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Wednesday, June 28, 2006
Sunday, June 25, 2006
Megnézhető: ITT
Not I
By Samuel Beckett
(Written in English in spring 1972. First performed at the Forum Theater of the Lincoln Center, New York, in September 1972. First published by Faber and Faber, London, in 1973. First performed in Britain at the Royal Court Theatre, London, on 16 January 1973.)
Note:
Movement: this consists in simple sideways raising of arms from sides and their falling back, in a gesture of helpless compassion. It lessens with each recurrence till scarcely perceptible at third. There is just enough pause to contain it as MOUTH recovers from vehement refusal to relinquish third person.
Stage in darkness but for MOUTH, upstage audience right, about 8 feet above stage level, faintly lit from close-up and below, rest of face in shadow. Invisible microphone.
AUDITOR, downstage audience left, tall standing figure, sex undeterminable, enveloped from head to foot in loose black djellaba, with hood, fully faintly lit, standing on invisible podium about 4 feet high shown by attitude alone to be facing diagonally across stage intent on MOUTH, dead still throughout but for four brief movements where indicated. See Note.
As house lights down MOUTH`S voice unintelligible behind curtain. House lights out. Voice continues unintelligible behind curtain, l0 seconds. With rise of curtain ad-libbing from text as required leading when curtain fully up and attention sufficient into:
MOUTH: . . . . out . . . into this world . . . this world . . . tiny little thing . . . before its time . . . in a godfor– . . . what? . . girl? . . yes . . . tiny little girl . . . into this . . . out into this . . . before her time . . . godforsaken hole called . . . called . . . no matter . . . parents unknown . . . unheard of . . . he having vanished . . . thin air . . . no sooner buttoned up his breeches . . . she similarly . . . eight months later . . . almost to the tick . . . so no love . . . spared that . . . no love such as normally vented on the . . . speechless infant . . . in the home . . . no . . . nor indeed for that matter any of any kind . . . no love of any kind . . . at any subsequent stage . . . so typical affair . . . nothing of any note till coming up to sixty when– . . . what? . . seventy?. . good God! . . coming up to seventy . . . wandering in a field . . . looking aimlessly for cowslips . . . to make a ball . . . a few steps then stop . . . stare into space . . . then on . . . a few more . . . stop and stare again . . . so on . . . drifting around . . . when suddenly . . . gradually . . . all went out . . . all that early April morning light . . . and she found herself in the--– . . . what? . . who? . . no! . . she! . . [Pause and movement 1.] . . . found herself in the dark . . . and if not exactly . . . insentient . . . insentient . . . for she could still hear the buzzing . . . so-called . . . in the ears . . . and a ray of light came and went . . . came and went . . . such as the moon might cast . . . drifting . . . in and out of cloud . . . but so dulled . . . feeling . . . feeling so dulled . . . she did not know . . . what position she was in . . . imagine! . . what position she was in! . . whether standing . . . or sitting . . . but the brain– . . . what?. . kneeling? . . yes . . . whether standing . . . or sitting . . . or kneeling . . . but the brain– . . . what? . . lying? . . yes . . whether standing . . . or sitting . . . or kneeling . . . or lying . . . but the brain still . . . still . . . in a way . . . for her first thought was . . . oh long after . . . sudden flash . . . brought up as she had been to believe . . . with the other waifs . . . in a merciful . . . [Brief laugh.] . . . God . . . [Good laugh.] . . . first thought was . . . oh long after . . . sudden flash . . . she was being punished . . . for her sins . . . a number of which then . . . further proof if proof were needed . . . flashed through her mind . . . one after another . . . then dismissed as foolish . . . oh long after . . . this thought dismissed . . . as she suddenly realized . . . gradually realized . . . she was not suffering . . . imagine! . . not suffering! . . indeed could not remember . . . off-hand . . . when she had suffered less . . . unless of course she was . . . meant to be suffering . . . ha! . . thought to be suffering . . . just as the odd time . . . in her life . . . when clearly intended to be having pleasure . . . she was in fact . . . having none . . . not the slightest . . . in which case of course . . . that notion of punishment . . . for some sin or other . . . or for the lot . . . or no particular reason . . . for its own sake . . . thing she understood perfectly . . . that notion of punishment . . . which had first occurred to her . . . brought up as she had been to believe . . . with the other waifs . . . in a merciful . . . [Brief laugh.] . . . God . . . [Good laugh.] . . . first occurred to her . . . then dismissed . . . as foolish . . . was perhaps not so foolish . . . after all . . . so on . . . all that . . . vain reasonings . . . till another thought . . . oh long after . . . sudden flash . . . . . very foolish really but– . . . what? . . the buzzing? . . yes . . . all the time buzzing . . . so-called . . . in the ears . . . though of course actually . . . not in the ears at all . . . in the skull . . . dull roar in the skull . . . and all the time this ray or beam . . . like moonbeam . . . but probably not . . . certainly not . . . always the same spot . . . now bright . . . now shrouded . . . but always the same spot . . . as no moon could . . . no . . . no moon . . . just all part of the same wish to . . . torment . . . though actually in point of fact . . . not in the least . . . not a twinge . . . so far . . . ha! . . so far . . . this other thought then . . . oh long after . . . sudden flash . . . very foolish really but so like her . . . in a way . . . that she might do well to . . . groan . . . on and off . . . writhe she could not . . . as if in actual agony . . . but could not . . . could not bring herself . . . some flaw in her make-up . . . incapable of deceit . . . or the machine . . . more likely the machine . . . so disconnected . . . never got the message . . . or powerless to respond . . . like numbed . . . couldn't make the sound . . . not any sound . . . no sound of any kind . . . no screaming for