#anna mendelssohn | Explore Tumblr Posts and Blogs

llovelymoonn · 2 years

Text

i will be forever alone

anna mendelssohn i'm working here \\ richard siken crush: "litany in which certain things are crossed out" \\ olivia laing the lonely city (via @virginiewoolf) \\ charles bukowski

kofi

283 notes · View notes

sherbertilluminated · 10 months

Text

my friends & I projecting onto people who died centuries ago

9 notes · View notes

franzliszt-official · 1 year

Note

Bonjour, mon cher mentor!

I must admit that I missed you a bit... Are you all right? I recently injured my right hand badly... So I would like to ask you my dear mentor, have you had any serious injuries in your life? Have you ever suffered an injury while playing the piano?

Sending lots of love and waiting for your letter.

Votre étudiant assidu

@marie-louise-baskerville

Good evening, my dear Marie.

I am deeply worried by your injury. We can discuss music for as long as you need to rest.

As for your questions, I have never sustained injuries serious enough to stop me from playing. Not ailments to hands, wrists or arms, which have kept me for a long time from the piano at least.

I am though subject to frequent and violent bouts of high fever, delirium and melancholy. I find myself abruptly relegated to a bed, wherever I am in the world, sweating and suffering atrocious nightmares with no strength enough to get out of it plus cramps and diffused pains. These happen with great aggression and drown me often especially when touring. In that case not only I cannot play: I find myself unable to eat or stand up, not even think straight, thus unable to live for days on end.

For example, one time I cancelled a concert three hours before its opening and went to sleep: that time Mendelssohn and Schumann were there and helped me through it. They have written about it.

Such storm-like abrupt ailments always have come unto my head. When I was but a child, before five years of age, I suffered a total paralysis crisis so severe and persisting that my parents bought a coffin small enough for the body of a child sure enough it would soon be filled. Alas, I survived!

#marie-louise-baskerville #franz antwortet #franz liszt #classical music #official composers #music #illness #adam liszt #anna lager #schumann #mendelssohn

1 note · View note

female-malice · 1 year

Note

Do you have a list of non boring orchestral pieces? Ones that are dramatic and exciting?

Yes. 99% of orchestral pieces are not boring lol

You need to take a deep breath and skip the classical period. Just listen to everything before and after the classical period. It's only 50 years of music. Just skip it. Just think of the classical period as a pretentious meme propagated by the infamous fuckboy Mozart. And just skip that meme. Listen to everything before 1750 and everything after 1800.

Literally just listen to everyone who isn't Mozart or Haydn. Just skip that 1% of orchestral music and listen to the other 99%. Von Bingen, Vivaldi, Bach, Beethoven, Tchaikovsky, Brahms, Mendelssohn, Respighi, Saint-Saens, Holst, Mahler, Dvorak, Shostakovich, Stravinsky, Bartok, Sibelius, Britten, Vaughan Williams, Ravel, Barber, Copland, Rautavaara, Tan Dun, John Luther Adams, Caroline Shaw, and hundreds of others.

If you don't have the attention span for 30 minutes of music, yes you do. Get off Tiktok. Just sit and look out the window and listen.

I promise you music was not boring for 400 years. Just open your ears and see what happens. There is music that was written hundreds of years ago that is more mystifying and soul-disturbing than anything written today.

Renaissance and Baroque music was about having a good time while innovating and developing musical instruments and theory. I could do a whole separate post about music between 1400 and 1750. But I feel like this has a little bit of everything. Fun, dance, old instruments, and fugue pattern theory.

youtube

Then there was the classical period 1750-1800 and we're skipping that. Basically the only important thing they did was develop instrumental musician technique. A lot of this music is actually very fun and challenging to play. But it doesn't grab the heart of every listener.

And then there was Beethoven.

Beethoven wrote this quartet in 1825, 2 years before his death. What were you and I doing in 1825? We were just dirt and dust when he wrote this.

youtube

He put everything into this quartet. He didn't hold anything back here. If he wasn't destitute, hungry, and financially dependent on Viennese music critics, his symphonies would've all been like this quartet. Still, even though he was holding back in his symphonies, they still managed to change the course of music history. So many musicians and composers fell in love with the romantic popular style of his symphonies. And they all made incredible, fun, exciting music. And I genuinely enjoy that romantic period.

But it took 100 years after Beethoven's death before anyone really understood his final compositions. The person who really understood what Beethoven was doing in his final years was Stravinsky. Stravinsky had wrestled with and won his own battles with critics. So he had the financial support to be more experimental. And he could take what Beethoven was doing in string quartets and expand that to a full orchestra. More than just an orchestra. A ballet. Stravinsky took the legacy of Beethoven's final years and turned that into full ballet productions. The Rite of Spring, the Firebird, Orpheus, Pulcinella, Petrushka, etcetera. It's all great fun.

