Saturday, November 24, 2012

Élisabeth Baysset

  A wonderful lady
  and a generous
  resource, gone.
  She understood
  this page with-
  out even seeing
  it. Her vision
  nourished it,
  so pure.

Antonio Vivaldi
Violin Concerto in E
L'estro armonico, RV 265
Neville Marriner
Academy of St Martin in the Fields
op. cit.


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  2. Although I have an incomplete set of data to analyze, April 9th 2012 was and is still one of my favorite RMBL postings. Not just for the stunning painting that forms its visual base, but for the additional fraction of autobiography that I am given. And if I haven't mentioned it, (which I know I haven't), your use of musical parallels in addition to visual ones is appreciated. Maybe the vehicle of hyper-links plays second fiddle to the immediacy of viewing a picture (although I suppose we are talking about clicking a button rather than searching through a collection of albums), but it really adds another dimension to this blog.

    1. First, to this day I feel indebted to Élisabeth's levering artistic vision, enabling me to conceive that posting in the first place and in honest terms. It is literally true that her gift of the house allowed the imprint of the past to rise into my consciousness and take, thereby, departure. And yet, I think a beauty of this painting is that it is not merely amenable to consciousness of memory, but that it does propose a narrative of reconciliation: it is so well structured, luminous, delicate. The rest of your comment addresses, however, my technique, and not anyone else's (widespread as such associations may be). I think it calls for the wider discussion of an open posting sometime, but I can say I am very aware of clashing one association against another, although not sorry for each medium for the same reasons. I do this with reluctance, almost always, and there has to be a qualifying conviction which can carry the threshold. I am heartened that Valéry Lorenzo once read a posting here, involving Beethoven, and went immediately to his page to present an association of his own comprehensively articulate work, with a fragment from one of his concerti. But I do not claim to possess M Lorenzo's license to publish, much less to dabble in aligning the stars.

      I thank you for your comment, gainfully stimulating reconsiderations as it does.