help for example . . . should she feel so inclined . . . scream . . . [Screams.] . . . then listen . . . [Silence.] . . . scream again . . . [Screams again.] . . . then listen again . . . [Silence.] . . . no . . . spared that . . . all silent as the grave . . . no part–. . . what? . . the buzzing? . . yes . . . all silent but for the buzzing . . . so-called . . . no part of her moving . . . that she could feel . . . just the eyelids . . . presumably . . . on and off . . . shut out the light . . . reflex they call it . . . no feeling of any kind . . . but the lids . . . even best of times . . . who feels them? . . opening . . . shutting . . . all that moisture . . .but the brain still . . . still sufficiently . . . oh very much so! . . at this stage . . . in control . . . under control . . . to question even this . . . for on that April morning . . . so it reasoned . . . that April morning . . . she fixing with her eye . . . a distant bell . . . as she hastened towards it . . . fixing it with her eye . . . lest it elude her . . . had not all gone out . . . all that light . . . of itself . . . without any . . . any. . . on her part . . . so on . . . so on it reasoned . . . vain questionings . . . and all dead still . . . sweet silent as the grave . . . when suddenly . . . gradually . . . she realiz–. . . what? . . the buzzing? . . yes . . . all dead still but for the buzzing . . . when suddenly she realized . . . words were– . . . what? . . who?. . no! . . she! . . [Pause and movement 2.] . . . realized . . . words were coming . . . imagine! . . . words were coming . . . a voice she did not recognize at first so long since it had sounded . . . then finally had to admit . . . could be none other . . . than her own . . . certain vowel sounds . . . she had never heard . . . elsewhere . . . so that people would stare . . . the rare occasions . . . once or twice a year . . . always winter some strange reason . . . stare at her uncom-prehending . . . and now this stream . . . steady stream . . . she who had never . . . on the contrary . . . practically speechless . . . all her days . . . how she survived! . . even shopping . . . out shopping . . . busy shopping centre . . . supermart . . . just hand in the list . . . with the bag . . . old black shopping bag . . . then stand there waiting . . . any length of time . . . middle of the throng . . . motionless . . . staring into space . . . mouth half open as usual . . . till it
was back in her hand . . . the bag back in her hand . . . then pay and go . . . not as much as good-bye . . . how she survived! . . and now this stream . . . not catching the half of it . . . not the quarter . . . no idea . . . what she was saying . . . imagine! . . no idea what she was saying! . . till she began trying to . . . delude herself . . . it was not hers at all . . . not her voice at all . . . and no doubt would have . . . vital she should . . . was on the point . . . after long efforts . . . when suddenly she felt . . . gradually she felt . . . her lips moving . . . imagine! . . her lips moving! . . as of course till then she had not . . . and not alone the lips . . . the cheeks . . . the jaws . . . the whole face . . . all those– . . what?. . the tongue? . . yes . . . the tongue in the mouth . . . all those contortions without which . . . no speech possible . . . and yet in the ordinary way . . . not felt at all . . . so intent one is . . . on what one is saying . . . the whole being . . . hanging on its words . . . so that not only she had . . . had she . . . not only had she . . . to give up . . . admit hers alone . . . her voice alone . . . but this other awful thought . . . oh long after . . . sudden flash . . . even more awful if possible . . . that feeling was coming back . . . imagine! . . feeling coming back! . . starting at the top . . . then working down . . . the whole machine . . . but no . . . spared that . . . the mouth alone . . . so far . . . ha! . . so far . . . then thinking . . . oh long after . . . sudden flash . . . it can't go on . . . all this . . . all that . . . steady stream . . . straining to hear . . . make some-thing of it . . . and her own thoughts . . . make something of them . . . all– . . . what? . . the buzzing? . . yes . . . all the time the buzzing . . . so-called . . . all that together . . . imagine! . . whole body like gone . . . just the mouth . . . lips . . . cheeks . . . jaws . . . never– . . . what?. . tongue? . . yes . . . lips. . . cheeks . . . jaws . . . tongue . . . never still a second . . . mouth on fire . . . stream of words . . . in her ear . . . practically in her ear . . . not catching the half . . . not the quarter . . . no idea what she's saying . . . imagine! . . no idea what she's saying! . . and can't stop . . . no stopping it . . . she who but a moment before . . . but a moment! . . could not make a sound . . . no sound of any kind . . . now can't stop . . . imagine! . . can't stop the stream . . . and the whole brain begging . . . something begging in the brain . . . begging the mouth to stop . . . pause a moment . . . if only for a moment . . . and no response . . . as if it hadn’t heard . . . or couldn’t . . . couldn't pause a second . . . like maddened . . . all that together . . . straining to hear . . . piece it together . . . and the brain . . . raving away on its own . . . trying to make sense of it . . . or make it stop . . . or in the past . . . dragging up the past . . . flashes from all over . . . walks mostly . . . walking all her days . . . day after day . . . a few steps then stop . . . stare into space . . . then on . . . a few more . . . stop and stare again . . . so on . . . drifting around . . . day after day . . . or that time she cried . . . the one time she could remember . . . since she was a baby . . . must have cried as a baby . . . perhaps not . . . not essential to life . . . just the birth cry to get her going . . . breathing . . . then no more till this . . . old hag already . . . sitting staring at her hand . . . where was it? . . Croker's Acres . . . one evening on the way home . . . home! . . a little mound in Croker's Acres . . . dusk . . . sitting staring at her hand . . . there in her lap . . . palm upward . . . suddenly saw it wet . . . the palm . . . tears presumably . . . hers presumably . . . no one else for miles . . . no sound . . . just the tears . . . sat and watched them dry . . . all over in a second . . . or