This is Stefano Bertoncello's Blog (ステファノ・ベルトンチェッロ - トゥーグッドイアーズ − ブロガー、オーディオ＆ミュージック・コンサルタント) devoted to pacific topics like Music - live and reproduced - i.e. discs, audio, guitars - both vintage and new, concerts, workshops, and related stuffs. Furthermore: travelling - as a mind-game and real globetrotting, and books, movies, photography... sharing all the above et al. and related links... and to anything makes Life better and Earth a better place to stay, enjoying Life, in Peace.
… and his wife Betsy Arakawa and dog 🌸
“The Conversation” was one of his masterpieces.
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Adolfo Wildt: Il maestro Arturo Toscanini. Marble sculpture from 1924, Galleria Nazionale d'Arte Moderna in Rome.
A very similar copy is in the Teatro della Scala, in Milan.
Wildt's fame, achieved with his works from 1890-92, paid the price of his adherence to fascism (as also happened to other Italian artists of the time, today revalued) and that his sculptures were very appreciated from the beginning in Germany, but since the 1980s many art critics are rediscovering his works in bronze and marble, also defining him as the last of the Symbolists.
Starting from the romantic background of the late nineteenth century, Wildt devoted himself to the art of a sculpture strongly influenced by the Secession and Art Nouveau, characterized by complex symbolism and an almost gothic definition of its forms.
The extreme smoothness of the marble surfaces gives his busts an absolute purity and a plastic integrity that he has always tried to reconcile with the dramatic feeling of an almost paroxysmal intensity: for this reason, Wildt is on the threshold of Expressionism which is shown above all in the painful and shocked expression of his Self-portrait of 1909.
Prolific and much loved by D'Annunzio, he also taught at the Brera Academy from '26, and among his students was Lucio Fontana.
Adolfo Wildt (Milan, March 1, 1868 - Milan, March 12, 1931) was an Italian sculptor, designer and medallist, member of the Academy of Italy since March 1929.
Very well known to the public is the sculpture of 1893-94 "Vedova" or Atte, exhibited at the Galleria Nazionale d'Arte Moderna in Rome, for which it is thought his young wife posed and which has already been shared a short time ago in this album.
A truly seldom seen record and artist… a typical English songwriter with a nice voice, a friend of Allan Taylor and on - someway - same vein, but… look at the impressive line-up on his eponymous disc!
Worth a listen, also on Spotify 😉
The documentary’s title Last Date is lifted from an album of posthumous live recordings from a Netherlands radio session in the summer of 1964 (the Dutch trio from the session feature prominently in the film). Just a few weeks later, Eric Dolphy tragically passed after slipping into a diabetic coma during a performance in Berlin.
Brazilian Collector’s Item
Ultra Rare Hareton Salvanini Soundtrack reissue for the first time Worldwide
Rare Brazilian album of the obscure film "Xavana, Uma Ilha do Amor" mixture of Psych, Jazz and Bossa Nova.-Hareton Salvanini creates a record full of groovy guitars, refine strings and delicate orchestral Sounds.
Polish film maker Zygmunt Sulistrowski pioneered the format of shooting low-budget soft porn on exotic locations. Brazilian arranger and writer Hareton Salvanini was commissioned to deliver this soundtrack. No wonder many consider him a lesser-known Arthur Verocai. Salvanini creates a record full of groovy guitars and percussions that could rival with the best of KPM or Chappell library LPs
… still a couple months to-go, waiting for my new studio completing 🍀💫🍀
Stephen Stills and his 1920's 12 fret 000-45.
"That 000 sings like nothing you've ever heard"
So said Stephen Stills about his 1920's 000-45 which featured on the cover of his self titled album.
The 000 was the loudest and biggest guitar that Martin produced before the Dreadnought. Unlike the 0 and 00 of the period, the 000 was long scale. 126 were made between 1922 and 1931, the last year of production before the switch to 14 fret.
The first three photos show Stills with the guitar.
The last two photos show the Stephen Stills signature version produced in 2005.
There were 91 made, all with Adirondack tops. For reasons unknown to me, the edition did not feature the torch headstock inlay of the original. Instead, they got the "C.F. Martin" in pearl.
… and let’s confess: everybody was afraid for this beauty out in the cold, snowy location of the cover picture 😉 and also about the cigarette Stephen was baldly holding while finger-picking 😳
A cool homage to Woody Guthrie 💎
Unfortunately discontinued 🫣 but sooo cool!
The protagonist of Thomas Mann's 'Doktor Faustus', Adrian Leverkühn, is credited with discovering twelve-tone music. The author learned the technical details from Alban Berg's student Theodor Wiesengrund-Adorno. Schoenberg wrote about this:
• I personally have not read 'Doktor Faustus' because of my nervous eye disease. However, I have learned from my wife and others that he attributes my twelve-note method to his hero, without mentioning my name. I pointed out to him that historians might use this to wrong me...
On the one hand, Schoenberg felt honored to appear in the novel with his own ideas - Leverkühn has some of Schoenberg's traits - on the other hand, he was annoyed that his name was not mentioned. Alma Mahler had to mediate and push Thomas Mann to make a note on this subject.
Letter from Thomas Mann to Schoenberg, February 17, 1948:
• Today, everyone knows who the creator of the so-called twelve-tone technique is. But above all, anyone who picks up a book like 'Dr. Faustus' knows it... In a novel that tries to give an overall picture of the era, I have reported a cultural phenomenon that is extremely characteristic of this era, of its true creator and martyr... Haven't you noticed that the entire musical theory in the book is imbued with his ideas, that even "Music" always means Schoenberg's music?
The disagreement between Schoenberg and Thomas Mann became public when the controversy was reported in the esteemed American literary magazine "Saturday Review of Literature". Thomas Mann declared himself ready for a later annotation, which again irritated Schoenberg.
Autograph draft of a letter from Schoenberg to Thomas Mann, Los Angeles, possibly from 1948:
• I have not published this second letter because it has become increasingly unpleasant for me to defend... a situation that has become untenable through misrepresentation, falsehood and hypocrisy. And yet it would have been so easy to satisfy myself. A small footnote would have been sufficient: "These descriptions or derivations are based on Schoenberg's method of composition with 12 notes." At first he used stylistic reasons as a pretext... but since he finally had to give up this excuse and give an explanation, he now wants to make people believe that he had had other motives. One would have to assume that he had finally realized that he was wrong... but instead he is publishing this novel of a novel (*), with the intention of playing the greatness of his idea against the futility of a concession...
At the beginning of 1950, however, a reconciliation took place between them, without the public knowing about it.
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