo (c.1560–1613), and Monteverdi intensified the expression of the text by the use of chromaticism, word painting, and declamatory effects. In the 17th cent. madrigal was used to designate certain expressive solo songs. In England the polyphonic madrigal had a late flowering in the Elizabethan era. Celebrated English madrigal composers include Byrd, Morley, Orlando Gibbons, Weelkes, and Wilbye.

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For More wonderful information regarding the Greek myth of Daphne, please follow…
http://www.theoi.com/Nymphe/NympheDaphne.html

 

 

Daphne Libretto:

Synopsis

Prologue: Ovid evokes the metamorphosis of Dafne nymph laurel, the power that love has on men and Apollo, who, despite his divinity, was a victim of Love and mourned the loss of Dafne.

 

Scene I: it depicts the god Apollo, the chorus of nymphs and shepherds Python and the terrible dragon persecutes them by decimating their flocks and sterilizing their fields. A prayer nymphs and shepherds addressed to God for being released from the horrible monster follows the clash between Apollo and the dragon is killed.

 

Scene II: Venus, accompanied by her son Love, Apollo encounter wandering in the woods. The god used to taunt the son of Venus, claiming that because of his blindness he even manages to distinguish targets qu’atteignent his darts, while he Apollon managed to overcome the cruel monster. Venus then warn that it is dangerous to make fun of her son as well and love to swear that he will know peace after having successfully reached its features and Apollo have seen crying in pain.

 

Scene III: it opens in the presence of the beautiful Dafne, huntress nymph who asked the shepherds what happened from the terrible beast. Shepherds to reply Apollo killed her after a valiant fight. Apollo and Dafne then meets remains subdued. He asks her if she is goddess or nymph; the Dafne response that informs it is deadly, Apollo is definitely affected by the stroke of Love. After mentioning how he killed the monster, pointing to the still blood-stained field at the end of the fight, he offers to become his hunting companion. After a short time, the nymph suddenly fled recalling that intangible law forbids him to have a god companion.

 

Scene IV: she sees Love triumphant Apollo cries of passion, pierced by the arrow. Dafne has also been the target of the arc of the son of Venus, since it is forced to flee the god of advances. Venus appears and after a meeting with his son, invited him to go back with him among the gods.

 

Scene V: it evokes the destiny of Dafne who, to escape Apollo, has been transformed into a laurel. Tirsi, making messenger function of this sad event, tells the nymphs and shepherds how Dafne was transformed before his eyes. At this news, all start crying the disappearance of the nymph.

 

Scene VI: Apollo joins the nymphs and shepherds to mourn the death of his beloved.

Posted in Fear Inlandish

Fear Inlandish: Piece IV

“False hopes are more dangerous than fears.”

 

 

“My grief is my castle, which like an eagle’s nest is built high up on the mountain peaks among the clouds; nothing can storm it. From it I fly down into reality to seize my prey; but I do not remain down there, I bring it home with me, and this prey is a picture I weave into the tapestries of my palace. There I live as one dead. I immerse everything I have experienced in a baptism of forgetfulness unto an eternal remembrance. Everything finite and accidental is forgotten and erased. Then I sit like an old man, grey-haired and thoughtful, and explain the pictures in a voice as soft as a whisper; and at my side a child sits and listens, although he remembers everything before I tell it.”

 

“Something wonderful has happened to me. I was carried up into the seventh heaven. There all the gods sat assembled. By special grace I was granted the favor of a wish. ‘Will you,’ said Mercury, ‘have youth, or beauty, or power, or a long life, or the most beautiful maiden, or any of the other glories we have in the chest? Choose, but only one thing.’ For a moment I was at a loss. Then I addressed myself to the gods as follows: ‘Most honorable contemporaries, I choose this one thing, that I may always have the laugh on my side.’ Not one of the gods said a word, on the contrary, they all began to laugh. Hence I concluded that my request was granted, and found that the gods knew how to express themselves with taste; for it would hardly have been suitable for them to have answered gravely: ‘It is granted thee.’”

 

“There are people so weak that they need loud noise and a distracting environment in order to be able to work. Why is this, unless for the fact that they have no command over themselves, except in an inverse sense?”

 

“Imagine hidden in a very plain setting a secret chest in which the most precious treasure is placed — there is a spring that must be pressed, but the spring is concealed, and the pressure must be of a certain force so that an accidental pressure cannot be sufficient. The hope of eternity is concealed within a person’s innermost being in the same way, and hardship is the pressure. When the pressure is put on the concealed spring, and forcefully enough, the content appears in all its glory!”