grabbing at straw . . . the brain . . . flickering away on its own . . . quick grab and on. . . nothing there . . . on to the next . . . bad as the voice . . . worse . . . as little sense . . . all that together . . . can't– . . . what? . . the buzzing? . . yes . . . all the time the buzzing . . . dull roar like falls . . . and the beam . . . flickering on and off . . . starting to move around . . . like moonbeam but not . . . all part of the same . . . keep an eye on that too . . . corner of the eye . . . all that together . . . can't go on . . . God is love . . . she'll be purged . . . back in the field . . . morning sun . . . April . . . sink face down in the grass . . . nothing but the larks . . . so on . . . grabbing at the straw . . . straining to hear . . . the odd word . . . make some sense of it . . . whole body like gone . . . just the mouth . . . like maddened . . . and can't stop . . . no stopping it . . . something she– . . . something she had to– . . . what? . . who? . . no! . . she! . . [Pause and movement 3.] . . . something she had to–. . . what? . . the buzzing? . . yes . . . all the time the buzzing . . . dull roar . . . in the skull . . . and the beam . . . ferreting around . . . painless . . . so far . . . ha! . . so far . . . then thinking . . . oh long after . . . sudden flash . . . perhaps something she had to . . . had to . . . tell . . . could that be it? . . something she had to . . . tell . . . tiny little thing . . . before its time . . . godforsaken hole . . . no love . . . spared that . . . speechless all her days . . . practically speechless . . . how she survived! . . that time in court . . . what had she to say for herself . . . guilty or not guilty . . . stand up woman . . . speak up woman . . . stood there staring into space . . . mouth half open as usual . . . waiting to be led away . . . glad of the hand on her arm . . . now this . . . some-thing she had to tell . . . could that be it? . . something that would tell . . . how it was . . . how she– . . . what? . . had been? . . yes . . . something that would tell how it had been . . . how she had lived . . . lived on and on . . . guilty or not . . . on and on . . . to be sixty . . . something she– . . . what? . . seventy? . . good God! . . on and on to be seventy . . . something she didn't know herself . . . wouldn't know if she heard . . . then forgiven . . . God is love . . . tender mercies . . . new every morning . . . back in the field . . . April morning . . . face in the grass . . . nothing but the larks . . . pick it up there . . . get on with it from there . . . another few– . . . what? . . not that? . . nothing to do with that? . . nothing she could tell? . . all right . . . nothing she could tell . . . try something else . . . think of something else . . . oh long after . . . sudden flash . . . not that either . . . all right . . . something else again . . . so on . . . hit on it in the end . . . think everything keep on long enough . . . then forgiven . . . back in the– . . . what? . . not that either? . . nothing to do with that either? . . nothing she could think? . . all right . . . nothing she could tell . . . nothing she could think . . . nothing she– . . what? . . who? . . no! . . she! . . [Pause and movement 4.] . . . tiny little thing . . . out before its time . . . godforsaken hole . . . no love . . . spared that . . . speechless all her days . . . practically speechless . . . even to herself . . . never out loud . . . but not completely . . . sometimes sudden urge . . . once or twice a year . . . always winter some strange reason . . . the long evenings . . . hours of darkness . . . sudden urge to . . . tell . . . then rush out stop the first she saw . . . nearest lavatory . . . start pouring it out . . . steady stream . . . mad stuff . . . half the vowels wrong . . . no one could follow . . . till she saw the stare she was getting . . . then die of shame . . . crawl back in . . . once or twice a year . . . always winter some strange reason . . . long hours of darkness . . . now this . . . this . . . quicker and quicker . . . the words . . . the brain . . . flickering away like mad . . . quick grab and on . . . nothing there . . . on somewhere else . . . try somewhere else . . . all the time something begging . . . something in her begging . . . begging it all to stop . . . unanswered . . . prayer unanswered . . . or unheard . . . too faint . . . so on . . . keep on . . . trying . . . not knowing what . . . what she was trying . . . what to try . . . whole body like gone . . . just the mouth . . . like maddened . . . so on . . . keep– . . . what? . . the buzzing? . . yes . . . all the time the buzzing . . . dull roar like falls . . . in the skull . . . and the beam . . . poking around . . . painless . . . so far . . . ha! . . so far . . . all that . . . keep on . . . not knowing what . . . what she was– . . . what? . . who? . . no! . . she! . . SHE! . . [Pause.] . . . what she was trying . . . what to try . . . no matter . . . keep on . . . [Curtain starts down.] . . . hit on it in the end . . . then back . . . God is love . . . tender mercies . . . new every morning . . . back in the field . . . April morning . . . face in the grass . . . nothing but the larks . . . pick it up–
[Curtain fully down. House dark. Voice continues behind curtain, unintelligible, 10 seconds, ceases as house
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
(érthetetlenül kb. 10 másodpercig motyog)
...ki...e világba...e világ...csöpp kis jószág...idő előtt.. .egy istenve-... mi?… lány?… igen... csöpp kis lány...ebbe a...ki ebbe a...idő előtt...istenverte lyuk úgy hívják...hívják...mindegy...a szülők ismeretlenek ...senki se hallott róluk...az apa eltűnt… nyomtalan ...amint begombolta a nadrágját...az anya is...nyolc hónapra rá... szinte órára... így szeretet nem... azt megúszta,..semmi olyan szeretet ami rendszerint körülveszi... a néma csecsemőt...otthon...nem...sőt semmiféle...a szeretet semmilyen fajtája...semmikor később...olyan jellemző az egész...semmi jele...míg csak hatvan felé - mi?…hetven?…Te jó ég!...hetven felé...kóborolt a mezőn...kankalint gyűjtött céltalan. ..az asztalra., .pár lépés és megáll...a semmibe bámul...tovább...még egy pár...megáll és újra bámul...tovább...összevisza kószál. . .akkor hirtelen.. .lassanként.. .minden elsötétült...az egész fényes kora áprilisi reggel...és ő ott találta magát a - ...mi?...kicsoda?...nem!...ő!...
