Notizen Dezember 2018

Thomas Mann (1875 - 1955)

Der Zauberberg (1924)

...weiterhin, aktuell im Kapitel angelangt...manche Abschnitte scheinen schon etwas langatmig, aber immer wieder sind einfach wunderbare Passagen darin, wie die Darstellung der riskanten Skitour

"Er freute sich seiner Errungenschaft, vor welcher die Unzugänglichkeit sich auftat und Hindernisse fast zunichte wurden.
Sie umgab ihn mit erwünschter Einsamkeit, der erdenklich tiefsten sogar, einer Einsamkeit, die das Herz mit Empfindungen des menschlich Wildfremden und Kritischen berührte."



Andrew O'Hagan (*1968)

The Illuminations (2015) 
hat mein Interesse erregt...vielleicht das nächste Werk nach dem Zauberberg?



Aktuell höre ich viele kleine Klavierstücke - speziell aus Bachs "Notenbüchlein für Anna Magdalena" 

Johann Sebastion (1685 - 1750)

Musette in D major, BWV Anh 126

Air in F major, BWV Anh 131

Menuet - Composer unknown BWV Anh. 116

BWV Anh. 115 - Minuet in G minor

March in G Major by Johann Sebastian (?) Bach, BWV Anh. 124

Solo per il Cembalo in E-flat Major, BWV Anh. 129

March in E-flat major, BWV Anh 127

Banderine, Suite Nr. 2 in H-Moll



François Couperin (1668 – 1733)

Rondeau (Les Bergeries) - für Klavier, BWV Anh. 183

Les Barricades Mystérieuses  (1717)
Aus den "Ordre 6ème de clavecin" in B-Dur

Notizen November 2018

Thomas Mann (1875 - 1955)

 

Der Zauberberg (1924)

Schon vor 30 Jahren beeindruckte mich dieses Buch wie kaum ein anderes der deutschsprachigen Literatur...aber heute noch mehr. Vielleicht liegt das daran, dass ich jetzt ungefähr in dem Alter bin, in dem Thomas Mann dieses Buch geschrieben hat...

»Ja, die Zeit ist ein rätselhaftes Ding, es hat eine schwer klarzustellende Bewandtnis mit ihr!«
 »Sie kennen den Trick, in der Sklaverei Ihren Stolz zu bewahren. Ein verwirrender Trick. Nicht jedermann in Europa versteht sich darauf.«
 »Siehst du nicht ganz gern einen Sarg? Ich sehe ganz gern mal einen. Ich finde, ein Sarg ist ein geradezu schönes Möbel, schon wenn er leer ist, aber wenn jemand darin liegt, dann ist es direkt feierlich in meinen Augen.«

»Begräbnisse haben so etwas Erbauliches, - ich habe schon manchmal gedacht, man sollte, statt in die Kirche, zu einem Begräbnis gehen, wenn man sich ein bißchen erbauen will. Die Leute haben gutes schwarzes Zeug an und nehmen die Hüte ab und sehen auf den Sarg und halten sich ernst und andächtig, und niemand darf faule Witze machen, wie sonst im Leben. Das habe ich sehr gern, wenn sie endlich mal ein bißchen andächtig sind.« »Das Opiat ist vom Teufel, denn es schafft Dumpfsinn, Beharrung, Untätigkeit, knechtischen Stillstand ... «


»Russen fahren immer spazieren.«

»Ach ja, die Ironie! Hüten Sie sich vor der hier gedeihenden Ironie, Ingenieur! Hüten Sie sich überhaupt vor dieser geistigen Haltung! Wo sie nicht ein gerades und klassisches Mittel der Redekunst ist, dem gesunden Sinn keinen Augenblick mißverständlich, da wird sie zur Liederlichkeit, zum Hindernis der Zivilisation, zur unsauberen Liebelei mit dem Stillstand, dem Ungeist, dem Laster.«
»Krankheit und Verzweiflung [...] sind auch oft nur Formen der Liederlichkeit.«

Friedrich Hölderlin (1770 - 1842)

Des Morgens (1799)

Vom Thaue glänzt der Rasen; beweglicher
  Eilt schon die wache Quelle; die Buche neigt
    Ihr schwankes Haupt und im Geblätter
      Rauscht es und schimmert; und um die grauen

Gewölke streifen röthliche Flammen dort,
  Verkündende, sie wallen geräuschlos auf;
    Wie Fluthen am Gestade woogen
      Höher und höher die Wandelbaren.

Komm nun, o komm, und eile mir nicht zu schnell,
  Du goldner Tag, zum Gipfel des Himmels fort!
    Denn offener fliegt, vertrauter dir mein
      Auge, du Freudiger! zu, solange du

In deiner Schöne jugendlich blikst und noch
  Zu herrlich nicht, zu stolz mir geworden bist;
    Du möchtest immer eilen, könnt ich,
      Göttlicher Wanderer, mit dir! - doch lächelst

Des frohen Übermüthigen du, daß er
  Dir gleichen möchte; seegne mir lieber dann
    Mein sterblich Thun und heitre wieder,
      Gütiger! heute den stillen Pfad mir!

Johannes Brahms (1833 - 1897)

Ein Deutsches Requiem nach Worten der heiligen Schrift, op. 45 (1868)

I.

[Ziemlich langsam und mit Ausdruck. F-Dur, C]
Selig sind, die da Leid tragen,
denn sie sollen getröstet werden.

(Matthäus 5, 4)

Die mit Tränen säen,
werden mit Freuden ernten.
Sie gehen hin und weinen
und tragen edlen Samen,
und kommen mit Freuden
und bringen ihre Garben.

(Psalm 126, 5.6.)

II.

[Langsam, marschmäßig, b-Moll, 3/4]
Denn alles Fleisch, es ist wie Gras
und alle Herrlichkeit des Menschen
wie des Grases Blumen.
Das Gras ist verdorret
und die Blume abgefallen.

(1. Petrus 1, 24)

[Etwas bewegter. Ges-Dur, 3/4]
So seid nun geduldig, liebe Brüder,
bis auf die Zukunft des Herrn.
Siehe, ein Ackermann wartet
[23]
auf die köstliche Frucht der Erde

und ist geduldig darüber,
bis er empfahe den Morgenregen und Abendregen.
So seid geduldig.

