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RE: From the Horses Mouth (in reply to estebanana)
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Although she did not look like a horse, she talked like one, I learned lot from her through her direct contact with Joaquin. . He pretty much knew everyone in 20th century classical music, even Segovia. He knew him so well that he actually told him he preferred another guitarists rendition of the pieces he wrote for guitar. He was simply being honest and he liked Segovia more or less, but simply said- hey for my piece this other guy gets them better. And that is part of why you may not have heard of Nin-Culmell the composer, but have read his sister Anias' books. She was more famous. But who is bigger? Henry Miller or Segovia?
The other guitarist must have been Ray de la Torre who described an incident told to him by Nin-Culmell in which he was at a Segovia summer school and Segovia introduced him to the students by saying he was the composer of those little variations and Nin-Culmell replied that , yes but when Ray plays them they are great. You can hear Ray de la Torre play then here
I tried to read a volume of Anias' diary which details her active love life but it was to much for me. Gore Vidal describes her as the only woman he considered for marriage. She appears as a character in Vidal's first novel The City and the Pillar
RE: From the Horses Mouth (in reply to guitarbuddha)
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And thanks again Mark for reminding me of my responsibility to engage with trolls.
for provocative, offensive and obnoxious posts you are the biggest troll around consistently responding to requests to clarify or explain your ambiguous comments with insulting sarcasm and responding in the same way to anyone disagreeing with you about anything
Ah, here is the text by Gabriela Mistral, you can feel where Neruda's work came from, right. it's so palpable. In some ways she I think is even better than he is.
PAÍS DE LA AUSENCIA A Ribeiro Couto
País de la ausencia extraño país, más ligero que ángel y seña sutil, color de alga muerta, color de neblí, con edad de siempre, sin edad feliz.
No echa granada, no cría jazmín, y no tiene cielos ni mares de añil. Nombre suyo, nombre, nunca se lo oí, y en país sin nombre me voy a morir.
Ni puente ni barca me trajo hasta aquí, no me lo contaron por isla o país. Yo no lo buscaba ni lo descubrí.
Parece una fábula que yo me aprendí, sueño de tomar y de desasir. Y es mi patria donde vivir y morir.
Me nació de cosas que no son país; de patrias y patrias que tuve y perdí; de las criaturas que yo vi morir; de lo que era mío y se fue de mí.
Perdí cordilleras en donde dormí; perdí huertos de oro dulces de vivir; perdí yo las islas de caña y añil, y las sombras de ellos me las vi ceñir y juntas y amantes hacerse país.
Guedejas de nieblas sin dorso y cerviz, alientos dormidos me los vi seguir, y en años errantes volverse país, y en país sin nombre me voy a morir.
RE: From the Horses Mouth (in reply to estebanana)
Afraid poetry is not my thing as I am more into the visual arts like film but my favorite director happens to be a Chilean--Raoul Ruiz(1941-2011). Ruiz as a leftist though it best to leave Chile with the ghastly murder of Allende engineered with the help of Kissinger and Nixon about the time Neruda died. Ruiz moved to France and proceeded to established himself as an auteur and produce a substantial œuvre. Underlying all of his films is a keen sense of humor and the absurd combined with what he called the incoherent narrative. His Mistérios de Lisboa is his best I think but I also am fond of L’ hypothèse du tableau volé and La vocation suspendue both taken from novels by Pierre Klossowski, the French writer, translator and artist.
RE: From the Horses Mouth (in reply to guitarbuddha)
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But don't let my exasperation diminish the satisfaction of being willfully obtuse Aeolus.
I am trying not to laugh, but come on guys, even the pythons could not have written repartees as funny. How could you turn such a great topic into a pie fight?
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