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La Morte Della Ragione

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LA MORTE DELLA RAGIONE IL GIARDINO ARMONICO GIOVANNI ANTONINI Anonymous (15th century),The Triumph of Death (detail) Italy, Galleria Regionale in the Palazzo Abatellis, Palermo PHOTO © Dipartimento Regionale dei Beni Culturali e dell’Identita Siciliana RHIZOME Je l’appelle donc forêt, parce que je n’y suis pas un fil continu, comme nous voyons dans les forêts les arbres disposés sans cet ordre que l’on voit d’habitude dans les jardins artificiels. Orazio Vecchi, Selva di varia ricreatione (Forêt de récréations variées), Venise, 1590 […] à la différence des arbres ou de leurs racines, le rhizome connecte un point quelconque avec un autre point quelconque, et chacun de ses traits ne renvoie pas nécessairement à des traits de même nature, il met en jeu des régimes de signes très différents et même des états de non-signes. […] C’est une mémoire courte, ou une antimémoire. Le rhizome procède par variation, expansion, conquête, capture, piqûre. Gilles Deleuze et Félix Guattari, Mille plateaux, Paris, 1980 Hieronymus Bosch (Jheronimus van Aken), c.1450-1516 The Temptation of St Anthony (detail) c.1501 Portugal, Museu Nacional de Arte Antiga, Lisbon PHOTO © RMN-Grand Palais / Agence Bulloz 5 I therefore call it ‘forest’, because in this [work] I do not follow a continuous thread, just as in Ich nenne es deshalb Wald, weil ich in diesem (Werk) keinem durchgehenden Faden folge, forests we see the trees arranged without that order which we usually see in artificial gardens. ebenso wie wir die Bäume im Wald betrachten, die ohne jene Ordnung gesetzt wurden, Orazio Vecchi, Selva di varia ricreatione (A Forest of Divers Recreation), Venice, 1590 welche wir in den künstlichen Gärten sehen. Orazio Vecchi, Selva di varia ricreatione (Wald verschiedenartigen Vergnügens), […] Unlike trees or their roots, the rhizome connects any point to any other point, and Venedig, 1590 each of its traits is not necessarily linked to features of the same nature; it brings into play very different regimes of signs and even non-sign states. It is a short memory, or an [...] im Gegensatz zu den Bäumen und ihren Wurzeln verbindet das Rhizom einen beliebigen anti-memory. The rhizome proceeds by variation, expansion, conquest, capture, offshoots. Punkt mit einem anderen beliebigen Punkt, und jede dieser Linien verweist nicht unbedingt Gilles Deleuze, Felix Guattari, Mille Plateaux (A Thousand Plateaux), Paris, 1980 auf Linien der gleichen Art, es bringt sehr verschiedene Zeichensysteme ins Spiel und sogar Zustände von Nicht-Zeichen. [...] Es ist ein kurzes Gedächtnis oder ein Antigedächtnis. Das Rhizom verfährt durch Variation, Expansion, Eroberung, Fang, Stechen. Gilles Deleuze und Félix Guattari, Mille Plateaux, Paris, 1980 (Tausend Plateaus, Kapitalismus und Schizophrenie. Übersetzt von Gabriele Ricke und Ronald Voullié. Herausgeber: Vandenhoeck & Ruprecht, 1992.) P. 8 : Italian School (15th century), Leaf from a Herbal (Belluno, Italy) UK, British Library, London, Add MS 41623, f.42v PHOTO © British Library Board. All Rights Reserved / Bridgeman Images P. 9 : Roelandt Savery (1576-1639), A Large Forest of Oaks Germany, Neuburg, Bayerische Staatsgemäldesammlungen, Staatsgalerie Flämische