(Jakobus 5, 7)

[Tempo I. b-Moll, 3/4]
Denn alles Fleisch, es ist wie Gras
und alle Herrlichkeit des Menschen
wie des Grases Blumen.
Das Gras ist verdorret
und die Blume abgefallen.

[Un poco sostenuto. B-Dur, C]
Aber des Herren Wort bleibet in Ewigkeit.

(1. Petrus 1, 24. 25)

[Allegro non troppo, B-Dur, C]
Die Erlöseten des Herrn werden wiederkommen,
und gen Zion kommen mit Jauchzen;
Freude, ewige Freude,
wird über ihrem Haupte sein;
Freude und Wonne werden sie ergreifen,
und Schmerz und Seufzen wird weg müssen.

(Jesaja 35, 10)

III.

[Andante moderato, d-Moll. C]
Herr, lehre doch mich,
daß ein Ende mit mir haben muß.
und mein Leben ein Ziel hat,
und ich davon muß.
Siehe, meine Tage sind
einer Hand breit vor Dir,
und mein Leben ist wie nichts vor Dir.

[24]

[(Andante moderato. d-Moll) 3/2]
Ach wie gar nichts sind alle Menschen,
die doch so sicher leben.
Sie gehen daher wie ein Schemen
und machen ihnen viel vergebliche Unruhe;
sie sammeln und wissen nicht,
wer es kriegen wird.
Nun Herr, wes soll ich mich trösten?

[(Andante moderato.) D-Dur (3/2)]
Ich hoffe auf Dich.

(Psalm 39, 5-8)

[(Andante moderato.) d-Moll, C]
Der Gerechten Seelen sind in Gottes Hand
und keine Qual rühret sie an.

(Weisheit Salomos 3, 1)

IV.

[Mäßig bewegt. Es-Dur, 3/4]
Wie lieblich sind Deine Wohnungen,
Herr Zebaoth!
Meine Seele verlanget und sehnet sich
nach den Vorhöfen des Herrn;
Mein Leib und Seele freuen sich
in dem lebendigen Gott.
Wohl denen, die in Deinem Hause wohnen,
die loben Dich immerdar.

(Psalm 84, 2.3.5)

V.

[Langsam. G-Dur, C]
Ihr habt nun Traurigkeit;
aber ich will euch wiedersehen,
und euer Herz soll sich freuen,
[25]
und eure Freude soll niemand von euch nehmen.


(Johannes 16, 22)

Ich will euch trösten,
wie einen seine Mutter tröstet.

(Jesaja 66, 13)

Sehet mich an: Ich habe eine kleine Zeit
Mühe und Arbeit gehabt
und habe großen Trost gefunden.

(Jesus Sirach 51, 35)

VI.

[Andante. c-Moll, C]
Denn wir haben hie keine bleibende Statt,
sondern die zukünftige suchen wir.

(Hebräer 13, 14)

Siehe, ich sage Euch ein Geheimnis:
Wir werden nicht alle entschlafen,
wir werden aber alle verwandelt werden;
und dasselbige plötzlich in einem Augenblick,
zu der Zeit der letzten Posaune.

[Vivace. c-Moll, 3/4]
Denn es wird die Posaune schallen
und die Toten werden auferstehen unverweslich;
und wir werden verwandelt werden.
Dann wird erfüllet werden das Wort,
das geschrieben steht.
Der Tod ist verschlungen in den Sieg.
Tod, wo ist dein Stachel?
Hölle, wo ist dein Sieg?

(1 Korinther 15, 51.52.54.55.)

[26]

[Allegro. C-Dur, C]
Herr, Du bist würdig
zu nehmen Preis und Ehre und Kraft,
denn Du hast alle Dinge erschaffen,
und durch Deinen Willen haben sie das Wesen
und sind geschaffen.

(Offenbarung Johannis 4, 11)

VII.

[Feierlich. F-Dur, C]
Selig sind die Toten,
die in dem Herrn sterben,
von nun an.
Ja, der Geist spricht,
daß sie ruhen von ihrer Arbeit;
denn ihre Werke folgen ihnen nach.

(Offenbarung Johannis 14, 13)

Notizen Oktober 2018

Ernst Theodor Amadeus Hoffmann (1776 - 1822)

Die Elixiere des Teufels (1815/16)

Eines der Bücher, das ich in den vergangenen 30 Jahren mehrmals zu lesen begonnen habe - aber nie über die ersten Kapitel hinausgekommen bin.

Nun als Hörbuch in der wunderbaren Lesung von Peter Matic erneut begonnen und daher die etwas schleppend beginnenden Kapitel zu Anfang des Romans "überstanden"...danach sehr unterhaltsam, voll von wunderbaren Passagen und interessanten Bemerkungen z.B. zur Spielsucht oder zur "Galanterie":

"...ich fühle nur zu lebhaft, daß es nicht sowohl die Gefahr ist, durch bedeutenden Verlust in die übelste Lage zu geraten, welche dieses Spiel so verderblich macht, sondern vielmehr die Kühnheit, geradezu wie in offener Fehde es mit der geheimen Macht aufzunehmen, die aus dem Dunkel glänzend hervortritt und uns wie ein verführerisches Trugbild in eine Region verlockt, in der sie uns höhnend ergreift und zermalmt. Eben dieser Kampf mit jener Macht scheint das anziehende Wagestück zu sein, das der Mensch, seiner Kraft kindisch vertrauend, so gern unternimmt und das er, einmal begonnen, beständig, ja noch im Todeskampfe den Sieg hoffend, nicht mehr lassen kann. Daher kommt meines Bedünkens die wahnsinnige Leidenschaft der Pharospieler und die innere Zerrüttung des Geistes, die der bloße Geldverlust nicht nach sich zu ziehen vermag und die sie zerstört."

"[Galanterie]...ist die sonderbare Gabe, über nichts mit bedeutenden Worten zu schwatzen und so den Weibern ein gewisses Wohlbehagen zu erregen, von dem, wie es entstanden, sie sich selbst nicht Rechenschaft geben können. Daß diese höhere und eigentliche Galanterie sich nicht mit plumpen Schmeicheleien abgeben kann, fließt aus dem Gesagten, wiewohl in jenem interessanten Geschwätz, das wie ein Hymnus der Angebeteten erklingt, eben das gänzliche Eingehen in ihr Innerstes liegt, so daß ihr eignes Selbst ihnen klar zu werden scheint und sie sich in dem Reflex ihres eignen Ichs mit Wohlgefallen spiegeln."




