Arquivo de Abril, 2012

«Vite! Vite! Mon barnais! Mon cheval!»

Jeanne d’Arc, chef de guerre ou simple mascotte (avril 1429 – mai 1430)?
Ses frères la rejoignent. On l’équipe d’une armure et d’une bannière blanche frappée de la fleur de lys, elle y inscrit Jesus Maria, qui est aussi la devise des ordres mendiants (les dominicains et les franciscains). En partance de Blois pour Orléans, Jeanne expulse ou marie les prostituées de l’armée de secours et fait précéder ses troupes d’ecclésiastiques. Arrivée à Orléans le 29 avril, elle apporte le ravitaillement et y rencontre Jean d’Orléans, dit « le Bâtard d’Orléans », futur comte de Dunois. Elle est accueillie avec enthousiasme par la population, mais les capitaines de guerre sont réservés. Avec sa foi, sa confiance et son enthousiasme, elle parvient à insuffler aux soldats français désespérés une énergie nouvelle et à contraindre les Anglais à lever le siège de la ville dans la nuit du 7 au 8 mai 1429. Via Wikipedia

Tobias Hume (c.1569 – 16 April 1645)

How I became acquainted with the “Musicall Humors” – Jordi Savall (Prague, 28th of May 2004)
It was almost forty years ago, as the hot summer of 1964 drew to its close, that I made the fascinating discovery of the Musicall Humors of Tobias Hume. I had just completed my cello and music studies at the Barcelona Conservatoire and was beginning to study and teach myself the viola da gamba, an instrument which at that time was extremely rare and played by only a handful of pioneers and enlightened enthusiasts scattered all over the world.
After the Trattado de Glosas by Diego Ortiz (Rome, 1553), the first published work essentially devoted to the art of improvisation (for viola da gamba and accompaniment), The First Part of Ayres, containing the Musicall Humors  of Tobias Hume (printed in London in 1605), was the first historical edition of works composed for the solo bass viol. With more than one hundred pieces for this instrument, it became a unique and major source for our understanding of the bass viol’s repertory and historical development.
I was eager to find an opportunity to study these collections with their fascinating titles and intriguing tablatures.  That opportunity came a few months later in London, in the magical silence of the British Library’s Reading Room. I can still remember my excitement in that venerable place as I imagined how Loves Farewell, Death & Life, and the various Souldiers March, Galliards and Resolutions might sound, and tried to crack the code of those old notation systems and tablatures.

Cristiano Holtz spielt Bach

Apresentação do novo CD de Cristiano Holtz ”Rare Works for Harpschord” – Johann Sebastian Bach (1685-1750)
10 de Abril 2012 – Casa-Museu Dr. Anastácio Gonçalves
Cravo M. Kramer, Rosengarten, a partir de um original G. Silbermann, Saxónia de c. 1740
Gravação efetuada nos dias 21, 22 e 23 de Setembro de 2011, na Igreja do Cemitério dos Ingleses, em Lisboa
Edição HERA 2125

Noli Me Tangere

GIOTTO di Bondone (b. 1267, Vespignano, d. 1337, Firenze)
Scenes from the Life of Mary Magdalene: Noli me tangere, 1320s
Fresco | Magdalene Chapel, Lower Church, San Francesco, Assisi

Lúmen

A força invisível da mão que segura o corpo contorcido de Cristo, descido da cruz.

Um corpo que se abandona, mas que nunca mais deixará de ser habitado, primeiro fóssil luminescente, em seguida luz pura.

Este corpo é já vestígio, memória. Mas é também recomeço. Indício.
Caminho para a luz. Para o que é ígneo.
A evocação do fogo que arde sem se ver, como uma paixão que se derrama numa intensidade luminosa.

Semelhante paixão (ou natureza) está contida na rocha, no sílex, que, raspado, produz faúlhas nos ramos retorcidos da árvore, combustível.
Será talvez uma oliveira, talvez não. Se for oliveira, então evoca a luz, a imortalidade, a relação cósmica, a morte e o monte famoso.