This isn't a ballet. I just like this little Stravinsky piece from 1938. It sounds like something Beethoven would've written if he wasn't constrained by critics.

youtube

And now, 100 years after Stravinsky, contemporary music has come full circle. We're back to a lot of the same thinking and perspectives of the renaissance and baroque era. Having a good time while innovating and developing musical instruments and theory. Many popular contemporary composers like Caroline Shaw are extremely neo-baroque. Also, a lot of baroque music observed and emulated nature. And now we have Anna Thorvalsdottir and John Luther Adams doing exactly that.

youtube

If Vivaldi ever did LSD he would probably write something like this.

#since i deleted spotify you're getting this instead of spotify wrapped lol

118 notes · View notes

thequietabsolute · 7 months

Text

Top Artists — Medium Term (6 months)

Felbm

Radiohead

Bonnie "Prince" Billy

Kate Bush

Nick Drake

Midlake

Paul Simon

Simon & Garfunkel

Slowdive

Boards of Canada

Canary Room

The Beatles

Fionn Regan

Beach House

Leonard Cohen

hemlock

Vashti Bunyan

Clara Mann

Bob Dylan

The Smiths

ABBA

Grouper

David Bowie

The Clientele

Jessica Pratt

Olovson

Bill Callahan

Laura Marling

Rachel Grimes

Chet Baker

Belle and Sebastian

Sibylle Baier

Aldous Harding

Cocteau Twins

Acetone

Connan Mockasin

Fleetwood Mac

Cornelia Murr

John Martyn

Julie London

Sea Oleena

Sufjan Stevens

Meg Baird

Shannon Lay

Van Morrison

Pink Floyd

Caroline Says

Sun Kil Moon

Maxine Funke

Fairport Convention

that spotify stats page

Top Tracks — Long Term (years)

Calla — Canary Room

4 Lieder, Op. 27, TrV 170: IV. Morgen! — Richard Strauss, Jonas Kaufmann, Helmut Deutsch

6 Melodies, Op. 4 - 6 melodies, Op. 5: Allegretto — Fanny Mendelssohn, Beatrice Rauchs

Long Before Us — Rachel Grimes

Sandalwood I — Jonny Greenwood

Stabat Mater: 1. Stabat Mater — Giovanni Battista Pergolesi, Emma Kirkby, James Bowman, Academy of Ancient Music, Christopher Hogwood

Thaïs / Act 2: Méditation — Jules Massenet, Joshua Bell, Royal Philharmonic Orchestra, Andrew Litton

Songs My Mother Taught Me, Op. 55 No. 4 — Antonín Dvořák, Alisa Weilerstein, Anna Polonsky

Elegy No. 1 in D Major — Giovanni Bottesini, Andrew Burashko, Joel Quarrington

The Carnival of the Animals, R. 125: XIII. The Swan (Arr. for Cello and Piano) — Camille Saint-Saëns, Yo-Yo Ma, Kathryn Stott

Julie With - 2004 Digital Remaster — Brian Eno

wallingford bossa — hemlock

Fantasiestücke, Op. 73: No. 1, Zart und mit Ausdruck — Robert Schumann, Sol Gabetta, Hélène Grimaud

By This River - 2004 Digital Remaster — Brian Eno

Just When You Need Yourself Most — Oberhofer

Gianni Schicchi: O mio babbino caro — Giacomo Puccini, Renée Fleming, London Philharmonic Orchestra, Sir Charles Mackerras

Bleecker Street — Simon & Garfunkel

House of Woodcock — Jonny Greenwood

Shaker — Acetone

All The Time — Acetone

Jazz Suite No. 2: VI. Waltz II — Dmitri Shostakovich, Royal Concertgebouw Orchestra, Riccardo Chailly

Rimsky-Korsakov: Scheherazade, Op. 35: II. The Kalendar Prince (Excerpt) — Nikolai Rimsky-Korsakov, Riccardo Muti, Philadelphia Orchestra

Christine — Canary Room

Me at the Museum, You in the Wintergardens — Tiny Ruins

Valse sentimentale, Op. 51, No. 6 — Pyotr Ilyich Tchaikovsky, Josef Sakonov, London Festival Orchestra

Piano Concerto No. 5 in E-Flat Major, Op. 73 "Emperor": II. Adagio un poco mosso — Ludwig van Beethoven, Wilhelm Kempff, Berliner Philharmoniker, Ferdinand Leitner