Am Ende ließ mich das Werk dann doch mit zwiespältigen Gefühlen zurück...als Ganzes irgendwie "unstimmig", in Passagen geradezu langwierig - und teilweise von faszinierenden Traumsequenzen, scharfsinnigen Beobachtungen und überaus schönen Abschnitten.
Das Übersinnliche, die Schauerromantik kommt dann doch immer wieder etwas direkt und plump daher...

Bruder und Schwester Lenobel (2018)

wieder zurückgelegt...


Prosper Mérimée (1803 - 1870)

La Double Méprise (1833)

Eine großartige Erzählung - scharfsinnig, zynisch - von einem für diese Epoche außergewöhnlichen psychologischen Realismus. 


Johann Sebastian Bach (1685 - 1750)

Messe in h-Moll BWV 232 (1749)

z.B.: Gardiner 2015: https://www.youtube.com/watch?v=m7obnfrlP0s

Ludwig van Beethoven (1770 - 1827)

Missa Solemnis op. 123 (1823)

z.B. Karajan 1958: https://www.youtube.com/watch?v=3u1EduLH7L8

Giovanni Battista Pergolesi (1710 - 1736)
 
Adriano in Siria  (1734)
 
z.B. : auf Youtube:
1. Akt: https://www.youtube.com/watch?v=mlVxOibO9zw
2. Akt: https://www.youtube.com/watch?v=b8XochVhxyU
3. Akt: https://www.youtube.com/watch?v=FnIE-Fy8x64

Mir ist kein Libretto bekannt, das mehr Opern zugrundeliegt als dieses Libretto von Metastasio (1698 - 1782):

    1732: Antonio Caldara
    1733: Geminiano Giacomelli
    1734: Giovanni Battista Pergolesi, Adriano in Siria
    1734: Pietro Giuseppe Sandoni
    1735: Francesco Maria Veracini (adaptation of the libretto by Angelo Cori)
    1735: Riccardo Broschi
    1736: Egidio Duni
    1737: Giovanni Battista Ferrandini
    1737: José de Nebra, Adriano en Siria o Más gloria es triunfar de sí
    1737: Giovanni Porta
    1739: Giovanni Alberto Ristori
    1740: Baldassare Galuppi
    1740: Michele Caballone
    1740: Giovanni Battista Lampugnani
    1740: Antonio Giai
    1745: Giovanni Verocai, Die getreue Emirena Parthische Prinzeßin
    1745: Carl Heinrich Graun, Artabanus
    1746: Girolamo Abos
    1746: Paolo Scalabrini
    1747: Gaetano Latilla
    1747-48: Vincenzo Legrenzio Ciampi
    1750: Ignazio Fiorillo
    1750: Giovan Battista Pescetti
    1750: Antonio Gaetano Pampani
    1751: Andrea Adolfati
    1752: Giuseppe Scarlatti
    1752: Johann Adolph Hasse
    1752: Davide Perez
    1753: Michelangelo Valentini
    1753: Giuseppe Scolari
    1754: Nicola Conforto
    1755: Andrea Bernasconi
    1756: Rinaldo di Capua
    1757: Francesco Uttini
    1757: Francesco Brusa
    1758: Giovanni Battista Borghi
    1758: Baldassare Galuppi (second version)
    1760: Antonio Maria Mazzoni
    1762: Johann Gottfried Schwanenberger
    1762: Giuseppe Colla
    1763: Gregorio Sciroli
    1764: Marian Wimmer
    1765: Pietro Alessandro Guglielmi
    1765: Johann Christian Bach
    1768: Ignaz Holzbauer
    1768: Hieronymus Mango
    1769: Gian Francesco de Majo
    1769: Carlo Monza
    1770: Antonio Sacchini
    1770: Antonio Tozzi
    1773: Giacomo Insanguine
    1775: Gaetano Monti
    1776: Josef Mysliveček, Adriano in Siria
    1777: Pasquale Anfossi
    1778: Giuseppe Sarti
    1779: Felice Alessandri
    1781: Giacomo Rust
    1782: Luigi Cherubini
    1788: Jakob Friedrich Gauss, Hadrian in Syrien
    1789: Sebastiano Nasolini
    1798: Simon Mayr
    1799: Étienne Méhul, Adrien, libretto by François-Benoît Hoffman adapted from Metastasio
    1807: Joseph Weigl, Kaiser Hadrian
    1811: Vincento Migliorucci
    1813: Marcos Portugal
    1815: Giuseppe Farinelli
    1821: Pietro Airoldi
    1828: Saverio Mercadante

Seit Wochen trage ich die Idee zu einem Bild "Maria Magdalena triumphiert über Belphegor" in mir.

Daher habe ich mich u.a. mit folgenden Werken beschäftigt:

Compendium Maleficarum / Francesco Maria Guazzo (1608)

De operatione daemonum / Michael Psellos (~1050)

Pseudomaonarchia Daemonum / Johann Weyer (1577)

Testament des Salomon / apokryph (4. Jhdt)

Notizen September 2018

George Orwell (1903 - 1950)

Coming Up for Air (1939)

....abgeschlossen - ein überaus lesenswertes Werk mit faszinierenden Passage, obwohl das Werk als gesamtes dann am Ende dann doch auf unerklärliche Weise einen inkompletten Eindruck hinterlässt.


Joseph von Eichendorff (1788 - 1857)
Ahnung und Gegenwart (1812 / 1815 erschienen)

...erst nach etwa 10 Seiten bemerkt, dass ich diesen Roman schon gelesen habe...hintangestellt, da mich Coming Up for Air mehr beschäftigt hat.

 
Interviews with Francis Bacon (1810 - 1857)David Sylvester

...begonnen - faszinierend...nicht zuletzt, da Bacon einer der wenigen Maler der zweiten Hälfte des Zwanzigsten Jahrhunderts ist, die mich wirklich ergriffen und beeinflusst haben.



