Erik Satie: Pièces Froides (Reinbert De Leeuw)

Erik Satie: Pièces Froides – (Airs À Faire Fuir; Danses De Travers) – Reinbert De Leeuw

Éric Alfred Leslie Satie (French: [eʁik sati];[1] 17 May 1866 – 1 July 1925), who signed his name Erik Satie after 1884, was a French composer and pianist. Satie was an influential artist in the late 19th- and early 20th-century Parisian avant-garde. His work was a precursor to later artistic movements such as minimalismrepetitive music, and the Theatre of the Absurd.[2]

An eccentric, Satie was introduced as a “gymnopedist” in 1887, shortly before writing his most famous compositions, the Gymnopédies. Later, he also referred to himself as a “phonometrician” (meaning “someone who measures sounds”), preferring this designation to that of “musician”,[3] after having been called “a clumsy but subtle technician” in a book on contemporary French composers published in 1911.[4]

In addition to his body of music, Satie was “a thinker with a gift of eloquence”[5] who left a remarkable set of writings, having contributed work for a range of publications, from the dadaist 391[6] to the American culture chronicle Vanity Fair.[7] Although in later life he prided himself on publishing his work under his own name, in the late 19th century he appears to have used pseudonyms such as Virginie Lebeau[8] and François de Paule[9] in some of his published writings. Wiki.

Rylan Taggart & Jerro – Signal

In communication systems, signal processing, and electrical engineering, a signal is a function that “conveys information about the behavior or attributes of some phenomenon”.[1] A signal may also be defined as an “observable change in a quantifiable entity”.[2] In the physical world, any quantity exhibiting variation in time or variation in space (such as an image) is potentially a signal that might provide information on the status of a physical system, or convey a message between observers, among other possibilities.[3]

The IEEE Transactions on Signal Processing states that the term “signal” includes audio, video, speech, image, communication, geophysical, sonar, radar, medical and musical signals.[4] In a later development, a signal is redefined as an “observable change in a quantifiable entity”;[5] here, anything which is only a function of space, such as an image, is excluded from the category of signals. Also, it is stated that a signal may or may not contain any information.  wikipedia

Since his first release in 2015, Rylan Taggart has transformed his sound into what we know today; deep, forward thinking, and always melodic. While inspired by the sounds of deep progressive house, film scores, and more, the Vancouver, Canada resident combines multiple influences together for a unique, unforgettable listening experience.

With tracks such as his remix of “Heathens”, by 21 Pilots, and “Constellation”, Rylan’s works have been heard on radio shows, clubs, and festivals all around the world. With the support of artists such as Above & Beyond, Lane 8, Yotto, Seven Lions, and more, the future looks bright for Rylan, with future releases, and tour dates in 2019. soundcloud

Elizabeth Bridge – Komarom, Hungary – Komárno, Slovakia

The Elizabeth bridge is the one of the biggest bridge in the country.

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maro310/ IMG_10885
04/12 Elizabeth bridge reflecting in a puddle.
Komarom, Hungary

Komárno (HungarianKomárom, colloquially Révkomárom, Öregkomárom, Észak-KomáromGermanKomornSerbian: Komoran/Коморан) is a town in Slovakia at the confluence of the Danube and the Váh rivers. Komárno was formed from part of a historical town in Hungarysituated on both banks of the Danube. Following World War I and the Treaty of Trianon, the border of the newly created Czechoslovakia cut the historical, unified town in half, creating two new towns. The smaller part, based on the former suburb of Újszőny, is in present-day Hungary as Komárom (the historical Hungarian town had the same name). Komárno and Komárom are connected by the Elisabeth Bridge, which used to be a border crossing between Slovakia and Hungary until border checks were lifted due to the Schengen Area rules.

Komárno is Slovakia’s principal port on the Danube. It is also the center of the Hungarian community in Slovakia,[1] which makes up roughly 60% of the town’s population. The town is the historic seat of the Serbian national minority in Slovakia.[2][3] https://en.wikipedia.org/wiki/Kom%C3%A1rno

Komárom (SlovakKomárnoGermanKomorn) is a city in Hungary on the south bank of the Danube in Komárom-Esztergom county. KomárnoSlovakia, is on the northern bank. Komárom was formerly a separate village called Újszőny. In 1492 Komárom and Ujjszőny were connected with an iron bridge and in 1496 the three towns were united under the name city of Komárom. The fortress played an important role in the Hungarian Revolution of 1848 and many contemporary English sources refer to it as the Fortress of Comorn[1] https://en.wikipedia.org/wiki/Kom%C3%A1rom

Following the Hungarian conquest of the Carpathian Basin at the turn of the 9th and 10th centuries, Prince Árpád gave Komárom and the Komárom county vicinity to tribal chieftain Ketel. Ketel was the first known ancestor of the famous Koppán (genus) clan. At the beginning of the 12th century, this tribe founded the town’s Benedictine Monastery in honor of the Blessed Virgin, mentioned in 1222 by the name of Monostorium de Koppán. The Turks destroyed much of the monastery and its surroundings in 1529, and the area was thus depopulated. Later references refer to it as the Pioneer Monastery (Pusztamonostor). Presently, it is called Koppánymonostor (Koppán’s Monastery) in honor of its founding family. Roman ruins (including a stone mile marker and watchtowers) still stand today. [2]

The town was heavily damaged in the 1763 Komárom earthquake.