Deux Arabesques, L. 66, CD 74: I. Première Arabesque — Claude Debussy, Jean-Efflam Bavouzet

Green Bus — The Innocence Mission

Lucida — Thomas Bartlett

Introduction et Allegro, M. 46 — Maurice Ravel, Oxalys

Two Thousand and Seventeen — Four Tet

When It Rains — Felbm

Lake Effect — Canary Room

Candy Says — The Velvet Underground

Serenade for Strings in C Major, Op. 48, TH 48: II. Valse — Pyotr Ilyich Tchaikovsky, Zagreb Philharmonic Orchestra, Dmitri Kitayenko

Schumann: Davidsbündlertänze, Op. 6, Heft II: No. 14, Zart und singend — Robert Schumann, Jonathan Biss

Magnolia — J.J. Cale

day one — hemlock

Return From The Ice — Acetone

Requiem in D minor, K.626: 6. Benedictus — Wolfgang Amadeus Mozart, Anne Sofie von Otter, Barbara Bonney, Hans Peter Blochwitz, Willard White, English Baroque Soloists, John Eliot Gardiner

River — Terry Reid

Where Should I Meet You? — Canary Room

This Night Has Opened My Eyes - 2011 Remaster — The Smiths

Brother — Vashti Bunyan

Cello Suite No. 1 in G Major, BWV 1007: I. Prélude — Johann Sebastian Bach, Yo-Yo Ma

Sweeten Your Eyes — The Clientele

Knickerbocker Holiday: September Song (Arr. by Paul Bateman) — Kurt Weill, Daniel Hope, Jacques Ammon, Zürcher Kammerorchester

Funicular — Felbm

Piano Sonata No. 12 in F Major, K. 332: II. Adagio — Wolfgang Amadeus Mozart, Jenő Jandó

Sensuela — Column

#how it's looking #on Spotify shuffle of one of either two favoured huge mixtapes at least #music #n.

5 notes · View notes

a-startup-of-ferrets · 2 years

Text

My current list of names for future ferrets:

Boy ferrets: Mozart is for sure the next one, followed by Stravinsky, Shostakovitch (FANTASTIC name), and Grieg.

Girl ferrets: (Anna Magdalena) Bach, Debussy (not after any women, I just think it's a good girls' name), and Mendelssohn (Fanny, not Felix)

Sadly, I will probably not get new ferrets until my boys are very old, so I can't look forward to this :(

#text #mine

4 notes · View notes

el-delacruz · 1 year

Video

Samsung x Charles Jeffrey - Night mode from matilda finn on Vimeo.