Jakob "Jaques" Offenbach (1819 - 1880)

Les contes d'Hoffmann (1881)

Synopsis: http://www.opera-guide.ch/opera.php?uilang=de&id=30#synopsis

Libretto: http://www.opera-guide.ch/opera.php?uilang=de&id=30#libretto

Noten und Audiodateinen: https://imslp.org/wiki/Les_Contes_d%27Hoffmann_(Offenbach,_Jacques)



Ludwig van Beethoven (1770 - 1827)

Klaviertrio D-Dur op. 70,1


  Erster Satz: Allegro vivace e con brio
  Zweiter Satz: Largo assai ed espressivo
  Dritter Satz: Presto


z.B.: https://www.youtube.com/watch?v=xquS0KXPjJo

https://imslp.org/wiki/Piano_Trio_in_D_major,_Op.70_No.1_(Beethoven,_Ludwig_van)



 

Voltaire (François-Marie Arouet) (1694 - 1778)

Zaire (1733), Mahomet (1743), Semiramis (1749)

Notizen August 2018

George Orwell (1903 - 1950)

Coming Up for Air (1939)

begonnen...


Joseph von Eichendorff (1788 - 1857)

Ahnung und Gegenwart (1812 / 1815 erschienen)

...parallel dazu begonnen

Alfred de Musset (1810 - 1857)
Rolla (1833)

erstmals darauf aufmerksam geworden: z.B.:
http://www.zeno.org/Literatur/M/Musset,+Alfred+de/Verserzählung/Rolla/Erster+Gesang






Clément Philibert Léo Delibes (1836 - 1891)

Lakmé (1883)

Libretto von Edmond Gondinetund Philippe Gille nach dem 1880 erschienenen Roman Rarahu ou Le Mariage de Loti von Pierre Loti.

z.B.: https://m.youtube.com/watch?v=AV7z5Q9CXKg&t=837s

Libretto: http://www.opera-guide.ch/opera.php?id=106&uilang=de


Glück im Unglück

Unglück im Glück ist eine der bekanntesten Parabeln aus dem Huainanzi (chin. 淮南子, dt. Meister von Huainan), 18. Kapitel (chin. 人間訓, Renjianxun, dt. In der Welt des Menschen[1]) aus dem 2. Jahrhundert v. Chr
https://de.m.wikipedia.org/wiki/Glück_im_Unglück_–_Unglück_im_Glück

https://www.br.de/mediathek/podcast/mythen-michael-koehlmeier-erzaehlt-sagen-des-klassischen-altertums/529


Franz Liszt

Ce Qu'on Entend Sur La Montagne (Berg-Symphonie)

z.B.: Leipzig Gewandhaus, Kurt Masur.
https://m.youtube.com/watch?v=5G-OmiUPIN0


Victor Emanuel Bendix (1851 - 1926)

Symphony no. 2 in D major, op. 20 " Sommerklange fra Sydrusland"

z.B.: https://m.youtube.com/watch?v=xLXT3qgAn0k&list=OLAK5uy_k5YsJWaeHRckZVtGveSMLjjugfWqduSt4&index=1


Theodor von Schacht - Symphony in C-major (17??)
https://m.youtube.com/watch?t=426s&v=v_gJqsIoZQo


Brahms Hungarian Dance, no.1
https://m.youtube.com/watch?v=k9UwfYwv9sI&index=1&list=RDk9UwfYwv9sI


Brahms - 16 Waltzes Op. 39
https://m.youtube.com/watch?v=wZIG80RIflU


Debussy Masques
https://m.youtube.com/watch?v=s9cmc5NMJ2w


Debussy - Sonata for Flute, Viola and Harp
https://m.youtube.com/watch?v=mI-wlmMNU6c&index=5&list=LL30_O3Yc6SCEHZTynTdffUg


J. S. Bach
English Suite No.3 in G minor/sol mineur, BWV 808
https://m.youtube.com/watch?v=hoBhyujPHEA

Prélude (00:00)
Allemande (03:33)
Courante (06:35)
Sarabande (9:00)
Gavotte I - Gavotte II / La musette (18:33)
Gigue (21:37)

English Suite No.4 in F/Fa Majeur, BWV 809 
Prélude (25:04)
Allemande (30:17)
Courante (33:04)
Sarabande (34:47)
Menuet I - II (39:00)
Gigue (42:22)

English Suite No.6 in D minor/ré mineur, BWV 811
Prélude (46:21) Allemande (53:41) Courante (57:09) Sarabande (59:54) Double (1:04:12) Gavotte I - II (1:07:06) Gigue (1:11:08)

French Suite No.2 in C minor/ut mineur, BWV 813
Allemande (1:14:49) Courante (1:17:53) Sarabande (1:19:54) Air (1:23:06) Menuet I - II (1:24:41) Gigue (1:27:20)

French Suite No.4 in E flat/Mi bémol Majeur, BWV 815a
Praeludium (1:29:44) Allemande (1:31:28) Courante (1:33:59) Sarabande (1:35:55) Gavotte I - II (1:39:10) Menuet BWV 815 (1:43:34) Air (1:44:31) Gigue BWV 815 (1:46:45)

French Suite No.6 in E/Mi Majeur, BWV 817
Allemande (1:49:33) Courante (1:52:23) Sarabande (1:54:12) Gavotte (1:58:34) Polonaise (1:59:50) Menuet (2:01:47) Bourée (2:03:21) Gigue (2:04:36)

Toccata in D minor/ré mineur, BWV 913 (2:07:12)

Toccata in G/Sol Majeur, BWV 916 (2:19:52)

Fantasia in C minor/ut mineur, BWV 906 (2:27:14)

Italian Concerto in F/Fa Majeur, BWV 971
1.Allegro (2:31:47) 2.Andante (2:35:47) 3.Presto (2:40:55)

French Overture in B minor/Si mineur, BWV 831
Ouverture dans le style français / Französiche Ouvertüre Ouverture (2:45:16) Courante (3:00:43) Gavotte I - II (3:02:59) Passepied I - II (3:06:30) Sarabande (3:09:52) Bourée I - II (3:14:03) Gigue (3:16:56) Echo (3:19:09). 

Notizen Juli 2018



Zadie Smith (*1975)

Swing Time (2016)


fortgesetzt...mit gemischten Gefühlen begonnen, einerseits als einer der bedeutendsten Romane seit 2000 gelobt, teilweise in seinem "hysterischen Realismus" kritisiert - bisher ein sehr überzeugendes und lesens- und empfehlenswertes Werk.

Tom Reiss "Schwarzer General" muss warten...zusätzlich wieder auf Eichendorffs (1788 - 1857) Jugendwerk Ahnung und Gegenwart (1815) gestoßen - werde ich wohl vorziehen...