Despair:

The three forms of despair: not being conscious of having a self, not
willing to be oneself, but also despair at willing to be oneself. Despair
is “sickness unto death.”
The Universality of This Sickness (Despair):
A man’s life is wasted when he lives on, so deceived by the joys of life
or by its sorrows, that he never becomes decisively conscious of himself
as spirit, as self, that is.
The Self:
In every instant a self exists and is in the process of becoming. The self
does not actually “exist,” but is only that which it is to become. In so
far as the self does not become itself, it is not its own self, and not to
be one’s own self is despair.
Despair is Sin:
Sin means to be in despair at not willing to be oneself, or to be in
despair at willing to be oneself. The lives of most men, being
determined by a dialectic of indifference, are so remote from the good
(that is, faith) that they are almost too spiritless to be called sinners,
almost too spiritless to be called despairers.
Continuation of Sin:
A definition of faith: “By relating itself to its own self and by willing to
be itself, the self is grounded transparently in the Power which
constituted it.” This means we must not despair over despairing about
our sins, nor must we abandon faith and instead substitute
indifference.
More to Come in Piece V…
 
Posted in Uncategorized

Hobbits

The West’s Darkest Hour

Most commenters and bloggers in the white nationalist scene are like the Hobbits. They want to comprehend what’s happening to the West with a worldview that can be understood by homemakers. That’s why the single-cause hypothesis is so popular among them, even among German hobbits. The trouble with the monocausal hypothesis is that it makes the movement look silly. Yesterday for example, a monocausal hobbit stated on The Daily Stormer that there are signs that ISIS could have been spawned by the Mossad.

lotr-gandalf-bilbo

Don’t take me wrong. As in the novel, which by the way I read in the luxurious 50th anniversary edition, I believe that white nationalist Hobbits will play a pivotal role to destroy the One Ring. However, unlike Tolkien’s characters, white nationalist hobbits don’t always want to take advice from the Gandalfs of our time—Sunic, O’Meara, MacDonald. Instead, they are becoming increasingly enchanted by the…

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Posted in Uncategorized

Box It, Bag It, Wrap It: Medieval Books on the Go

medievalbooks

Books in use generally reside in our hands or on our desks. This was not very different in medieval times. However, medieval and modern reading culture take different paths when it comes to books that are not in use. While both then and now the objects are commonly shelved after use, medieval readers had additional storing options: slipping the book into a box, bag or wrapper. Unfortunately, few of these exotic – and fascinating – storage devices survive today. However, the ones that do indicate that many were made with a specific purpose in mind, namely transportation. Here are some popular means of packing up your book to go in medieval times, including the precursor of our modern tablet sleeve.

Box it

StGall_360 Fig. 1 – St Gall, Stiftsbibliothek, MS 360 (11th century) – Source

The book box is probably the sturdiest and most effective means to protect your book against the elements and other hostilities on the medieval road. Such boxes were usually made…

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Posted in Fear Inlandish

Fear Inlandish: Piece III

” Grief is a hone to a hard mind ” 

“Idleness is by no means as such a root of evil; on the contrary, it is a truly divine life, provided one is not himself bored. Idleness may indeed cause the loss of one’s fortune, and so on, but the high-minded man does not fear such dangers; he fears only boredom. The Olympian gods were not bored, they lived happily in happy idleness. A beautiful woman, who neither sews nor spins nor bakes nor reads nor plays the piano, is happy in her idleness, for she is not bored.”

“Now in case a man were able to maintain himself upon the pinnacle of the instant of choice, in case he could cease to be a man, in case he were in his inmost nature only an airy thought, in case personality meant nothing more than to be a kobold…The choice itself is decisive for the content of the personality, through the choice the personality immerses itself in the thing chosen, and when it does not choose it withers away in consumption.”

 “He who chooses the ethical chooses the good, but here the good is entirely abstract, only its being is posited, and hence it does not follow by any means that the chooser cannot in turn choose the evil, in spite of the fact that he chose the good. Here you see again how important it is that a choice be made, and that the crucial thing is not deliberation, but the baptism of the will which lifts up the choice into the ethical.”
 
He who would define his life task ethically has ordinarily not so considerable a selection to choose from; on the other hand, the act of choice has far more importance for him. If you will understand me aright, I should like to say that in making a choice it is not so much a question of choosing the right as of the energy, the earnestness, the pathos with which one chooses. Thereby the personality announces its inner infinity, and thereby, in turn, the personality is consolidated.”
 