Barockmalerei 6 PHOTO © BPK, Berlin, Dist. RMN-Grand Palais / image BStGS 7 8 9 ERASMUS I Il est vrai qu’il y a deux sortes de folie : la première est celle que les Furies vengeresses font surgir des enfers toutes les fois que, déchaînant leurs serpents, elles introduisent dans le cœur des mortels l’ardeur pour la guerre ou la soif insatiable de l’or […]. La seconde est fort différente de celle-ci, parce qu’elle procède de moi [la Folie], bien sûr, et qu’elle est ce qu’il y a de plus désirable au monde. Elle se produit chaque fois qu’une douce illusion de l’esprit délivre l’âme de ses soucis angoissants et la plonge dans une volupté multipliée. Érasme de Rotterdam, Moriæ encomium (Éloge de la folie), Paris, 1511, ch. XXXVIII (d’après la traduction de Jacques Chomarat) But there are two sorts of madness, the one that which the revengeful Furies send privily from hell, as often as they let loose their snakes and put into men’s breasts either the desire of war, or an insatiate thirst after gold . The other, but nothing like this, that which comes from me [Folly] and is of all other things the most desirable; which happens as often as some pleasing dotage not only clears the mind of its troublesome cares but renders it more jocund. Erasmus of Rotterdam, Moriæ encomium (Praise of Folly), Paris, 1511, Ch. XXXVIII (tr. John Wilson, The Praise of Folly, London, 1668) Wahr ist, dass es zwei Arten von Tollheit gibt: Die erste ist jene, die die rächenden Furien, indem sie ihre Schlangen einsetzen, jedes Mal aus der Unterwelt hervorbrechen lassen und ins Herz der Sterblichen Begeisterung für den Krieg oder unstillbaren Durst nach Gold pflanzen Hans Holbein the Younger (1497-1543), Folly, in the pulpit, begins his sermon, [...]. Die zweite ist sehr verschieden davon, da sie natürlich von mir [der Tollheit] ausgeht und pen and ink drawing in Praise of Folly das Erstrebenswerteste auf der Welt ist. Sie entsteht jedes Mal, wenn eine süße Illusion des by Erasmus of Rotterdam (Basel, 1515) Geistes die Seele von ihren beängstigenden Sorgen befreit und sie in vielfache Lust versenkt. Switzerland, Kunstmuseum Basel, Kupferstichkabinett Erasmus von Rotterdam, Moriæ encomium (Lob der Torheit), Paris, 1511, Kapitel XXXVIII PHOTO D.R. 11 LA MORTE DELLA RAGIONE 1 Preludio a flauto solo 0’22 JOHN DUNSTABLE (C.1390-1453) 11 Puzzle Canon 1’53 ANONYMOUS (ITALY, 16TH CENTURY) 2 La morte della Ragione (pavana) 3’53 JOSQUIN DESPREZ 12 Nymphes des bois (Déploration de la mort de Johannes Ockeghem) 4’07 GIORGIO MAINERIO (1535-1582) 3 Gagliarda 1’01 ANONYMOUS (ITALY, 16TH CENTURY) 13 La Battaglia (pavana) 2’04 CHRISTOPHER TYE (C.1505 - ANTE 1573) 4 ln Nomine Crye 1’50 ATTR. THOMAS PRESTON (?-C.1563) 14 Upon la mi re 6’37 HAYNE VAN GHIZEGHEM (C.1445-?) 5 De tous biens plaine (chanson) 2’57 GIORGIO MAINERIO 15 Schiarazula Marazula, Ungarescha & Saltarello 2’27 JOSQUIN DESPREZ (1450-1521) 6 De tous biens plaine 1’23 GIOVANNI GABRIELI (1540-1612) 16 Sonata XIII a otto voci 2’58 ALEXANDER AGRICOLA (C.1446-1506) 7 De tous bien plaine I 1’16 GIOVANNI DE MACQUE (C.1550-1614) 8 De tous bien plaine II (a) 1’06 17 Seconda Stravaganza 3’02 9 De tous bien plaine lll 1’41 10 De tous bien plaine II (b) 1’08 NICOLAS GOMBERT (C.1495-C.1560) 18 La Rose (chanson) 2’37 12 13 DARIO CASTELLO (FIRST HALF OF 17TH CENTURY) 19 Sonata decimaquarta a 4 6’33 VINCENZO RUFFO (C.1508-1587) 20 Dormendo un giorno (capriccio) 3’46 LODOVICO GROSSI DA VIADANA (1560-1627) 21 La Napolitana (sinfonia) 3’01 JOHN BALDWINE (?