Max Horkheimer (1895 - 1973)


Der Spiegel führte 1970 dieses sehr lesenswerte Interview - es enthält viele Facetten Horkheimers Kritik an der weltgeschichtlichen Entwicklung im Zwanzigsten Jahrhundert...und speziell seine Kritik an der technologisierenden, von ihm sogenannten "instrumentellen", Vernunft gewinnt im Zeitalter der universellen Digitalisierung unserer Gesellschaft immer weiter an Bedeutung - eine Bedeutung, die vor 50 Jahren so nicht absehbar war, aber in der Grund-Tendenz von Horkheimer "vorgedacht" wurde.
Die Digitalisierung stellt sich bei genauerer Betrachtung gewissermaßen als Erscheiningsform der "instrumentellen" Vernunft im Sinne Horkheimers dar. Auf unheimliche Weise spielen im beginnenden Einundzwanzigsten Jahrhundert "durchgängige Verwaltung" und Liberalismus zusammen und heben das menschliche Leben auf eine neue Stufe technologischer ("instrumenteller") Vernunft.
http://www.spiegel.de/spiegel/print/d-45226214.html




Carl Nielsen (1865-1931)

Helios Overture, Op. 17 (FS 32)


z.B.: https://www.youtube.com/watch?v=0jikeQdzv3s

Notizen Juni 2018



Zadie Smith (*1975)

Swing Time (2016)


begonnen...

Tom Reiss (*1964)

Der schwarze General (2013)


begonnen...



Jay (John Barrett) McInerney (*1955)

Bright Lights, Big City (1984)

abgeschlossen...auch nach all den Jahren konnte mich das Werk mit seiner gesuchten Oberflächlichkeit nicht begeistern...lediglich als Illustration zu den 80ern bzw. als Prototyp zu den Houellebecqs, Beigbeders und Despentes späterer Zeiten noch lesenswert... 





über Kubin auf einen heute vergessenen Schriftsteller gestoßen:
Oscar Adolf Hermann Schmitz (1873 - 1931)

Haschisch. Erzählungen (1902)
mit den Illustrationen Kubins: https://www.gutenberg.org/files/37763/37763-h/37763-h.htm

...und über diese kleine Sammlung von Erzählungen aufmerksam geworden auf: 
Ludovico Maria Sinistrari (1622 - 1701) 
De Daemonialitate et Incubis et Succubis (1701)
Ist online im lateinischen Original mit Englischer Übersetzung verfügbar: https://archive.org/details/demonialityorin00lisegoog

...ja, BBC hat eine Liste der "greatest Novels" des Einundzwanzigsten Jahrhunderts...die Auswahl scheint etwas eng geraten zu sein und der Fokus sehr stark auf die Aufarbeitung von Kolonialismus und Sklaverei gerichtet...

1. Junot Díaz, The Brief Wondrous Life of Oscar Wao (2007)
2. Edward P Jones, The Known World (2003)
3. Hilary Mantel, Wolf Hall (2009)
4. Marilynne Robinson, Gilead (2004)
5. Jonathan Franzen, The Corrections (2001)
6. Michael Chabon, The Amazing Adventures of Kavalier & Clay (2000)
7. Jennifer Egan, A Visit from the Goon Squad (2010)
8. Ben Fountain, Billy Lynn’s Long Halftime Walk (2012)
9. Ian McEwan, Atonement (2001)
10. Chimamanda Ngozi Adichie, Half of a Yellow Sun (2006)
11. Zadie Smith, White Teeth (2000)
12. Jeffrey Eugenides, Middlesex (2002)
13. Chimamanda Ngozi Adichie, Americanah 
14. WG Sebald, Austerlitz
15. Elena Ferrante, My Brilliant Friend 
16. Alan Hollinghurst, The Line of Beauty 
17. Cormac McCarthy, The Road 
18. Zadie Smith, NW 
19. Roberto Bolaño, 2666
20. Shirley Hazzard, The Great Fire

http://www.bbc.com/culture/story/20150119-the-21st-centurys-12-best-novels


neben Debussy interessiert mich wieder einmal der späte Liszt:
Franz Liszt (1811-1886)

Nuages gris (Trübe Wolken), S. 199 (1881)
z.B.: https://www.youtube.com/watch?v=tYKl41e_hoU

Bagatelle sans tonalité, S.216a (1885)

z.B.: https://www.youtube.com/watch?v=Zx_Wolki0dc

Unstern!, Sinistre, Disastro S.208 (1880-86)

z.B.: https://www.youtube.com/watch?v=XIJpqQvR19U
Der Anfang klingt wie Debussy ohne französische Leichtigkeit...


Emile Zola (1840 - 1902)

Ein feines Haus (1882)
Insgesamt ein sehr lesenswertes, wenn auch nicht gelungenes Werk. Großartige Passagen, tiefe Ensichten zum Verhältnis der Geschlechter wie in der Literatur bis heute kaum wieder festgehalten - aber die Kritik am Bürgertum ist teilweise zu plakativ-plump.
Besonders bemerkenswert im Sinne eines "echten" Naturalismus ist die Niederkunft der Adele - wenn auch kompositorisch sehr unvermittelt in den Handlungsablauf, eingeschoben - fast wie eine "zufällig" vorhandene Skizze.

Hilfreich ist das online verfügbare kommentierte Personenregister: http://bachlab.balbach.net/pot-bouille.html

Source:

J. G. Patterson. A Zola dictionary; the characters of the Rougon-Macquart novels of Emile Zola London G. Routledge, 1912.^[1]