Between 1850 and 1871 the Fort Monostor (Monostori Erőd) was built nearby.

In 1918 Komárom was split by the newly created border of Czechoslovakia. In 1920 Hungary was forced to sign the Treaty of Trianon recognizing the new imposed borders including the border with Czecho-Slovakia. The loss of its territory created a sizable Hungarian minority in Slovakia. The Slovak part is today KomárnoSlovakia. In 1938 the entire city was returned to Hungary, its Regent, Admiral Horthy receiving a tumultuous welcome from the citizens as he crossed the old bridge and entered the formerly dismembered part.[3] At the end of World War II the city was again divided between Hungary and Czecho-Slovakia.

After World War II the occupying Soviets built the country’s biggest ammunition storage in the Fortress of Monostor. Thousands of wagons of ammunition were forwarded from this strictly guarded area. One of a series of forts, the Monostor is today open to the public as a museum.

Komárom and Komárno are connected by two bridges: The older iron bridge, and a newer lifting bridge. A third bridge is planned, with the vast majority of funding coming from the European Union‘s Connecting Europe Facility.[4]

The two towns used to be a border crossing between Czecho-Slovakia (today Slovakia) and Hungary, until both countries became part of the Schengen Area, resulting in all immigration and customs checks being lifted on December 12, 2007. https://en.wikipedia.org/wiki/Kom%C3%A1rom

Construction of bridge connecting Slovakia and Hungary launched

A new cross-border bridge connecting these two countries over the Danube River – through the towns of Komárno and Komárom – will fill the gap and in capacity.

Slovak Prime Minister Robert Fico and his Hungarian counterpart Viktor Orbán ceremonially launched on October 17the construction of a new cross-border bridge between Slovakia and Hungary over the Danube River, set to link the towns of Komárom on the Hungarian side and Komárno (in Nitra Region, in the southwestern part of the country) in Slovakia.

Komárno and Komárom used to form a single town on both banks of the Danube River in the Kingdom of Hungary. Following the First World War and the Treaty of Trianon, the border of the newly created Czechoslovakia cut the town in half.

There is currently only one road bridge, Elisabeth Bridge, connecting the two cities, the TASR newswire wrote. When the new 600-metre bridge across the Danube is completed, heavy lorries will be able to cross it, meaning that they will no longer have to pass through the centres of the two towns. The construction work on the bridge, which is being co-funded by EU funds, is expected to be completed by the end of 2019.

PMs praise cooperation

“It’s rarely seen in politics that when you shake hands, the deal is really valid,” Fico said in reference to the excellent state of Slovak-Hungarian bilateral relations, as quoted by TASR. “We meet politicians who shake hands but claim something else the following day.”

The Slovak PM also thanked the Hungarian side for keeping his promises vis-a-vis Slovakia.

On his side, Orbán stated that this event is a good example of the fact that the Danube does not have to separate Hungarians and Slovaks, but instead unite their two countries.

“Let the new bridge be a symbol of the defence of Europe’s external borders and keeping internal borders open, the Hungarian PM said.

“Let this be the proof that Slovaks and Hungarians, we, the citizens of Europe, believe in a Europe in which the borders are passable,” added Orbán, as quoted by TASR.

The overall costs of the project exceeds €117 million, while the EU funding covers 85 percent of the cost. Slovakia will provide €8 million, the Pravda daily wrote.

18. Oct 2017 at 14:45  | COMPILED BY SPECTATOR STAFF

Childe Hassam (1859–1935)


Childe Hassam – View of a Southern French City (1910)
Childe Hassam (1859–1935)

Childe Hassam (1859–1935), a pioneer of American Impressionism and perhaps its most devoted, prolific, and successful practitioner, was born in Dorchester, Massachusetts (now a suburb of Boston), into a family descended from settlers of the Massachusetts Bay Colony. Equally adept at capturing the excitement of modern cities and the charms of country retreats, Hassam (properly pronounced HASS-am) became the foremost chronicler of New York City at the turn of the century. In our day, he is perhaps best known for his depictions of flag-draped Fifth Avenue during World War I (67.187.127). His finest works manifest his brilliant handling of color and light and reflect his credo (stated in 1892) that “the man who will go down to posterity is the man who paints his own time and the scenes of every-day life around him.”