(szünet)
...ott találta magát a sötét...még ha nem is teljesen...élettelen... élettelen...mert még hallott valami zümmögést...hogyishívják...a fülben...és egy fénysugár tűnt fel majd eltűnt...feltűnt és eltűnt...ahogy a hold szokott...ki-kibukkan...a felhők mögül...de olyan tompán...érezte ...olyan tompának érezte magát...nem tudta...milyen helyzetben van...megáll az ész!.. .milyen helyzetben van!.. .hogy áll.. .vagy ül... de az agy ...mi?...térdel?...igen...hogy áll...vagy ül...vagy térdel...de az agy- ...mi?...fekszik?... igen...hogy áll... vagy ül...vagy térdel...vagy fekszik...de az
agy még mindig. . .még mindig.. .valahogy.. .mert az első gondolata az volt...oh sokkal később...hirtelen villanás...hiszen arra nevelték hogy higgyen...a többi lelenccel együtt...egy könyörületes... (kurtán felnevet) ...Istenben... (jót nevet)
(csönd)
...aztán megint sikoltani... (megint sikolt) ...aztán megint hallgatni...
(csönd)
de nem...azt megúszta,..minden néma mint asír. .mindene- ..mi?.. .a zümmögés?.. .igen.. .minden néma csak a zümmögés...hogyishívják...mindene mozdulatlan...csak a szemhéj rezdülése...érzékelhető...feltehetőleg. ..néha...kirekeszti a fényt...reflexnek hívják...semmit sem érzett...csak a szemhéj...még a legszebb pillanatban is...ki érzi?...felnyílik...lecsukódik...az a sok nedvesség...de az agy még mindig...még mindig eléggé...oh nagyon is!...még most is... figyel...megfigyelés alatt...annyira hogy még ebben is kételkedik...mivel azon az áprilisi reggelen...így töprengett. . .az az áprilisi
...észrevette...hogy szavak jönnek...megáll az ész!...jönnek a szavak...egy hang amit nem ismert föl...először...olyan régen nem hallotta...aztán végül be kellett látni...senki másé nem lehet...csak az övé...bizonyos magánhangzók...amelyeket... sohasem hallott ..máshol... úghogy az emberek megbámulták...amikor néha...egyszer-kétszer egy évben...valami furcsa okból mindig télen...értetlenül bámultak rá...és most mint a vízfolyás...megállás nélkül...ő aki soha...épp ellenkezőleg...szinte néma...nap nap után...hogy is élte túl!...még vásárláskor...ha elmegy vásárolni...a forgalmas bevásárlóközpont...supermark...csak odaadja a listát.,.meg a szatyrot...a régi fekete bevásárló szatyrot...aztán áll és vár...akármeddig...a nagy tolongásban...mozdulatlan...a semmibe bámul...a szája félig nyitva mint rendesen...míg vissza nem kapja...vissza a táskát a kezébe...aztán fizet és megy...még annyit se hogy viszlát...hogy is élte túl!...és most mint a vízfolyás...a felét fel se fogva...a negyedét se...fogalma se volt...miről beszél...megáll az ész!...fogalma se volt róla hogy
(szünet)
...őneki valamit kellett - ...mi?...a zümmögés?...igen...egész idő alatt a zümmögés...tompa zúgás...a koponyában...és a fénysugár...körbepásztáz. . .nem fáj... eddig még... aha!... eddig még... aztán gondolkozik...oh sokkal később,..hirtelen villanás...talán neki valamit kellett...kellett...mondani kellett...lehet hogy ez az?...neki valamit...mondani kellett...csöpp kis jószág...idő előtt...istenverte lyuk...semmi szeretet...azt megúszta...minden áldott nap némán...gyakorlatilag némán...hogy is élte túl!...akkor a bíróságon...mit tudott felhozni mentségére...bűnös vagy nem bűnös.,.álljon fel...hangosabban...ott állt a semmibe bámult...a szája félig nyitva mint rendesen,..várta hogy elvezessék...örült a kéznek a karján...és most e...neki valamit mondani kellett...lehet hogy ez az?..,valamit ami kimondaná...hogy is van...hogy ő - ...mi?...volt?...igen valamit ami kimondaná hogy is volt...hogy élt.. .éldegélt.. .akár bűnös akár nem...folyton-folyvást...hatvan évig...valamit amit ő -...mi?...hetven?...te jó ég!...hetven évig...valamit amit ő maga se tudott...ha hallaná se értené...aztán a megbocsátás...az Isten szeretet...gyöngéd kegyelem…minden reggel új...újra a mezőn...áprilisi reggel...arc a fűben...