DIRECTOR: MATILDA FINN DOP: BEN FORDESMAN EP: RUPERT REYNOLDS-MACLEAN PROD CO: BISCUIT FILMWORKS PRODUCER: SIMON EAKHURST PRODUCTION MANAGER: LUKE THORNTON DIRECTORS ASSISTANT: NELLIE HERON-ANSTEAD PRODUCTION CO-ORDINATOR: ROMA NESI PIO CHOREOGRAPHER: PIERRE BABBAGE AGENCY: MOTHER LONDON EDIT: STITCH EDITING EDIT PRODUCER: ANGELA HART EDITOR: LEO KING EDITOR ASSISTANT: LUKE ANDERSON POST PRODUCTION: TIME BASED ARTS POST PRODUCER: CHRIS ALIANO COLOURIST: SIMONE GRATAROLLA 2D LEAD: OLLIE RAMSEY 2D TEAM: THIAGO DANTAS, WILL ROBINSON, MICHAEL AVELING, RALPH BRISCOE, ADAM LEARY, TOM MACKAY-THOMAS SOUND: MARK HILLS @ FACTORY MUSIC: WAX WINGS CAST CO-ORDINATOR: GABIJA LAUCE COVID-19 CO-ORDINATOR: CAMILLA MORRIS LOCATION MANAGER (SHOOTING UNIT): GEORGE VERDON-SMITH LOCATION ASSISTANT (DAYTIME PREP): NICK JAY 1ST ASSISTANT DIRECTOR: BEN GILL 2ND ASSISTANT DIRECTOR: CHRIS MEARS 3RD ASSISTANT DIRECTOR: KITTY RAJAKULASINGAM RUNNER: ALEX MCALLISTER RUNNER: KAI RAJAKULASINGAM RUNNER: TIGER BREWER PRODUCTION/AGENCY RUNNER: AYESHA ANDERSON FOCUS PULLER: ANDREW BRADLEY CLAPPER LOADER: ADAM GREEN CAMERA TRAINEE: CAROLINA DA COSTA KEY GRIP: DAVID HOLIDAY GRIP (TECH RECCE ONLY): DAN MORIARTY GRIP TRAINEE: WILLIAM MILES DIT: MIKE MCDUFFIE VIDEO PLAYBACK OPERATOR: CHAZ NORTHAM VIDEO PLAYBACK ASSISTANT: RAPHAEL BALOGUN CAMERA CAR DRIVER: ALISTER BUGGE DRONE PILOT: PETE AYRISS DRONE REMOTE HEAD OPERATOR: TOM ALDCROFT MOTION CONTROL OPERATOR: JUSTIN PENTECOST MOTION CONTROL ASSISTANT: STUART GALLOWAY SOUND RECORDIST: SAM MENDELSSOHN GAFFER: JONO YATES DESK OPERATOR: JOE BEARDSMORE ELECTRICIAN: ALEX GIBBONS ELECTRICIAN: ALEX MAGILL ELECTRICIAN: BEN SKYRME ELECTRICIAN: DAX SHARKEY GENNY OPERATOR: TONY BRUCE RIGGING GAFFER: MICHAEL SMIT RIGGING ELECTRICIAN: CHRISTIAN HAYES RIGGING ELECTRICIAN: JOHN MALANEY RIGGING ELECTRICIAN: NICK BRITT RIGGING GENNY OPERATOR: PAUL ROWE RIGGER: JAMES MALLOY RIGGER: MICHAEL LEE FROST TELEHANDLER OPERATOR: STEFANO ZIPPO PRODUCTION DESIGNER: DAN TAYLOR ASSISTANT ART DIRECTOR (DRESSING): LAUREN DIX ASSISTANT ART DIRECTOR (DRESSING): PHIL BROCKLEHURST STYLIST (DRESSING): FREYA HAAK ART DEPARTMENT RUNNER (DRESSING): ANNIKA BERTFIELD ART DEPARTMENT RUNNER (DRESSING): BEA DAVIDSON MASTER PROPS (DRESSING): PHIL SMITH PROPS (DRESSING): ANDREW BALCON PROPS (DRESSING): ANDREW MATTHEWS PROPS (DRESSING): DONNCHA ALBERT RAHILL MASTER PROPS STANDBY: JASON BRADLEY MASTER PROPS PRODUCT STANDBY: LEO TURNBALL CONSTRUCTION MANAGER: NICK DILWORTH CONSTRUCTION: CASEY CONCANNON CONSTRUCTION: EAMONN CONAGHAN CONSTRUCTION: GERT RADEMEYER CONSTRUCTION: GREG SIMPSON CONSTRUCTION: MATT AMOS CONSTRUCTION: RAMZI JABBUR CONSTRUCTION: THIBAULT MARTINEAU SFX SUPERVISOR: STEVE HUTCHINSON SFX TECHNICIAN: CHRIS GIBBS SFX TECHNICIAN: ED SMITH SFX TECHNICIAN: SAMUEL HUE-VASHON STYLIST: BEN SCHOFIELD STYLIST ASSISTANT: KIT SWANN STYLIST ASSISTANT: SCOTT CRUFT MAKE-UP ARTIST: PHOEBE WALTERS MAKE-UP ASSISTANT: CHANTAL AMARI MAKE-UP ASSISTANT: ESME HORN MAKE-UP ASSISTANT: NIC PASKAUSKAS HAIR ARTIST: CLAIRE MOORE HAIR ASSISTANT: ANNA JOHNSON HAIR ASSISTANT: ERIKA FREEDMAN HAIR ASSISTANT: KRESZEND SACKEY PROSTHETIC SUPERVISOR: VICTORIA MONEY PROSTHETIC ARTIST: ALEX HARPER PROSTHETIC ASSISTANT: DOMINIQUE BUTLER H&S OFFICER/COVID SUPERVISOR: DAVE WATKINS UNIT MEDIC: DAVID BROAD PREP MEDIC: JAI MASSEY IFA CO-ORDINATOR & MAIN TESTER: ALEX RALLS IFA TECHNICIAN: ALEX CAMPBELL IFA TECHNICIAN: DIVINE ZAKI IFA TECHNICIAN: MADJID KALE IFA TECHNICIAN: MARK SANDBERG IFA TECHNICIAN: ROXANNE MARTIN IFA TECHNICIAN: STUART WALKER IFA TECHNICIAN: ZYGI VOLOSINTAS ANIMAL HANDLER: DEAN CLARKE ANIMAL HANDLER: CERYS WILLIAMS ANIMAL HANDLER: DERRY WELLS ANIMAL HANDLER: LUCY SMITH VET: DR. AIDA FERREIRA VFX SUPERVISOR: OLLIE RAMSEY CATERING: PHIL WARD BARISTA: ALEX CUNNINGHAM MINIBUS 1: MARK RIGHELATO MINIBUS 2: LEE RIGHELATO MINIBUS 3: PAT O’LEARY PREP 4 X 4 DRIVER: ANTON WRIGHT UNIT 4 X 4 DRIVER: PETER JONES UNIT 4 X 4 DRIVER: SIMON PHIPPS FACILITIES: GARY MOORE FACILITIES: PAUL HADDOCK FACILITIES: WARREN SMART SECURITY: ALEX LANEY SECURITY: ANTHONY RICHARDS SECURITY: BARZAN MOHAMED SECURITY: JAMEL WOODFORD SECURITY: JOHN TURNER SECURITY: MARK EDWARDS SECURITY: COLLIN WILLSON SECURITY: GRAHAM DYER SECURITY: LEIGH FOXALL SECURITY: ALAN LANEY SECURITY: RICHARD JOHNSON WIRE SUPERVISOR: BOB SCHOFIELD WIRE TECHNICIAN: MAX SCHOFIELD ARTIST: CHARLI XCX ARTIST MANAGER: SAM PRINGLE ARTIST MAKE UP ARTIST: FRANCESCA BRAZZO ARTIST MAKE UP ASSISTANT: ALEJANDRO ORTIZ ARTIST HAIR ARTIST: PATRICK WILSON ARTIST HAIR ASSISTANT: CHARLES STANLEY ARTIST NAIL TECHNICIAN: MICHELLE HUMPHREY TALENT: CHARLIE BUCKLAND TALENT: TRACY BARGATE TALENT: NIAMH WOODS TALENT: CY FOXX TALENT: AUSSIE TALENT: YILING ZHAO TALENT: EDEN JODIE TALENT: JASON BATTERSBY TALENT: JOHN KAMAU TALENT: KIA LEE TALENT: ALEX MARGO ARDEN TALENT: CAMRYN YULE TALENT: JENKIN VAN ZYL TALENT: NAN MTHEMBU TALENT: ALICE CORRIGAN TALENT: HUGO HAMLET

