“I am only interested in the things eternal,”

                           “You’re not going to make me normal, are you, because I don’t want to be,”

                                           (“The flesh is sad and I’ve read all the books”).

                                       Pelléas et Mélisande, Acte 4, Golaud, Vincent Le Texier

 

In 1482, Leonardo da Vinci left his homeland of Tuscany and moved to Milan. He had written to Ludovico Sforza, the city’s ruler, listing his impressive qualifications, hoping to be offered employment. He could design bridges, make new types of cannons, dig “secret winding passages”, create waterways and plan cities. To these accomplishments the 30-year-old Leonardo added: “Likewise in painting, I can do everything possible.”

Thus the creator of The Mona Lisa only mentioned his artistic abilities as an afterthought.

In any case, Leonardo was clearly happy in Milan. “He was a man of outstanding beauty and infinite grace,” wrote a contemporary. He was also an excellent musician, dressed lavishly, was popular at court and had relationships with a series of young men, a particular favourite being Gian Giacomo Caprotti, who joined Leonardo as a 10-year-old servant in 1490. “Leonardo was at ease with being a misfit: illegitimate, gay, vegetarian, left-handed, easily distracted and at times heretical,” says Isaacson. Jones’s biographer, Thomas Dilworth, has devoted 30 years to writing his book. Whether he will ever produce another major life, I don’t know. But if we’re talking about quiddity, his labours have not been in vain. Those interested in Jones’s art (his dreamy watercolours, his masterly engravings), or in his singular poetry (the great work is In Parenthesis , a modernist epic inspired by his experiences in the trenches that TS ELIOT regarded as a masterpiece), will not be disappointed with the careful, delicate way Dilworth connects them to his confounding story. But the real joy of his book is not analytical.

Around this time, Leonardo started to fill notebooks with a dizzying array of ideas and investigations into subjects that ranged from light theory to designs for flying machines and from the study of friction to human anatomy. Then, seven years after his arrival in Milan, Leonardo got his first painting commission. The resulting portrait – made in oil on a walnut panel – is of Ludovico’s mistress Cecilia Gallerani, though we know it today as Lady With an Ermine. The painting is a masterpiece that transcends anything Leonardo had painted before then. Cecilia has the same enigmatic smile as the Mona Lisa, while the ermine she holds is rendered with stunning three-dimensional clarity. It is a lustrous, haunting image. “Her emotions seem to be revealed or at least hinted at, by the look in her eyes, the enigma of her smile and the erotic way she clutches and caresses the ermine,” states Isaacson.

“I am only interested in the things eternal,” he told a tailor who asked what kind of suit he wanted making out of some itchy ginger tweed Petra had woven for him.

In 1947 he took a room in a grotty Harrow boarding house that smelled of cabbage. He lived there for 16 years. When it was about to be demolished, he moved to a residential hotel further down the hill. He worried that, in summer, it would be like “Palm Beach or Capri”. But his room, “as dark as the inside of a cow” and sometimes visited by rats, he thought “jolly nice, like being in the trenches”.

Debussy befriended the French symbolist poet Stéphane Mallarmé, a lexical innovator whose writing glowed with a melancholy sense of emptiness (“The flesh is sad and I’ve read all the books”). As Walsh reminds us, Mallarmé was a tireless promoter of Edgar Allan Poe, in whom he found a European symbolist sensibility. For years Debussy worked on an opera based on Poe’s chain-rattling story The Fall of the House of Usher, but it was never completed.

By the time Debussy’s first string quartet was premiered in Paris in 1893, he was on his way to recognition. Though indebted to the chamber music of Marcel Proust’s beloved César Franck, there was a stillness in the slow movement that suggested new horizons. From here it was not such a leap to La Mer, Debussy’s best-loved work. The composer’s translation of the sea into orchestra was a signpost in the development of contemporary classical music. The symphony has little metre or pulse but, an impressionist marvel, it trembles like a mass of shimmering pointillist particles.

After a lifetime of heavy smoking and drinking, Debussy died in 1918, at the age of 55 és ő már 62 és ő már 62 és ő már 1o éve sportmánia-sportmenekülés ómfejtéspelléas-melisande melisande-pelléas egy elkúrt élet kocsis zoli debussy próbálkozásai a bunkóknál, a pestieknél, este a bunkóknál, pelléas a müpában és energia vesztegetés a mózesre mózesre tán csak parsifal hendrix egxedül a világon értékelte kocsis zoli két próbálozását döntőként és lám lám a mikro-és  amakrofizika tálálkozásánál ott az ember a maga dadaaista szürrealizmusával az ómnak ó van dada vanda-da falovacska hegyiszöcske falovacska ghegyiszöcske-bringa és  a wigmore hall melett a ladányi misi emlékház benne négyévente arany jános-babits mihály-juhász fecó emlékest

                                                                                                    a mesenchyma sejtek dinamikája

                                                                                                     intellektuális szemlélet

                                                                                   goetheanistisches naturwissenschaft

                                                               stirner stirner

 

https://www.youtube.com/watch?v=a2L7LMbj8a8

és látta az előadás végén, hogy kocsis szomorú

szomorúan terelgette a hajlongókat az udavarias müpa tapsban

és be is írt a fidibe, hogy miért volt a "kocsis zoli"  szomorú?

                                                                       és ennio ingerülten válaszolt, hogy nem volt az

                       esetleg fáradt, melankólikus

                                                                      parsifal viszont tudta, hogy kocsis rádöbbent, hogy a wagneriánusok

örületét nem tudja kicsiholni a bunkó pestiekből

                                                         (sokkal könnyebb lett volna a helyzete a kisújszállási lánglelkü debussy rajongói között -de ez kocsisnak nem adatott meg)

                                                                                                              mert a világ felmutattásához

                       zenbuddhista szürreál-dadaista szív csakra kell

kacu!