(szünet)
…csöpp kis jószág...idő előtt kint...istenverte lyuk...semmi szeretet...azt megúszta...minden áldott nap némán...gyakorlatilag némán...még magának se... soha hangosan ki nem...de nem teljesen...néha rátör...egyszer-kétszer egy évben...valami furcsa okból mindig télen...a hosszú esték...a sötétség órái...rátör hogy...elmondja...aztán kirohan megállítja az elsőt aki az útjába... a legközelebbi vécé,..kezdi rázúdítani...mint a vízfolyás...őrültség...elnyeli a magánhangzókat...senki se tudja követni...amíg csak észre nem veszi hogy bámulják...majd meghal szégyenében...visszahúzódik... egyszer-kétszer egy évben...valami furcsa okból mindig télen...a sötétség hosszú órái...most ez... ez...egyre gyorsabban...a szavak...az agy...eszelősen pislákol...belekap aztán tovább...nincs ott semmi...tovább máshová...megpróbálni máshol...egész idő alatt valami könyörög...valami könyörög benne...könyörög hogy legyen vége az egésznek...megválaszolatlan...megválaszolatlan ima...vagy meg nem hallott...olyan halk...tovább...folytatni...a próbálkozást...nem tudni
( szünet)
…mit próbált ő...mit kell próbálni.,.nem számít...folytatni... (fokozatosan lassulva) ...a végén csak meglesz...aztán újra...Isten szeretet...gyöngéd kegyelem...minden reggel új...újra a mezőn...áprilisi reggel... arc a fűben...semmi csak a pacsirták...leszedni –
(érthetetlenül még kb. 10 másodpercig motyog)
Saturday, June 24, 2006
Thursday, June 22, 2006
Tuesday, June 20, 2006
Ipolyi Arnold Magyar Mythologiája. Az 1987-es hasonmás kiadás (Európa Könyvkiadó) címoldala. Külön kötetben jelentek meg a hasonmás kiadás Függelékei
A Balassi Kiadó új kiadványa:
Ipolyi Arnoldról többet: ITT
Klaus Goch német pszichiáter, irodalomtöténész, Nietzsche-kutató
"Mindannyian azt a nőképet hordozzuk magunkban, amelyet anyánktól kaptunk: ez határozza meg, hogy tiszteljük-e a nőket, hogy nem tartjuk sokra őket, vagy általában közömbösek vagyunk velük szemben."
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„A tanulás megváltoztat minket, vagyis azt teszi, amit minden táplálék, amely egyszerűen »életben tart« — amint a fiziológia ezt tudja jól. Ám bennünk alapjában véve van valami, egészen »mélyen«, ami megtanulhatatlan, a szellemi fátum gránitja, valami előre elhatározott döntés és válasz az előre megadott, válogatott kérdésekre. Minden fontos problémánál egy megváltoztathatatlan »ez vagyok én« beszél; férfiról és nőről például a gondolkodó nem változtatja meg a véleményét, hanem kitanulja, kialakítja magában - felfedezi végül, hogyan is »áll« ezzel nála a helyzet. Bizonyos időkben találkozhatunk bizonyos megoldásokkal, amelyek megszilárdítják hitünket; mindezt talán a "meggyőződésünknek" nevezzük ettől fogva. Később már csak az önismerethez vezető lábnyomokat látjuk bennük, útmutatókat a problémához, amely mi vagyunk - helyesebben szólva a jókora ostobasághoz, amellyé lettünk, szellemi végzetünkhöz, az egészen »mélyen lévő« megtanulhatatlanboz. — Ezen lekötelező bók alapján, amellyel önmagamat ajándékoztam meg, talán megengedtetik nekem, hogy a »magánvaló nőről« kimondjak egynéhány igazságot: feltéve, hogy már eleve tudjuk, mennyire csakis az én igazságaim ezek."
Klaus Goch megjegyzése: "Ez az aforizma rávilágít a tényre, hogy Nietzsche felfogható Freud előfutáraként is. A pszichoanalízis megalkotója nagyon is tudatában volt ennek, de igyekezett elfelejteni, »elfojtani«."
Sunday, June 18, 2006
Sofia Gubaidulina
Biography: Here
Il Cantico del Sole (Cantico della Creature)
di Francesco di Assisi
Assisi Codex
Altissimu onnipotente bon signore. tue so le laude la gloria e l onore et onne benedictione. Ad te solo altissimo se konfano. et nullu homo ene dignu te mentouare.
Laudato sie mi signore cum tucte le tue creature spetialmente messor lo frate sole. lo quale iorno et allumini per loi. Et ellu e bellu e radiante cum grande splendore. de te altissimo porta significatione.
Laudato si mi signore per sora luna e le stelle. in celu l ai formate et pretiose et belle.
Laudato si mi signore per frate uento et per aere et nubilo et sereno et onne tempo. per lo quale a le tue creature dai sustentamento.