0 notes

emzeciorrr · 1 year

Video

Samsung x Charles Jeffrey - Night mode from matilda finn on Vimeo.

DIRECTOR: MATILDA FINN DOP: BEN FORDESMAN EP: RUPERT REYNOLDS-MACLEAN PROD CO: BISCUIT FILMWORKS PRODUCER: SIMON EAKHURST PRODUCTION MANAGER: LUKE THORNTON DIRECTORS ASSISTANT: NELLIE HERON-ANSTEAD PRODUCTION CO-ORDINATOR: ROMA NESI PIO CHOREOGRAPHER: PIERRE BABBAGE AGENCY: MOTHER LONDON EDIT: STITCH EDITING EDIT PRODUCER: ANGELA HART EDITOR: LEO KING EDITOR ASSISTANT: LUKE ANDERSON POST PRODUCTION: TIME BASED ARTS POST PRODUCER: CHRIS ALIANO COLOURIST: SIMONE GRATAROLLA SOUND: MARK HILLS @ FACTORY MUSIC: WAX WINGS CAST CO-ORDINATOR: GABIJA LAUCE COVID-19 CO-ORDINATOR: CAMILLA MORRIS LOCATION MANAGER (SHOOTING UNIT): GEORGE VERDON-SMITH LOCATION ASSISTANT (DAYTIME PREP): NICK JAY 1ST ASSISTANT DIRECTOR: BEN GILL 2ND ASSISTANT DIRECTOR: CHRIS MEARS 3RD ASSISTANT DIRECTOR: KITTY RAJAKULASINGAM RUNNER: ALEX MCALLISTER RUNNER: KAI RAJAKULASINGAM RUNNER: TIGER BREWER PRODUCTION/AGENCY RUNNER: AYESHA ANDERSON FOCUS PULLER: ANDREW BRADLEY CLAPPER LOADER: ADAM GREEN CAMERA TRAINEE: CAROLINA DA COSTA KEY GRIP: DAVID HOLIDAY GRIP (TECH RECCE ONLY): DAN MORIARTY GRIP TRAINEE: WILLIAM MILES DIT: MIKE MCDUFFIE VIDEO PLAYBACK OPERATOR: CHAZ NORTHAM VIDEO PLAYBACK ASSISTANT: RAPHAEL BALOGUN CAMERA CAR DRIVER: ALISTER BUGGE DRONE PILOT: PETE AYRISS DRONE REMOTE HEAD OPERATOR: TOM ALDCROFT MOTION CONTROL OPERATOR: JUSTIN PENTECOST MOTION CONTROL ASSISTANT: STUART GALLOWAY SOUND RECORDIST: SAM MENDELSSOHN GAFFER: JONO YATES DESK OPERATOR: JOE BEARDSMORE ELECTRICIAN: ALEX GIBBONS ELECTRICIAN: ALEX MAGILL ELECTRICIAN: BEN SKYRME ELECTRICIAN: DAX SHARKEY GENNY OPERATOR: TONY BRUCE RIGGING GAFFER: MICHAEL SMIT RIGGING ELECTRICIAN: CHRISTIAN HAYES RIGGING ELECTRICIAN: JOHN MALANEY RIGGING ELECTRICIAN: NICK BRITT RIGGING GENNY OPERATOR: PAUL ROWE RIGGER: JAMES MALLOY RIGGER: MICHAEL LEE FROST TELEHANDLER OPERATOR: STEFANO ZIPPO PRODUCTION DESIGNER: DAN TAYLOR ASSISTANT ART DIRECTOR (DRESSING): LAUREN DIX ASSISTANT ART DIRECTOR (DRESSING): PHIL BROCKLEHURST STYLIST (DRESSING): FREYA HAAK ART DEPARTMENT RUNNER (DRESSING): ANNIKA BERTFIELD ART DEPARTMENT RUNNER (DRESSING): BEA DAVIDSON MASTER PROPS (DRESSING): PHIL SMITH PROPS (DRESSING): ANDREW BALCON PROPS (DRESSING): ANDREW MATTHEWS PROPS (DRESSING): DONNCHA ALBERT RAHILL MASTER PROPS STANDBY: JASON BRADLEY MASTER PROPS PRODUCT STANDBY: LEO TURNBALL CONSTRUCTION MANAGER: NICK DILWORTH CONSTRUCTION: CASEY CONCANNON CONSTRUCTION: EAMONN CONAGHAN CONSTRUCTION: GERT RADEMEYER CONSTRUCTION: GREG SIMPSON CONSTRUCTION: MATT AMOS CONSTRUCTION: RAMZI JABBUR CONSTRUCTION: THIBAULT MARTINEAU SFX SUPERVISOR: STEVE HUTCHINSON SFX TECHNICIAN: CHRIS GIBBS SFX TECHNICIAN: ED SMITH SFX TECHNICIAN: SAMUEL HUE-VASHON STYLIST: BEN SCHOFIELD STYLIST ASSISTANT: KIT SWANN STYLIST ASSISTANT: SCOTT CRUFT MAKE-UP ARTIST: PHOEBE WALTERS MAKE-UP ASSISTANT: CHANTAL AMARI MAKE-UP ASSISTANT: ESME HORN MAKE-UP ASSISTANT: NIC PASKAUSKAS HAIR ARTIST: CLAIRE MOORE HAIR ASSISTANT: ANNA JOHNSON HAIR ASSISTANT: ERIKA FREEDMAN HAIR ASSISTANT: KRESZEND SACKEY PROSTHETIC SUPERVISOR: VICTORIA MONEY PROSTHETIC ARTIST: ALEX HARPER PROSTHETIC ASSISTANT: DOMINIQUE BUTLER H&S OFFICER/COVID SUPERVISOR: DAVE WATKINS UNIT MEDIC: DAVID BROAD PREP MEDIC: JAI MASSEY IFA CO-ORDINATOR & MAIN TESTER: ALEX RALLS IFA TECHNICIAN: ALEX CAMPBELL IFA TECHNICIAN: DIVINE ZAKI IFA TECHNICIAN: MADJID KALE IFA TECHNICIAN: MARK SANDBERG IFA TECHNICIAN: ROXANNE MARTIN IFA TECHNICIAN: STUART WALKER IFA TECHNICIAN: ZYGI VOLOSINTAS ANIMAL HANDLER: DEAN CLARKE ANIMAL HANDLER: CERYS WILLIAMS ANIMAL HANDLER: DERRY WELLS ANIMAL HANDLER: LUCY SMITH VET: DR. AIDA FERREIRA VFX SUPERVISOR: OLLIE RAMSEY CATERING: PHIL WARD BARISTA: ALEX CUNNINGHAM MINIBUS 1: MARK RIGHELATO MINIBUS 2: LEE RIGHELATO MINIBUS 3: PAT O’LEARY PREP 4 X 4 DRIVER: ANTON WRIGHT UNIT 4 X 4 DRIVER: PETER JONES UNIT 4 X 4 DRIVER: SIMON PHIPPS FACILITIES: GARY MOORE FACILITIES: PAUL HADDOCK FACILITIES: WARREN SMART SECURITY: ALEX LANEY SECURITY: ANTHONY RICHARDS SECURITY: BARZAN MOHAMED SECURITY: JAMEL WOODFORD SECURITY: JOHN TURNER SECURITY: MARK EDWARDS SECURITY: COLLIN WILLSON SECURITY: GRAHAM DYER SECURITY: LEIGH FOXALL SECURITY: ALAN LANEY SECURITY: RICHARD JOHNSON WIRE SUPERVISOR: BOB SCHOFIELD WIRE TECHNICIAN: MAX SCHOFIELD ARTIST: CHARLI XCX ARTIST MANAGER: SAM PRINGLE ARTIST MAKE UP ARTIST: FRANCESCA BRAZZO ARTIST MAKE UP ASSISTANT: ALEJANDRO ORTIZ ARTIST HAIR ARTIST: PATRICK WILSON ARTIST HAIR ASSISTANT: CHARLES STANLEY ARTIST NAIL TECHNICIAN: MICHELLE HUMPHREY TALENT: CHARLIE BUCKLAND TALENT: TRACY BARGATE TALENT: NIAMH WOODS TALENT: CY FOXX TALENT: AUSSIE TALENT: YILING ZHAO TALENT: EDEN JODIE TALENT: JASON BATTERSBY TALENT: JOHN KAMAU TALENT: KIA LEE TALENT: ALEX MARGO ARDEN TALENT: CAMRYN YULE TALENT: JENKIN VAN ZYL TALENT: NAN MTHEMBU TALENT: ALICE CORRIGAN TALENT: HUGO HAMLET