Compiled: Stephen Balbach, September 2011.
Copyright: Public Domain
----

*Adele, maid, servant to the Josserands, and one of Hector Trublot's friends.
*Alexandre, a boy employed in the shop known as Au Bonheur de Dames.
*Amelie, wife of a journeyman carpenter who occupied a little room at the top of Vabre's tenement house in Rue Choiseul.
*Bachelard (Pere), brother of Narcisse Bachelard and uncle of Madame Josserand. He conducted for forty years a boarding-school known as the Institution-Bachelard.
*Bachelard (Eleonore). See Madame Josserand.
*Bachelard (Narcisse), a commission agent, whose keen business instincts were not blunted by his intemperate habits. He was a brother of Madame Josserand, and had at one time promised to give a dowry to her daughter Berthe; this promise he was unwilling to implement, and when spoken to on the subject he usually feigned intoxication; eventually he suggested the somewhat dishonest plan by which Berthe's intended husband was hoodwinked into the belief that the dowry would be duly forthcoming. His protegee, Fifi, having compromised herself with Gueulin, his nephew, he insisted on their marriage, and presented the girl with a dowry.
*Bernheim (Les Freres), proprietors of the glass-works of Saint-Joseph where Josserand was employed as cashier.
*Bocquet (Madame), mother of Clarisse.
*Bocquet (Clarisse), a woman on whom Duveyrier squandered large sums of money. She ultimately gained such complete influence over him, and made him so unhappy, that he attempted to commit suicide.
*Bonnaud, formerly head of the counting-house of a railway company.
*Campabdon (Achille), an architect, in whose house Octave Mouret boarded when he first came to Paris. His views on religion were somewhat free, but having been appointed diocesan architect he gradually became orthodox, though this did not prevent him from carrying on an intrigue with Gasparine, his wife's cousin, who ultimately came to live with the family.
*Campabdon (Madame), wife of the preceding, nee Rose Domergue. Born at Plassans, she was an old friend of Madame Mouret, and when Octave Mouret came to Paris he boarded with the Campardons. After the birth of her child, Madame Campardon was an invalid, and was obliged to spend much of her time in bed, amusing herself by reading the works of Dickens. She tacitly accepted the liaison between her husband and Gasparine her cousin, whom she ultimately asked to live with the family and manage the household affairs.
*Campabdon (Angele), daughter of the preceding. She was brought up at home by her parents, in order that she might remain ignorant of the realities of life, but intercourse with the servants in a large tenement house early developed her unnatural precocity.
*Chassagne (Docteur), director of the asylum at Moulineaux, where Satumin Josserand was confined for a time.
*Chavignat, an employee at the Ministry of Public Education.
*Clemence, lady's maid to Madame Duveyrier.
*Dambreville, a Government official who married in order to secure promotion through the influence of his wife.
*Dambreville (Madame), wife of the preceding. An elderly woman with a passion for Leon Josserand, whose appointment as Maitre des Requetes she procured by her influence. She promised to secure a wealthy wife for him, but delayed to do so until he insisted on a match being arranged between him and her niece Raymonde. Her friendly relations with him continued to subsist even after his marriage.
*Delezue founded, along with his brother, in 1822, the drapers' shop in Paris known as Au Bonheur des Dames. When he died, his daughter Caroline, who was married to Hedouin, succeeded to his share in the business.
*Deleuze (Uncle), one of the founders of the shop known as Au Bonheur des Dames. After the death of his elder brother he continued the business along with his niece Madame Hedouin. He became much affected by rheumatism, and left the management in the hands of Hedouin.
*Desmarquay, a money-changer in Rue Saint-Lazare. Trublot was employed in his office.
*Domergue was formerly Director of Roads and Bridges at Plassans. He was the father of Madame Campardon.
*Domergue (Madame), wife of the preceding, lived a retired life at Plassans with her husband. She introduced Octave Mouret to her daugh- ter, Madame Campardon, when he came to Paris.
*Duveyrier (Alphonse), a counsellor at the Court of Appeal; married Clotilde, daughter of M. Vabre. He was a man of dissolute habits, to whom his wife's cold nature and love of music were repugnant, and he spent much of his time away from home. He squandered large sums of money on a woman named Clarisse Bocquet, who afterwards left him. Having found her again, he fell under her influence so completely as to allow her to treat him abominably. So unhappy did he become, that he attempted to commit suicide by shooting himself; the wound was, however, not a serious one, and he recovered.
*Duveyrier (Madame Clotilde), wife of the preceding, was the only daughter of M. Vabre, a notary of Versailles. She did not get on well with her husband, who found her cold nature irksome, and, perhaps even more so, her love of piano-playing. Her musical evenings were attended by Octave Mouret, the Josserands, and others of the same circle.
*Duveyrier (Gustave), son of the preceding, a thin, precocious boy of sixteen, who was being educated at the Lycee Bonaparte.
*Eugenie, cook for a short time to Madame Theophile Vabre.
*Fifi, the sobriquet of Fanny Menu.
*Francoise, housemaid to Madame Theophile Vabre.
*Gasparine, a tall, handsome girl of Plassans, with whom Achille Campardon fell in love. She had no money, however, and he married her cousin Rose Domergue, who had a dowry of thirty thousand francs. Tears and recriminations followed, and Gasparine went to Paris, where for some time she had a situation in the shop of Madame Hedouin. Madame Campardon having fallen into ill-health, her husband returned to his first love, and a liaison existed between him and Gasparine for a considerable time. Ultimately she went to live with the Campardons, and managed their household affairs.
*Gourd (M.), at one time valet to the Due de Vaugelade, and afterwards doorkeeper in the tenement-house in Rue de Choiseul which belonged to M. Vabre, and was occupied by the Campardons, the Josserands, and others. He spent much of his time spying on the tenants, and posed as guardian of the morals of the establishment.
*Gourd (Madame), wife of the preceding. She was the widow of a bailiff at Mort-la-Ville, and she and her present husband owned a house there. She was exceedingly stout, and suffered from an affection of the legs which prevented her from walking.
*Gueulin, nephew of Narcisse Bachelard, was a clerk in an insurance office. Directly after office hours he used to meet his uncle, and never left him, going the round of all the cafes in his wake. "Behind the huge, ungainly figure of the one you were sure to see the pale, wizened features of the other." He said that he avoided all love affairs, as they invariably led to trouble and complications, but he was ultimately caught by his uncle in compromising circumstances with Mademoiselle Fifi, who was a protegee of the old man. Bachelard insisted on their marriage, and gave the girl a handsome dowry.
*Hedouin (Charles), originally a salesman in the draper's shop known as Au Bonheur des Dames, he became a partner by marrying Caroline Deleuze, a daughter of one of the proprietors. He fell into ill-health, but when he died the business was left in a flourishing condition.