Laudato si mi signore per sor acqua. la quale e multo utile et humile et pretiosa. et casta.
Laudato si mi signore per per frate focu. per lo quale ennallumini la nocte. ed ello e bello et iucundo et robusto et forte.
Laudato si mi signore per sora nostra matre terra. la quale ne sustenta et gouerna. et produce diuersi fructi con coloriti fiore et herba.
Laudato si mi signore per quelli ke perdonano per lo tue amore. et sostengo infirmitate et tribulatione. beati quelli ke l sosterranno in pace. ka da te altissimo sirano incoronati.
Laudato si mi signore per sora nostra morte corporale. da la quale nulla homo uiuente po skappare. guai a cquelli ke morrano ne le peccata mortali. beati quelli ke trouara ne le tue sanctissime uoluntati ka la morte secunda nol farra male.
Laudate et benedicete mi signore et rengratiate et seruiteli cum grande humilitate.
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The Canticle of the Sun
by Francis of Assisi
Most high, all powerful, all good Lord! All praise is yours, all glory, all honor, and all blessing. To you, alone, Most High, do they belong. No mortal lips are worthy to pronounce your name.
Be praised, my Lord, through all your creatures, especially through my lord Brother Sun, who brings the day; and you give light through him. And he is beautiful and radiant in all his splendor! Of you, Most High, he bears the likeness.
Be praised, my Lord, through Sister Moon and the stars; in the heavens you have made them, precious and beautiful.
Be praised, my Lord, through Brothers Wind and Air, and clouds and storms, and all the weather, through which you give your creatures sustenance.
Be praised, My Lord, through Sister Water; she is very useful, and humble, and precious, and pure.
Be praised, my Lord, through Brother Fire, through whom you brighten the night. He is beautiful and cheerful, and powerful and strong.
Be praised, my Lord, through our sister Mother Earth, who feeds us and rules us, and produces various fruits with colored flowers and herbs.
Be praised, my Lord, through those who forgive for love of you; through those who endure sickness and trial. Happy those who endure in peace, for by you, Most High, they will be crowned.
Be praised, my Lord, through our Sister Bodily Death, from whose embrace no living person can escape. Woe to those who die in mortal sin! Happy those she finds doing your most holy will. The second death can do no harm to them.
Praise and bless my Lord, and give thanks, and serve him with great humility.
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Assisi Szent Ferenc: Naphimnusz
Mindenható, fölséges és jóságos Úr, Tied a dicséret, dicsõség és imádás, És minden áldás. Minden egyedül téged illet, Fölség, És nem méltó az ember, hogy nevedet kimondja.
Áldott légy, Uram, s minden alkotásod, Legfõképpen urunk-bátyánk, a Nap, Aki a nappalt adja és aki reánk deríti a te világosságod. És szép õ és sugárzó, nagy ragyogással ékes: A te képed, Fölséges.
Áldjon, Uram, téged Hold nénénk és minden csillaga az égnek; Õket az égen alkotta kezed fényesnek, drágaszépnek! Áldjon, Uram, tégedet Szél öcsénk, Levegõ, felhõ, jó és rút idõ, kik által élteted minden te alkotásodat.
Áldjon, Uram, tégedet Víz húgunk, oly nagyon hasznos õ, oly drága, tiszta és alázatos.
Áldjon, Uram, Tûz bátyánk; Vele gyújtasz világot éjszakán. És szép õ és erõs, hatalmas és vidám.
Áldjon, Uram, téged Földanya nénénk, Ki minket hord és enni ad. És mindennemû gyümölcsöt terem, füveket és színes virágokat.
Áldjon, Uram, téged minden ember, ki szerelmedért másnak megbocsát. És aki tûr gyötrelmet, nyavalyát. Boldogok, kik tûrnek békességgel, Mert tõled nyernek majd, Fölséges, koronát.
Áldjon, Uram, testvérünk, a testi halál, Aki elõl élõ ember el nem futhat. Akik halálos bûnben halnak meg, jaj azoknak, És boldogok, aki magukat megadták a te szent akaratodnak, Második halál nem fog fájni azoknak.
Dicsérjétek az Urat és áldjátok, És mondjatok hálát neki, És nagy alázatosan szolgáljátok.