0 notes

alwaysalreadyangry · 4 years

Text

anna mendelssohn, from implacable art

#anna mendelssohn #poetry #lit

4 notes · View notes

mybarricades · 5 years

Photo

Mute Magazine

The Greek literary magazine Teflon was formed in 2009 to counter the conservatism of already existing poetry publications in Greece. In this interview Lotte L.S. talks to editors Jazra Khaleed and Kyoko Kishida about Teflon’s history and ambitions, the politics of translation, collaborative editing, distribution practices and the tensions between poetry and political struggle

LLS: I don’t know a lot about Russian poetry, but there’s one poet’s work I’m particularly interested in – Kirill Medvedev. Ugly Duckling Presse published a collection of his poems, essays and ‘actions’…He renounced all copyright of his work –

KK: Isn’t that published by Commune Editions? Ah, no, that’s Pavel Arsenev… I think they both publish in Translit magazine… I’ve recently read Elena Fanailova’s translations by Ugly Duckling… When was Mevedev’s translation published?

LLS: I think quite a while ago [2012] – it’s called It’s No Good. A bit along the same kinds of lines as the work Commune Editions publish – but maybe more Marxy. What do you think of Commune Editions’ stuff?

KK: All of their books I’ve read are interesting. And we’ve translated in Greek some of the people they have published: Nanni Balestrini, Wendy Trevino...

LLS: [Wendy Trevino’s] Cruel Fiction?

KK: No, not the whole collection, but parts of it: mainly from ‘128-131’; the poems from Santa Rita prison and a few more, about the time she was incarcerated during Occupy.

LLS: I find a lot of Commune Editions’ stuff exciting – especially the work of Wendy Trevino, Juliana Spahr, Jasmine Gibson and Adelaide Ivánova – but I find some of their other work a bit too… I remember Lisa Robertson saying once that she found poetry in that part of the US often seemed to approach politics as something you ‘inject’ as content into writing…She talks about how she writes as a feminist, but that this isn’t related to content or accessibility, but an ‘ethics of conduct.’

...

LLS: That’s what I’m wondering. I remember in one interview, Jazra, Max Ritvo said to you, ‘the stakes of what you’re communicating in your poetry are so high for you’. But neither of you approach poetry as something that should be wielded solely to support political struggle… it’s its own thing – with its own unknowingness – and people can either take from that or not. It makes me think of those lines from one of Anna Mendelssohn’s poems in Implacable Art: ‘To any who want poems to give them answers… / A poem is not going to give precise directions. / You musn’t touch the hiding places.’

JK: It can be both, I think. You don’t have to restrict it. It can be both part of an anti-fascist – well, not of the movement – it can be part of anti-fascist discourse, because poetry is like a discourse.