After establishing his reputation in Boston between 1882 and 1886, Hassam studied from 1886 to 1889 in Paris. There he was unusual among his American contemporaries in his attraction to French Impressionism, which was just beginning to find favor with American collectors. Hassam returned to the United States late in 1889 and took up lifelong residence in New York. His signature images include views of Boston, Paris, and New York, three urban centers whose places and pleasures he captured with affection and originality. Examples include Winter in Union Square (43.116.2) and Spring Morning in the Heart of the City (43.116.1), both of which record lively sections of New York during the first decade of Hassam’s activity there.

Childe Hassam (1859–1935)

While Hassam was unusual among the American Impressionists for his frequent depictions of burgeoning cities, he spent long periods in the countryside. There he found respite from urban pressures and inspiration for numerous important works of art. Hassam’s many portrayals of the old-fashioned gardens, rocky coast, and radiant sunlight of the Isles of Shoals, Maine, are among his most cherished works. Among them is the 1901 view Coast Scene, Isles of Shoals(09.72.6), the first canvas by the artist to enter the collection of the Metropolitan Museum. Hassam’s images of Newport, Portsmouth, Old Lyme, Gloucester, and other New England locales also exemplify the late nineteenth-century appreciation of the picturesque region redolent of early American settlement and colonial growth. In 1919, Hassam and his wife purchased a colonial-period house in East Hampton, on the south fork of Long Island, New York, and made it their summer headquarters.

Working Title/Artist: Celia Thaxter’s Garden, Isles of Shoals, Maine Department: Am. Paintings / Sculpture Culture/Period/Location: HB/TOA Date Code: Working Date: 1890 photography by mma, Digital File DP139631.tif retouched by film and media (jnc) 2_10_10

Hassam created more than 2,000 oils, watercolors, pastels, and illustrations, and—after 1912—more than 400 etchings and other prints. With these works he achieved critical acclaim and commercial success, riding the great wave of enthusiasm for American Impressionism to fame and fortune. https://www.metmuseum.org/toah/hd/hass/hd_hass.htm

The most distinctive and famous works of his later life compose the set of about thirty paintings known as the “Flag series”, which he began in 1916 when he was inspired by a “Preparedness Parade” (for the American involvement in World War I) held on Fifth Avenue in New York (renamed the “Avenue of the Allies” during the Liberty Loan Drives of 1918). Thousands participated in these parades which often lasted for over twelve hours. “

The Avenue in the Rain
Frederick Childe Hassam

Being a avid Francophile, of English ancestry, and strongly anti-Germany, Hassam enthusiastically backed the Allied cause and the protection of French culture. The Hassams joined with other artists in the war relief effort from nearly the beginning of the conflict in 1914, when most Americans as well as President Woodrow Wilson were decidedly isolationist. He even had in mind to volunteer to go to Europe to record the war, but the government would not approve the trip. He was even arrested (and quickly released) for innocently sketching naval maneuvers along the city’s rivers. As well as the time he gave to many committees, several of the flag pictures were contributed to the war relief, and he accepted Liberty Bonds in payment for one. Although he had great hopes that the entire series would sell as a war memorial set (for $100,000), the pictures were sold individually after several group exhibitions, the last at the Corcoran Gallery in 1922.

Monet, among other French artists, had also painted flag-themed works, but Hassam’s have a distinctly American character, displayed on New York’s most fashionable street with his own compositional style and artistic vision. In most paintings in the series, the flags dominate the foreground, while in others the flags are simply part of the festive panorama. In some, the American flags wave alone and in others, flags of the Allies flutter as well. In his most impressionistic painting in the series, The Avenue in the Rain (1917), the flags and their reflections are blurred so extremely as to appear to be viewed through a rain-smeared window. His flag paintings cover all seasons and various weather and light conditions. Hassam makes a patriotic statement without overt reference to parades, soldiers, or war, apart for one picture showing a flag exclaiming “Buy Liberty Bonds”. The Metropolitan Museum of Art, the New York Historical Society, and the National Gallery of Art all own a Hassam flag painting.

In 1919, Hassam purchased a home in East Hampton, New York. Many of his late paintings employed nearby subjects in that town and on Long Island. The post-war art market boomed in the 1920’s, and Hassam commanded escalating prices, though some critics thought he had became static and repetitive, as American art had begun to move on to the Realism of the Ashcan School and artists like Edward Hopper and Robert Henri. In 1920, he received the Gold Medal of Honor for lifetime achievement from the Pennsylvania Academy of the Fine Arts and numerous other awards through the 1920’s. Hassam traveled relatively little in his last years, but did visit California, Arizona, Louisiana, Texas, and Mexico. He died in East Hampton in 1935, at age 75.

Childe Hassam (1859–1935)

To the end, he denounced modern trends in art, and he termed “art boobys” all the painters, critics, collectors, and dealers who got on the bandwagon and promoted Cubism, Surrealism and other avant-garde movements.” From his death until a revival of interest in American Impressionism in the 1960’s, Hassam was considered among the “abandoned geniuses”. As French Impressionist paintings reached stratospheric prices in the 1970’s, Hassam and other American Impressionists gained renewed interest and were bid up as well. (From Wikipedia) https://www.frederickhassam.org/biography.html