Cesar Taibo and myself. 12 years later, in Bracara Augusta, EU.
Dithyramb. Ein Ausgelassenes Befreiungslied. Nach Nietzsche.
Particella version for string orchestra and percussion.
Excerpts from a work by artist Isabel Ferreira Alves appear by exclusive and kind permission of the artist. My greatest thankfulness to her, for the use of her work.
Painting (c) (P) 2006 Isabel Ferreira Alves.
Music (c) (P) 1993 Nelson de Quinhones.
Though the sub-title of this piece may now cause me to smile, I do remember the cause for it. For it was the time for us, my friend Cesar [Taibo] and myself, to attempt to learn german, so that we could understand texts on Art that were emanating exclusively in this language, as well as enable us to read in the original some of the authors we loved –and still do–. We were both interested in Hölderlin and Goethe, he caused me to find Trakl and Novalis, authors he was wild about. And then, of course, there was Nietzsche. It was the time of Thus spoke Zarathustra: Nur Narr! Nur Dichter! The Dithyramben, the Klage der Ariadne –on what I also wrote–, and all the rest we could some how decipher. The time for Ruhm und Ewigkeit for us!
Though it was no longer the time of the full impact of my late 80’s Sturm und Drang, it was still very much alive in me the exasperating Romanticism for the writing of a stürmich, Wild Chant of Liberation.
Well, german was difficult. And we are still learning it :-).
Though it was no longer the time of the full impact of my late 80’s Sturm und Drang, it was still very much alive in me the exasperating Romanticism for the writing of a stürmich, Wild Chant of Liberation.
Well, german was difficult. And we are still learning it :-).
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