*Hedouin (Madame Caroline), wife of M. Hedouin, the proprietor of a draper's shop in Paris known as "The Ladies' Paradise." She was a handsome woman with strong commercial capabilities, and during the frequent absences of her husband she undertook the management of the business. When Octave Mouret came to Paris, he first got employment at "The Ladies' Paradise," and with a view to establishing his position he conceived the idea of becoming Madame Hedouin's lover. She discouraged his advances, however, and he gave up his situation. M. Hedouin died soon afterwards, and his widow, finding the responsibilities of business too heavy, invited Octave Mouret to return; a few months afterwards they were married.
*Hippolyte, valet to Duveyrier. 
*Josserand pere, the father of Josserand, the cashier at the Saint-Joseph glassworks. He was originally a solicitor at Clermont.
*Josserand, cashier at the St. Joseph glassworks. His salary was not a large one, and in consequence of the determination of his wife to keep up a greater style than they could afford, he was engaged in a continual struggle to make ends meet; to gain a few extra francs he frequently spent much of the night addressing circulars for a firm of publishers. Worn out by hard work and by the continual bickerings of his wife and daughters, he was not in a condition to stand the disgrace of his daughter Berthe's liaison with Octave Mouret, and he was struck down by paralysis, which soon after resulted in his death.
*Josserand (Madame Eleanore), wife of the preceding. Her two objects in life were to appear better off than she really was, and to secure husbands for her daughters. In the latter quest she had many disappointments, and her temper, never good, correspondingly suffered, her unfortunate husband bearing the brunt. A marriage having ultimately been arranged between Berthe Josserand and Auguste Vabre, Madame Josserand made a strong effort to induce her brother, Narcisse Bachelard, to pay the dowry which he had long ago promised to his niece. As he refused to do so, Madame Josserand overcame the difficulty by a subterfuge of doubtful honesty.
*Josserand (Berthb), second daughter of M. Josserand. After several ineffectual efforts to secure a husband she became engaged to Auguste Vabre, the elder son of her father's landlord. Difficulties as to a dowry followed, but these were surmounted by somewhat shady means, and the marriage took place. Vabre's health was not good, and Berthe soon became discontented, a state of mind largely induced by the bad advice of her mother. About this time Octave Mouret came to be assistant in Vabre's shop, and Berthe, carried away by his attentions, entered upon an unfortunate liaison with him. Discovery by Vabre led to Berthe's return to her parents' home, and it was only after a considerable time that a reconciliation was brought about by the efforts of Abbe Mauduit.
*Josserand (Hortense), elder daughter of M. Josserand. Her mother endeavoured to secure a husband for her, but she made her own choice, selecting one Verdier, a lawyer. The marriage was put off from time to time as Verdier had got entangled with a woman from whom he found separation difficult.
*Josserand (Leon), elder son of M. Josserand. He was a young man of ambition, who hoped to rise through the influence of Madame Dambreville, whose lover he became. Ultimately she arranged a marriage between him and her niece Raymonde, who brought him a large dowry. Soon afterwards by the same means he was appointed Maitre des Requetes.
*Josserand (Madame Leon), wife of the preceding. See Raymonde.
*Josserand (Saturnin), younger son of M. Josserand. He was a powerful young man of twenty-five, whose mind had been seriously affected by an attack of brain fever; though not actually insane, he was subject to fits of blind fury whenever anybody annoyed him. When his sister Berthe was a little girl, he nursed her through a long illness, and since he saved her life he adored her with a deep, passionate devotion. The preparations for her marriage to Auguste Vabre affected him so seriously that his removal to an asylum became necessary, and he remained there for some time. On his release he went to live with his sister and her husband, but domestic trouble having arisen, his mind again became so unhinged that he made an attempt on the life of his brother-in-law and had again to be taken to an asylum.
*Juillerat (Doctor), an old physician who attended most of the inhabitants of the Rue de Choiseul. He was a man of only average abilities who had built up a large practice by hard work. His views were somewhat advanced, and he had many arguments with Abbe Mauduit, with whom he frequently came in contact at the bedsides of his patients.
*Julie, cook in the employment of the Duveyriers.
*Juzeur (Madame), a neighbour of the Josserands in the Rue de Choiseul. Her husband had left her after ten days of married life, and thenceforth she lived alone in quiet lodgings. Very little was known of her circumstances or mode of life.
*Lisa, Madame Campardon's housemaid. She was active and intelHgent, and her conduct was regarded as irreproachable. This was, however, a somewhat too favourable estimate, and her companionship was by no means beneficial to the Campardons' young daughter, Angele.
*Louhette, an elderly draper in Rue Neuve Saint-Angustin. He was the father of Madame Theophile Vabre.
*Louhette (Madame), wife of the preceding, and mother of Madame Theophile Vabre.
*Louhette (Valerie), see Theophile Vabre.
*Louise, a young girl who was brought up in an Orphanage. At fifteen she went as maid-servant to Madame Jazeur, but not proving satisfactory, was sent back to the Orphanage.
*Mardienne Freres, manufacturers of church ornaments in Rue Saint-Sulpice. Mademoiselle Menu worked in their establishment.
*Maudit (Abbe), Vicar of Saint-Roch, Paris, he counted among his parishioners the Josserands and the Duveyriers. Though well aware of the immorality that went on in his parish, he recognized the impossibility of stopping it, and did what he could to hide it under the cloak of religion. When the scandal arose about Madame Auguste Vabre, he was approached by her relations, and at their request acted as intermediary between the husband and wife.
*Menu (Mademoiselle), aunt of Fanny Menu, who lived with her. She had been an embroideress for thirty years, but her sight failed and she was obliged to give up work. Fortunately she received a small legacy from a relative, and on this, added to the earnings of her niece, she was able to live.
*Menu (Fanny), a young girl who was protected by Narcisse Bachelard. As he on one occasion found her with Gueulin, his nephew, under compromising circumstances, he insisted on their marriage, and gave her a handsome dowry.