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This is the third commercial recording of Sofiya Gubaydulina's Canticle of the Sun, and arguably the best yet, completely captivating from its first seconds to its last bars. A quasi-concerto for cello, chorus, and percussion, based on Saint Francis of Assisi's "Il cantico frate cole" (Hymn to Brother Sun), the Canticle is one of Gubaydulina's most interesting works. Choral abstractions from St. Francis' hymn and coloristic punctuation from the percussion form both backdrop and counterpoint to the cello, which speaks mostly in broad intervallic gestures -- grotesque arpeggiations interspersed with harmonics, glissandos, and trills. The result is a highly atmospheric work that actually takes on beauty from abstraction, rather than glorifying abstraction for its own sake. Wispelwey is the ideal cellist for this work, able to find great personality, even wit, in Gubaydulina's pointillistic writing for the instrument. His sense of interval is more exact than Rostropovich's in his premiere recording, and Wispelwey's instincts for the piece's larger shape and movement also feel spot-on. The music settles in and just seems right. The Collegium Vocale, Gent is similarly excellent. The crystalline treble voices blend eerily with the mallet percussion in the opening movements, and the group as a whole finds more inflection in the choral writing than any group that has previously recorded the work, while still remaining convincingly in the background. Conductor Daniel Reuss does a superb job of sewing the often patchwork texture together, and Carlo Willems, Marc Dufour, and Piet Kuijken, all members of the Prometheus Ensemble, deliver some of the most polished and glistening percussion textures imaginable. Wispelwey fills out the program with five of Gubaydulina's Preludes (10) for solo cello, and In Croce, for cello and bajan -- perhaps the composer's single best-known work. Although marvelously played, the Preludes don't stand up well in this context, undercut by their own brevity. But In Croce, performed with An Raskin on the bajan, is truly magnificent. Fans of Wispelwey, Gubaydulina, or simply new music will not want to miss this one. ~ Allen Schrott, All Music Guide
An die Musik – To Music – is the title of an (anniversary) edition, containing on 2 CDs a through Dietrich Fischer-Dieskau’s seemingly boundless Lied, opera and cantata repertoire
A popular anthology of lieder and opera arias, including six new songs released for the first time on CD
A real rarity will be offered in the form of a bonus DVD: it consists of eight Schubert lieder with Sviatoslav Richter as pianist, recorded in 1978
Dietrich Fischer-Dieskau DG records: HERE
Thursday, June 15, 2006
Steve Reich
YOU ARE (VARIATIONS)(2oo4)
LOS ANGELES MASTER CHORALE
GRANT GERSHON, CONDUCTOR
1. YOU ARE WHEREVER YOUR THOUGHTS ARE 13 : 14
2. SHIVITI HASHEM L'NEGDI (I PLACE THE ETERNAL BEFORE ME) 4:15
3. EXPLANATIONS COME TO AN END SOMEWHERE 5:24
4. EHMOR M'AHT, V'AHSAY HARBAY (SAY LITTLE AND DO MUCH) 4:04
5. CELLO COUNTERPOINT (2oo3)
MAYA BEISER, CELLO
All compositions by Steve Reich
NOTES BY STEVE REICH
You Are (Variations) (2004) is in four movements with each movement a setting of a short text. The movements/texts are:
You are wherever your thoughts are
Shiviti Hashem l'negdi (I place the Eternal before me)
Explanations come to an end somewhere
Ehmor m'aht, v'ahsay harbay (Say little and do much)
The first text is an English translation from Rabbi Nachman of Breslov, one of the most magnetic and profound of the late 18th-century Hasidic mystics. The quote is from his "Likutey Moharan" I:21. The second text is from Psalm 16 in the original Hebrew and translates as "I place the Eternal before me." The third is an English translation from the German of Ludwig Wittgenstein's Philosophical Investigations. The fourth quote is from Pirke Avot, one of the earliest parts of the Talmud and by far its most popular tractate. The Hebrew, from Rabbi Shammai, translates as "Say little and do much."
Since these texts are all quite brief, it is natural to repeat them with a somewhat different musical setting in each repeat. Hence, variations were basically forced on me as a form by my choice of texts. The actual means of variation varies considerably.
Starting out, I made an harmonic ground plan with a short cycle of chords that would serve as the underpinning for all the variations, as has been done historically numerous times before. However, I found that upon completing the first setting of "You are wherever your thoughts are," I started to vary the harmonies. As I went on, they departed further from the original ground plan. I frankly enjoyed this immensely since I was following spontaneous musical intuition. In the third variation there are quotes from "L'hommeArmee," the popular song from the 14th century. Starting with the fifth variation I began piling all four pianos on top of each other with conflicting harmonies, which produces something new and extremely energetic. In the eighth variation one may hear echoes of James Brown. The second text, in Hebrew, is sung and then immediately sung in canon, which is then repeated and augmented, creating a kind of slow-motion canon with marimbas, vibes, and pianos driving it on in constantly changing meters. After a short pause, the slow third movement begins, varying the repetitions of its text in changing, often minor harmonies. The last movement, again in Hebrew, returns to the original tempo and is composed of augmenting canons similar to the second movement. What unites the piece harmonically is a constantly recurring D-major dominant chord—usually with G, rather than A, in the bass. This bright ray of D-raajor light illuminates most of the piece, most intensely in the final movement.
You Are (Variations) is scored for 3 sopranos, alto, and 2 tenors, with 2 flutes, oboe, english horn, 3 Bb clarinets. 4 pianos, 2 marimbas. 2 vibraphones, and strings. The overall duration is a little more than 26 minutes. The piece was co-commissioned by the Los Angeles Master Chorale, Lincoln Center, and the Friends of the Ensemble Modern.
Cello Counterpoint (2oo3) is scored for eight cellos and can be played by a soloist with the other parts prerecorded, as it is on this CD by Maya Beiser, or by a cello octet. It is in three movements: fast, slow, fast.
The first and last movements are both based on a similar four-chord cycle that moves ambiguously back and forth between c minor and Eb major. This harmonic cycle is treated extremely freely, however, particularly in the third movement. As a matter of fact, what strikes me most about these movements is that they are generally the freest in structure of any I have ever written. The second, slow movement is a canon in Eb minor involving, near the end of the movement, seven separate voices. Cello Counterpoint is one of the most difficult pieces I have ever written, calling for extremely tight, fast-moving rhythmic relationships not commonly found in the cello literature. The piece was co-commissioned by the Koussevitzky Foundation in the Library of Congress, the Royal Conservatory in The Hague, and Leiden University, for cellist Maya Beiser.