-1615) 22 4 Vocum 1’41 CARLO GESUALDO DA VENOSA (1566-1613) 23 Canzon Francese del Principe 4’00 CRISTOFORO CARESANA (1640-1709) 24 Tarantella 2’21 GIOVAN PIETRO DEL BUONO (C.1641-C.1652) 25 Sonata VII Stravagante sull’Ave Maris Stella 3’07 Sources 2 & 13 Ms. ca. 1560, British Library, London; 3 & 15 Primo libro de’ balli, Venice 1578; 4 Ms. British Library London; 5 & 11 Henry VIII Ms., ca.1510-1520, British Library, London; 6 Harmonice Musices Odhecaton A, Venice 1501; 7, 8 & 10 Music Archive, Segovia JACOB VAN EYCK (1590-1657) Cathedral; 9 Ms. Biblioteca del Conservatorio L. Cherubini, Florence, and Biblioteca Augusta, Perugia; 12 various sources, after 1497 26 Fantasia & Echo 2’04 (year of Ockeghem’s death); 14 Ms. British Library, London; 16 Canzoni e Sonate, Venice 1615; 17 & 23 Ms. 1617, British Library, London; 18 Canzon […] per sonar, Venice 1588; 19 Sonate concertate in stil moderno, Libro secondo, Venice 1629; 20 Capricci in SAMUEL SCHEIDT (1587-1654) musica, Milan 1564 21 Sinfonie musicali, Venice 1610; 22 Ms. 1603, British Library, London; 24 Duo Opera seconda, Naples,1693; 25 Canoni, oblighi […], Palermo 1641; 26 Der Fluiten Lust-tof, Amsterdam 1649; 27 Ludi Musici, Hamburg 1621. 27 Galliard Battaglia 3’57 Karl Friedrich Philipp Martius, Historia naturalis palmarum : opus tripartium. TOTAL TIME: 73’07 France, Paris, Muséum national d’Histoire naturelle PHOTO © Muséum national d’Histoire naturelle, Dist. RMN-Grand Palais / image du MNHN, bibliothèque centrale 14 15 IL GIARDINO ARMONICO ERCOLE NISINI TROMBONE BASSO, COPIA DA SEBASTIAN HAINLEIN, NÜRNBERG, 1622, EWALD MEINL, GERETSRIED (DE), 2003 (TRACK 27) GIOVANNI ANTONINI DIREZIONE MUSICALE ALBERTO GUERRA DULCIANA BASSA, COPIA DA ANONIMO, SPAGNA XVII SEC., LAURENT VERJAT, PARIS, 1998 (TRACK 2, 3, 8, 12, 13, 15, 16, 18, 21, 24, 27) GIOVANNI ANTONINI STEFANO BARNESCHI FLAUTO SOPRANO IN DO, PIETRO SOPRANZI, PERNUMIA (IT), 2000 (TRACK 3, 24, 26, 27) VIOLINO, GIACINTO SANTAGIULIANA, VICENZA (IT), 1830 (TRACK 2, 13, 15, 16, 17, 19, 21, 24, 25, 27) FLAUTO CONTRALTO IN SOL, FULVIO CANEVARI, MILANO, 1989 (TRACK 1, 2,14, 20) VIELLA, WALTER MARIA CANGIALOSI, MARINEO (IT), 2015 (TRACK 3, 4, 5, 7, 8, 9, 14) FLAUTO CONTRALTO IN SOL, COPIA DA C. RAFI, FRANCESCO LIVIRGHI, ORTE (IT), 2015 (TRACK 9, 15, 21) FLAUTO CONTRALTO IN FA, FULVIO CANEVARI, MILANO, 1989 (TRACK 5, 11) LIANA MOSCA FLAUTO TENORE IN DO, COPIA DA C. RAFI, FRANCESCO LIVIRGHI, ORTE, 2015 (TRACK 7, 22) VIOLINO, GIUSEPPE E CARLO FISCER, MILANO, 1764 (TRACK 13, 15, 16, 17, 19, 24, 25, 27) TRAVERSA IN SOL, MARTIN WENNER, SINGEN (DE), 2016 (TRACK 6) VIELLA, WALTER MARIA CANGIALOSI, MARINEO (IT), 2014 (TRACK 2, 3, 4, 5, 7, 8, 9, 10, 11, 14, 20, 21, 22) DULCIANA CONTRALTO, LAURENT VERJA, PARIS, 1999 (TRACK 12, 18) CHALUMEAU BASSO, PETER VAN DER POEL, BUNNIK (NL), FINE SEC. XX (TRACK 25) PAOLO BESCHI VIOLONCELLO A CINQUE CORDE, ANONIMO, FRANCIA, XVIII SEC. (TRACK 2, 3, 13, 15, 16, 17, 19, 21, 24, 25, 27) GIULIA GENINI FLAUTO SOPRANO IN DO, COPIA DA JACOB VAN EYCK, FRANCESCO LIVIRGHI, ORTE (IT), 2015 (TRACK 24, 27) GIANCARLO DE FRENZA FLAUTO TENORE IN DO, COPIA DA C.
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