*Mouret (Octave), born 1840, son of Frangois Mouret. (La Fortune des Rougon). A young man of high spirits and somewhat idle habits, he made little progress at college, and failed to pass the examinations for a degree. His father was much annoyed at this, and sent him off to Marseilles to enter a commercial business. The reports regarding him were, however, unsatisfactory, as it appeared that he showed no inclination to settle to hard work and was living a dissolute life. (La Conquete de Plassans). After the death of his parents, Serge Mouret, who was about to take Holy Orders, renounced his share of his father's fortune in favour of his brother Octave. (La Faute de l'Abbe Mouret). He was appointed a member of the family council which nominally had charge of Pauline Quenu's fortune. (La Joie de Vivre). After three years at Marseilles he came to Paris, where he secured an appointment as assistant at "The Ladies' Paradise" through the influence of the Campardons, who were old friends of his mother. He formed the project of advancing his prospects by making love to Madame Hedouin, wife of his employer, but she gave him no encouragement. He resigned his situation, and went as salesman to Auguste Vabre, a neighbouring silk merchant. Vabre's wife (nee Berthe Josserand) was not on good terms with her husband, and a liaison was formed between her and Octave Mouret, which subsisted for some time before it was discovered by Vabre, who received information from Rachael, his maid-servant. Mouret returned to his former employment at "The Ladies Paradise," and M. Hedouin having died in the interval, he married the widow a few months afterwards. He had developed keen business ability, with large ideas, and under his management the shop became one of the most important in the district. (Pot-Bouille). In Mouret's hands the business of "The Ladies' Paradise" continued to grow, and repeated extensions of the building became necessary. While one of these was in progress, Madame Mouret, who was inspecting the work, fell into a hole, and as a result of her injuries died three days afterwards. Mouret remained a widower, and devoted himself to the extension of his business, though it was believed that a liaison with Madame Desforges was not the only entanglement of its kind. On the introduction of Madame Desforges he came to know Baron Hartmann, director of the Credit Immobilier, who became interested in him, and eventually found the money necessary to carry out the vast schemes of extension which he had long had in mind. By this time Denise Baudu had come to "The Ladies' Paradise" as a saleswoman, and from the first Mouret had taken an interest in her. This was probably increased by the fact that she resisted all his advances, and refused all his offers. Ultimately he became so infatuated by her that he asked her to marry him, which she agreed to do. By this time the success of "The Ladies Paradise" had become triumphant, and the smaller traders of the district were being crushed out of existence, and driven one by one into bankruptcy. (Au Bonheur des Dames). He assisted at the burial of his cousin, Claude Lantier the artist. By this time he had become very rich, was decorated with the Legion of Honour, and was desirous of giving the impression of an enlightened taste for art. (L'OEuvre). Octave Mouret, whose immense fortune continued to increase, had towards the end of 1872 a second child by his wife Denise Baudu, whom he adored, though he again began to lead a somewhat irregular life. Their little girl was puny, but the younger child, a boy, took after his mother, and grew magnificently. (Le Docteur Pascal).
*Mouret (Madame Caroline), first wife of the preceding. See Madame Caroline Hedouin.
*Payan, a stone-cutter from the South, whose friends had views of making him an artist. He was a lover of Clarisse Bocquet, and pilfered from her a large quantity of furniture given her by Duveyrier.
*Perou (La Mere), an old woman employed by Gourd, the concierge, to do cleaning work. Terrorized by his brutality she agreed to accept less wages.
*Pichon (Jules), a clerk who lived in the house in Rue de Choiseul occupied also by Octave Mouret. His means were small, and he was obliged to work hard, frequently till late at night, his wife being necessarily left much alone.
*Pichon (Marie), wife of the preceding. She was a daughter of M. and Madame Vuillaume, by whom she was strictly brought up. A dreamy unpractical woman, she fell under the influence of Octave Mouret, her next-door neighbour, and a liaison existed between them for a considerable time, with results which caused much annoyance to her parents.
*Pichon (Lilitte), infant daughter of the preceding.
*Rachael, the maid-servant in Auguste Vabre's household. As Octave Mouret and Madame Vabre did not bribe her sufficiently, she revealed their intrigue to Vabre. She acted as his housekeeper for some time, but had to leave after the reconciliation between him and his wife.
*Renaudin, a notary at Paris, who adjusted the Contract of Marriage between Auguste Vabre and Berthe Josserand. He acted in concert with Duveyrier in selling some heritable property to the loss of other members of the family.
*Theodore, a Belgian who gave lessons on the piano to Clarisse Bocquet, and afterwards became her lover.
*Trublot (Hector), a young man whom Madame Josserand hoped at one time to secure as a husband for her daughter. He had, however, no thoughts of marriage, and, as he was averse to any risk of complications, his habit was to select his female friends from among the maid-servants of his acquaintances. He was employed as correspondent in the office of Monsieur Desmarquay, a money-changer.
*Vabre, a notary of Versailles who retired to Paris with a fortune, part of which he invested in the house in Rue de Choiseul occupied by the Duveyriers, the Josserands, and others. He had unfortunately a hidden passion for gambling in stocks and shares, and when he died it was found that his whole fortune had been dissipated, even his house being heavily mortgaged.
*Vabre (Auguste), eldest son of M. Vabre, carried on a silk merchant's business in part of the premises which belonged to his father. He married Berthe Josserand, but as he suffered much from neuralgia, and was, in addition, of a niggardly disposition, the marriage was not a happy one. An intrigue between Madame Vabre and Octave Mouret followed, and on its discovery she returned to her parents. For a considerable time Vabre refused to forgive his wife, but a reconciliation was ultimately brought about through the intervention of Abbe Mauduit. Vabre's fortunes were adversely affected by the extension of Madame Hedouin's business, known as "The Ladies' Paradise."
*Vabre (Madame Auguste), wife of the preceding. See Berthe Josserand.
*Vabre (Camille), son of Theophile Vabre and his wife Valerie Louhette.
*Vabre (Clotilde), daughter of Vabre the notary, and wife of Duveyrier. She did not get on well with her husband, whom she hated, and her only passion was for music, which she practised to an inordinate extent.
*Vabre (Theophile), second son of M. Vabre, "a little old man of twenty-eight, a victim to coughs and toothache, who first tried all sorts of trades and then married the daughter of a neighbouring haber-dasher." His life was shadowed by suspicions of his wife, with whom he constantly quarrelled. He was with difficulty prevented from making a scene at the marriage of his brother Auguste to Berthe Josserand.
*Vabre (Madame Valerie), wife of the preceding, nee Louhette, was the daughter of a wealthy haberdasher. She did not get on well with her husband, who accused her, not entirely without reason, of carrying on a liaison with some one whose name he was unable to discover.
*Vaugelade (Duc de), at one time the master of Gourd, who was his valet.
*Verdier, a lawyer who had been for a long time engaged to Hortense Josserand. The marriage was put off from time to time, as he had got entangled with a woman from whom he found separation difficult.
*Victoire, Madame Campardon's cook. She had been in the service of her master's father when Campardon was a baby, and though now old, and not over clean, they were unwilling to part with her.
*Vuillaume (M. and Madame), the parents of Madame Pichon, whom they visited every Sunday afternoon. They were, later, much annoyed with the Pichons, whose family became, they considered, too large for their means.
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