Imagens da Exposição de fotografias «Lúmen», de André Gomes.
Museu Nacional de Arte Antiga (Abril-Maio de 2006).

The Divine Comedy by Dante Alighieri

The masterpiece of the Florentine poet Dante Alighieri (1265-1321), The Divine Comedy was the most widely illuminated book of medieval literature, embraced as a subject for manuscript illumination within a decade of the author’s death. Conceived as an epic poem in three parts – Inferno (Hell), Purgatorio (Purgatory), and Paradiso (Paradise) – which are in turn subdivided into short sections called cantos, the Comedy is Dante’s personal account of a vision that he had during Holy Week in the year 1300.
The codex in New Haven is one of the finest examples of early Divine Comedy manuscripts to have survived, its remarkable state of preservation allowing full appreciation of the brilliant decoration and regular, harmonious writing. Conforming to an early type of Divine Comedy illustration, the illuminations are confined to the first page of each book, rather than to the whole text, as in later.
On folio 11, within an orange initial N (“Nel mezzo del cammin di nostra vita” [In the middle of the journey of our life]), marking the beginning of the first canto of the Inferno, appears an enthroned figure of Divine Justice. Winged, with a polygonal nimbus framing her head, and wearing a white and pink gown lined with green, she is seated on a lion, bearing a raised sword in her right hand and scales in her left. The brilliant palette, large, simplified forms and schematic rendering of the features are clear indicators of Don Simone’s authorship.

The second illuminated leaf is folio 27v, on which a large initial P in the middle left of the page, containing a second nimbed female figure with pink wings and an orange robe over a gilt tunic, illustrates the first canto of the Purgatorio (“Per correr migliore acqua alza le vele” [To course over better waters (now) lifts her sails]). Seated on a bank of clouds against a blue background, the figure cradles in her lap a nest in which perches a pelican feeding her young with blood from her own breast; an image known as the Pelican in Her Piety, it was a popular medieval symbol for the sacrifice of Christ and emblematic of Charity.

The last illuminated page is folio 54r, containing a large letter L to illustrate the beginning of the first canto of the Paradiso (“La gloria di colui che tutto muove” [The glory of him who moves all things]). Within the initial stands a third nimbed figure with green wings, wearing a white cape lined with green and orange and a blue dress, on which is emblazoned a head surrounded by golden rays. She is holding burning flames in both hands, while above her head floats a blue disk studded with stars, among which is visible a small crescent-shaped moon. The identity of this figure is less easily ascertained than in the previous two initials in the codex. It can be identified most probably as Divine Love.

Iluminator: Don Simone Camaldolese (active 1378-1405 in Florence)
Italian illuminator. He was a Camaldolese monk of Santa Maria degli Angeli, Florence, the scriptorium of which was an important centre of manuscript production. Documented there between 1378 and 1389, he was a slightly younger contemporary of Don Silvestro dei Gherarducci, and he was probably the teacher of Lorenzo Monaco. His signature Simon de Senis in an Antiphonary completed in 1381 (Florence, Biblioteca Medicea-Laurenziana) indicates that he was from Siena, although his work shows both Florentine and Sienese stylistic traits. His sweet, lyrical colour range of pale straw-yellows and lively turquoise shades shows knowledge of such Sienese artists as Lippo Vanni, while the ponderous forms are typical of the prevalent style practiced by such artists as Andrea and Jacopo di Cione Orcagna and Giovanni del Biondo in mid-14th-century Florence. Source.

Museu Berardo no Google Art Project

O Museu Colecção Berardo é um dos 151 que passam a integrar o Google Art Project, que permite ver obras das instituições parceiras e ainda “passear” pelas galerias de algumas delas. Ver notícia no Público.

Uma das obras digitalizadas é esta  ‘Untitled (Ponte)’ – 1914, de Amadeo de Souza Cardoso, da qual reproduzo um fragmento.

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