 
“But he who mocks others mocks himself, and your rejoinder is not a mere nothing but a profund mockery of yourself, a sorry proof how limp your soul is, that your whole philosophy of life is concentrated in one single proposition, ‘I say merely Either–or.’ In case this really was your serious meaning, there would be nothing one could do with you, one must simply put up with you as you are and deplore the fact that melancholy [literally, heavy-mindedness] or light-mindedness had enfeebled your spirit. Now on the contrary, since one knows very well that such is not the case, one is not tempted to pity you but rather wish that some day the circumstances of your life may tighten upon you the screws in its rack, and compel you to come out with what really dwells in you; that they may begin the sharper inquisition of the rack which cannot be beguiled by nonsense and witticisms.”

 

 

“To forget–all men wish to forget, and when something unpleasant happens, they always say: Oh, that one might forget! But forgetting is an art that must be practiced beforehand. The ability to forget is conditioned upon the method of remembering, but this again depends upon the mode of experiencing. Whoever plunges into his experiences with the momentum of hope, will remember so that he cannot forget. Nil admirari* is therefore the real philosophy. No moment must be permitted a greater significance than that it can be forgotten when convenient; each moment ought, however, to have so much significance that it can be recollected at will.”

 

 

More To Come in Piece IV…

 

Posted in Fear Inlandish

Fear Inlandish: Piece II

 

 

“But the up-climbing is painful, and from high places it is easy to fall low”

 

“Let us consider a little more clearly the distress and dread in the paradox of faith.”

“In resignation I make renunciation of everything; this movement I make by myself, and if I do not make it, it is because I am cowardly and effeminate and without enthusiasm and do not feel the significance of the lofty dignity which is assigned to every man, that of being his own censor, which is a far prouder title than that of Censor General to the whole Roman Republic. This movement I make by myself, and what I gain is myself in my eternal consciousness, in blissful agreement with my love for the Eternal Being.”

“The knights of the infinite resignation are easily recognized: their gait is gliding and assured. Those on the other hand who carry the jewel of faith are likely to be delusive, because their outward appearance bears a striking resemblance to that which both the infinite resignation and faith profoundly despise — to Philistinism.”

“When one would learn to make the motions of swimming one can let oneself be hung by a swimming-belt from the ceiling and go through the motions (describe them, so to speak, as we speak of describing a circle), but one is not swimming. In that way I can describe the movements of faith, but when I am thrown into the water, I swim, it is true (for I don’t belong to the beach waders), but I make other movements, I make the movements of infinity, whereas faith does the opposite: after having made the movements to infinity, it makes those of finiteness.”

“However, in our time people concern themselves rather little about making pure movements. In case one who was about to learn to dance were to say, ‘For centuries now one generation after another has been learning positions, it is high time I drew some advantage out of this and began straightway with the French dances’–then people will laugh at him; but in the world of spirit they find this exceedingly plausible. What is education? I should suppose that education was the curriculum one had to run through in order to catch up with oneself, and he who will not pass through this curriculum is helped very little by the fact that he was born in the most enlightened age.”

 

More to Come in Piece III…

Posted in Fear Inlandish

Fear Inlandish: Piece I

 

” …for a man that flies from his fear may find that he has only taken a shortcut to meet it”

 

There is a mode of tremulous disturbance with which we walk onwards, backwards, forward and inward unto ourselves.

There are intermediate times whilst on these paths of possibility, we encounter fear in its most basic forms.  Fear is the preface of a form in existence. 

When fear is inlandish…from whence is the initiation point signaling the end?

From whence do we blind ourselves, shelter our eyes and mind…to the reality that signals existence?

 

 

 

“He really goes further, and reaches faith; for all these caricatures of faith, the miserable lukewarm indolence which thinks, ‘There sure is no instant need, it is not worth while sorrowing before the time,’ the pitiful hope which says, ‘One cannot know what is going to happen…it might possibly be after all’ – these caricatures of faith are part and parcel of life’s wretchedness, and the infinite resignation has already consigned them to infinite contempt.”

“…with infinite resignation he has drained the cup of life’s profound sadness, he knows the bliss of the infinite, he senses the pain of renouncing everything, the dearest things he possesses in the world and yet finiteness tastes to him just as good as to one who never knew anything higher, for his continuance in the finite did not bear a trace of the cowed and fearful spirit produced by the process of training…”

” He resigned everything infinitely, and then he grasped everything again by virtue of the absurd.”

“In the infinite resignation there is peace and rest; every man who wills it, who has not abased himself by scorning himself (which is still more dreadful than being proud), can train himself to make this movement which in its pain reconciles one with existence.”

 

More to Come in Piece II…

 

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