BAROCCO DRIVE. Stream of consciousness by Asya Lazar ARDOVA
Listen to the new soundtrack “BAROCCO DRIVE (Bach. Partita № 2. Sinfonia)” performed by Asya Lazar ARDOVA. It will appear at the page ardSOUND of ardisonata.net after the final reconstruction of the player, but now you may press this link below and listen to it on my Soundcloud page (supporting ardisonata.net by pcf1.ru):
Max Voloshyn. Water-colour
The East is getting green through diamonds of its cloth,
And thousands of paths merge with its rays of glow,
Along mysteriously rigid surface of the Earth,
Oh, if we could have found the path to go.
To see, to get in touch, to understand, to learn,
Both forms and colours to be felt like true,
To cross the Earth until your feet will burn,
Accept existence for to rise anew.
Verses by Maximilian VOLOSHYN
Translated to English by Asya ARDOVA
STYLES, OR STATES OF MIND?
Sometimes fingers are roaming along the piano keyboard, searching for the sounds responding to them. Sometimes it occurs to be J. S. Bach’s Sinfonia from Partita № 2 that may gradually quench the burning mind’s thirst, but simultaneously the notion may be born. How conditionally the art is differentiated, how unsteady are the borders between the styles, and, if there exists a chance to gather psychological portraits, starting with thousands of years ago B. C. The same time there should be opened the features of ever canonic (classical) and utterly realistic depictions, and maybe some allegoric portraying of concealed and suddenly revealed (crying, shrilling out) nature of a person, or situation.
Following the principle of synchronic perception, that was worked out by Lazar Ardov in our mutual work about the music avant-garde, I found out, that unsteady and even uneasy nature of Baroque maxims may pierce the time and stir the minds of the new generations long after this style’s existence. Something, that doesn’t give you a chance to repose, but making you restless and eager for scientific discoveries, like in the 17th – 18th centuries, when Baroque postulates were determined and worldwide traveling around the globe seemed to sublimate torturous misunderstanding of self inner word.
THE PRESENT IS THE LAST DAY OF THE PAST…
It was the middle of the 18th century, when the young well-educated clergyman Abraham Hyacinthe Anquetil-Duperron came across some torn pages and found out, that the language on those pages was unknown to him, although he already managed to acquire all commands of many oriental alphabets. The pages were rather occasionally hidden in the ancient Chinese book that had been delivered from India. Duperron delayed his Sorbonne career and soon the vessel was prepared and he started exhausting, but mostly desirable journey to India. Isn’t it the the beginning of many stories of discoveries and journeys around the globe, having been nourished by the Baroque age? As for Duperron, due to his passionate inquisitive nature the sacred ancient Persian book “Avesta” (having been started nearly one thousand years B. C.) was found out and translated for the European world (180 manuscripts came with him back to France). Avesta is the collection of hymns, legends and myths, dating the first millennium B. C. and giving evidence of the Persian traditions together with their nature.
Pseudo-oriental motives were most popular in Europe of that time. They were attractive and fashionable, and the great part of them was later accepted by the romanticism, like, for example, this poem by the Persion poet Kisai (10th century A. D.):
Oh, the seller of roses,
What do you want silver for this flower?
The silver you’ll get, will make you buy the other rose-flower.
This is the description of the red rose fest in Persia. Echoes of this tradition are met in Italy as the flower fest. Tender love poetry of imaginary poetical Orient and archaic Avesta, code and report of the unknown rigid Asia.
Later there were found the small archaic figures of young men, called kouroses in Greek. The great quantity of them was from the Asian regions, the former Grecian colonies. There is a version that kouroses were the depictions of Apollo, the nature of whom coincided with the Persion god Mitra, also the god of the Sun. And again archaism was winking through the brilliant stature of the European musagete.
Here it should be mentioned Dionysus, honoured in Asia countries even more than Apollo. According to one of the legends Dionysus was bred up by the Nisa nymphs:
Fields of golden Lydia,
Of Frygia and Persia,
Burnt with midday sun rays,
So as the walls of Bactria and Midiya .
One of maenads of Nisa, its queen, the Parthian military woman, is depicted here according to the Greek rules and canons. Venus of Nisa.
Thus the Parthian Venus was left in the memory of mankind, meanwhile discoveries were going on. It was learnt, that as Dionysus was worshipped by the arians, Apollo was the god of turans, the same tribe, but leading nomadic life. Sometimes turans are named Scythians in the Greek origins.
Zarina, the queen of scythians (sacae) was the woman of great passions. The love story of Zarina and Midian prince Stryangaens refers to the 5th century B. C. Having showed mercy to each other during the battle, they could become tender lovers, but Zarina was unbending. Let’s strengthen our minds and passions against instant pleasures, she manifested.
Curious circumstance, but no woman was depicted on Persian Behistun Bas-relief. For to imagine Zarina and Stryangaens I adduce this primitive by forms, but rather stirring depiction of those far centuries.
Once it was discovered, that Scythian animal style and just Scythian art originate from Midiya. On the one hand, here the Indo-Iranian culture is traced, but on the other hand, the region Mana (hence the full title of Mano-Midian culture) was inhabited by the multi-national ethnos, presumably of non-Indo-Iranian origination. Who were they? Let’s study the scientific diaries of the Baroque scientists…
Horoscope from Sepphoris (Israel). The firest centuries A. D.
Penetrating inside the Baroque period, we may notice its features through the phenomena and events; this state of nature was based on and was able to enflame, having been transformed to style. It happened, that European people were oppressed by their everyday life, going non-stop without fail, like some repeated ornament. Some of them could dream of leaving their old towns with everlasting seal of middle ages and, besides, people were drawn by mystic oriental lands along the seas and oceans. Meanwhile, the Jews, being still oppressed by the existence without native land, were exhausted by this slavery, and transmigration all over the world was their everyday life. Jews took significant part in the development of culture and economy of European countries, but were still deprived of native land and even security.
The Jews living in Turkey, especially in Palestine accepted more and more diverse interpretations of Kabbalistic science, forecasting soon Messiah advent.
Both in Asia and Europe the year of 1648 was signed (according to the Zohar). And exactly that very year there appeared a man in Turkey, who acclaimed himself the one to bring liberation to the Jewish people. He was Sabbatai Tsvi (born in 1626). Being most handsome young man with good voice and inner inspiration, Sabbatai enjoyed popularity both among European Jews and Christians. Series of events, following later show, that his activity was a bit adventurous, although he managed to save minds of great number of European people (not only Jews) from fear of pogroms and damned inquisition. It’s important, when you are not fear of something, isn’t it?
However, this time our aim is not to analyze the holiness of Shabsi Tsvi, but to mark one more feature of the European Baroque, when in 1666 all the minds of Judeans and Christians in Europe were turned to the Orient, awaiting passionately for great enflaming events, magic signs and liberating miracle …