KK: It’s a tool you can use for many things, but it doesn’t feel right describing it as something that ‘serves’ this other thing, because it’s so wide. I think poetry is in our everyday lives – in whatever we do. Poetry is inherent in every person, and either you have the intention to express it in a written or different way or not. Many avant-garde movements across history had these debates – like, language is not ours, it belongs to those in power – so what do we do? Do we refuse meaning, or do we create new narratives? Poetry is wide and open, and can be used and approached with many different intentions.

...

LLS: I like that – it means the reader is invited to become an active participant in the lineage and life of the magazine, like how so much of the poems translated and published in Teflon enable a collaborative force to emerge between writer and reader. I think Anna Mendelssohn’s work, which you published in Teflon last year, is a good example of this.

friday

This is the reason why I do not conform. A smile is a formality. That is all that exists between people who do not know each other. It is irrelevant what one knows of anyone.

The torso. People without minds. Tenses can be Rapidly switched. How does one know that one’s pursuer does not intend to cause one harm. A man can demand explanations.

A woman is accused of aggressive behaviour for querying motive. One does not need to Pursue anyone, one can be invited to live in a house & ﬁnd oneself being used

for servitude. And Interrogated, relentlessly & remorselessly, until one is too weak to move. This is peace as is death. It is imagined that one is writing. Why is it difﬁcult to register Detestation.

The dangers in writing are inherent. Why it is dangerous to criticize the Establishment Openly. Why what amuses the Establishment is the Bad Use of language and Sex. Why women are discussed in terms of knickers. Why it is important not to lose control Of one’s own mind. Why Literature Frames novices. Why Framing is a sociopolitical act.

by Anna Mendelssohn

#Teflon #Commune Editions #Kirill Medvedev #Pavel Arsenev #Anna Mendelssohn #Etel Adnan #Wendy Trevino #Nanni Balestrini #Jazra Khaleed #Kyoko Kishida #Charles Pennequin #Jasmine Gibson #Adelaide Ivánova #George Oppen #Verity Spott #Lotte L.S.

8 notes · View notes

llovelymoonn · 2 years

Note

could i request something about denial, fear and longing?

marie howe magdalene: poems: "magdalene afterwards" \\ @adipocere \\ hanif abdurraqib the crown ain't worth much \\ hilary faye calls to the clouds (via @forestgreenlesbian) \\ hanif abdurraqib a fortune for your disaster: "for the dogs who barked at me on the sidewalks in conneticut" \\ @oliwer-okreglicki self portrait as saint sebastian \\ natalie diaz postcolonial love poem: "ink-light" \\ edward hopper eleven a.m. (1926) \\ anna mendelssohn i'm working here

kofi

122 notes · View notes

sherbertilluminated · 10 months

Text

Friends and mutuals thank you for enduring my auerblogging thus far. It is not in vain because Auerbach is putting such words into Lessing's letters:

I don't know how to tag this so that more people see it but one of the things that particularly draws me to the study of the Lessing/Mendelssohn/Nicolai/Karsch/Wincklemann etc. writings is that nobody is independently wealthy; they inhabit a mercantilist /early capitalist paradigm which considers them for their ability to serve the state rather than their inherent value as human beings or the truth they themselves love, and that forces the first to supply the latter two.

The Sturm-und-Draenger contemporary to them and the Romantics after them may have sought liberty in the depths of human emotion, but it occurred to them, as it occurs to Auerbach's Ephraim Kuh on pg. 180 that they will never be loved by the institutions they will devote so much of their lives, and yet they love. And yet they think, and commit themselves in ink to an uncertain posterity, and centuries afterwards we read their words and recognize this hope was not in vain. There is a mind on the other end of the line worth knowing, and if we are lucky there is a mind centuries after us who will not remember us for our jobs but for our professions

8 notes · View notes

her-moth · 5 years

Photo

#anna mendelssohn #teflon #the dangers in writing are inherent

7 notes · View notes

wehavecomeforyourprivateschools · 6 years

Video

youtube

Someone has reuploaded the famous 1972 World In Action documentary on The Angry Brigade, featuring a fascinating interview with Anna Mendelsohnn and Hilary Creek

#the angry brigade #anna mendelssohn #hilary creek #john barker #stoke newington 8

1 note · View note

weirdagnes · 6 years

Text

musically genius gorls

#constanze weber #constanze mozart #fanny mendelssohn #fanny hensel #clara wieck #clara schumann #nannerl mozart #maria anna mozart #classical composers #classical era #romantic composers #romantic era

129 notes · View notes

classicaloid-oc · 6 years

Link

👀

6 notes · View notes