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Her (Maya Beiser) performance of Steve Reich's "Cello Counterpoint" has been released last fall on a CD chosen by the NY Times as of the top albums of 2005.
See: http://www.mayabeiser.com/
Listen: HERE
Monday, June 12, 2006
Piotr Anderszewski
Hungarian-polish pianist, born 4 April 1969 in Warsaw.
Anderszewski began to study piano at the age of six and subsequently attended conservatories in Lyon and Strasbourg, the Academy of Music in Warsaw, and the University of Southern California in Los Angeles. He further honed his skills in Italy, in a series of master classes lead by Fou Ts'ong, Murray Perahi, and Leon Fleisher. His execution of the 33 DIABELLI VARIATIONS IN C-MAJOR by Ludwig van Beethoven at the INTERNATIONAL PIANO COMPETITION IN LEEDS in 1990 opened the door to his professional debut at Wigmore Hall in London, and subsequently to an international career. Anderszewski has given concerts in England (with the ROYAL PHILHARMONIC ORCHESTRA and the LONDON SYMPHONY ORCHESTRA), Ireland, Germany (series of Beethoven concerts with the MÜNCHENER PHILHARMONIKER in 1996), France, Austria, Portugal, Italy, and in Poland. In 2001 in Paris he performed the 4TH SINFONIA "CONCERTANTE" of Karol Szymanowski, under the direction of Charles Dutoit. His repertoire also includes the METOPES, MASKS, 3RD PIANO SONATA, and MAZURKAS of this composer. Piotr Anderszewski has performed chamber music with Victoria Mullova, with whom he has recorded three albums for the Philips label (the sonatas of Johannes Brahms, Leos Janácek, and Serge Prokofiev), as well as with Andrzej Bauer and his sister Dorota, a violinist. His album containing the music of Johann Sebastian Bach, Ludwig van Beethoven, and Anton Webern, recorded for the CD Accord label, was enthusiastically received by critics and won the pianist the "Fryderyk '96" Polish Recording Industry Award. In 1999 the Harmonia Mundi label released an album with Anderszewski's recordings of the works of Johann Sebastian Bach. In 2001 the pianist signed a recording contract with Virgin Classics, a label for which he will record Ludwig van Beethoven's 33 DIABELLI VARIATIONS, the works of Johann Sebastian Bach, and the piano concertos of Wolfgang Amadeus Mozart. In the year 2000 Anderszewski received the Karol Szymanowski Award. He has been living abroad, primarily in Paris, since 1990. Piotr Anderszewski took his first steps towards an international career in 1990 at the Leeds Piano Competition, though in fact he did not fare well in that contest. At this unusually prestigious event, comparable to Poland's CHOPIN COMPETITION, he failed to win any prize but succeeded in garnering attention with his semi-final performance of the unusually difficult cycle of Beethoven's 33 DIABELLI VARIATIONS. "All other sonatas seem banal compared to this one," said Anderszewski, and Beethoven's VARIATIONS would become a permanent companion to the pianist throughout his career, up to the present time. Following the competition, the Teldec company approached Anderszewski about recording the work, but insisted on a studio recording. This was not in line with the pianist's plans: "Recording in a studio is too analytical a process, too repetitive; it's a cold and calculated way of dismantling a piece into its component parts, followed by a cold synthesis of the work. It's a different artistic discipline, and entirely different vocation," Anderszewski stated in an interview for the recording and broadcasting industry magazine "Studio" in 1997. He seemed more interested in facing the challenge of the moment, in the fact of having a single chance and being forced to use it. The ideal for Anderszewski would have been to record an excellent performance during a concert. Teldec refused to bow and ultimately Anderszewski did not record Beethoven's VARIATIONS for this label. The pianist nevertheless received performance offers and began to give concerts in England, Ireland, and Germany. He also appeared solo or with orchestras in Rome and Lisbon, Prague and Munich, but most frequently in London. For a time the pianist traveled the world with violinist Victoria Mullova, whose career was blooming at the time. The duo traveled to Japan, the Far East, and throughout Europe, and it was in the end with Mullova that Anderszewski made his first recording. The album, produced by the Philips label, contained the sonatas of Debussy, Janácek, and Prokofiev. This was followed by another album for Philips, also with sonatas, this time those of Brahms. Finally, Anderszewski arrived in Poland, where he both began giving solo concerts and recording. The pianist's first solo album was published by CD Accord and contained recordings of the works of Bach, Beethoven (SONATA IN A-FLAT MAJOR, OP. 110), and Anton Webern. The DIABELLI VARIATIONS awaited... Before they would get their chance, the pianist would record the works of Bach for the Harmonia Mundi label. Anderszewski says that over the years he deepened his knowledge of Beethoven's cycle, and when his expanding career got the attention of Virgin Classics, a division of the publishing giant EMI, and he was offered the opportunity to record the DIABELLI VARIATIONS, he did not hesitate... even though he would be forced to do this in a studio. The record received excellent reviews, and Virgin decided on another album for which Anderszewski recorded two of Mozart's concertos. At this point the pianist is working on convincing Virgin to produce a recording of the solo pieces of Karol Szymanowski, a composer with whom the pianist has become fascinated only recently.
Listen: HERE