Wednesday, March 17, 2010
Wednesday, March 10, 2010
When Do Cambelts Needs Changing On A Mini
Strauss: Four Last Songs (Four last songs)
Soile Isokoski
In a magnificent Programme of the Discovering Music series (broadcasted in BBC Radio 3), Stephen Johnson explore in detail the process of the Deconstructive Truly Four last songs. A delight to share.
Richard Strauss (1864-1949), the last stronghold of the nineteenth century Romantic tradition for Throughout the first half of the twentieth century, was so superb conductor as bad a prophet in his adolescence: " within ten years, nobody will hear of Wagner."
In October 1945, at the end of World War II, was forced into exile in Switzerland for the subsequent denazification court. In those quiet places he spent his last years without working, except those known as Vier letzte Lieder (Four Last Songs): Compound no cycle thinking throughout 1948 were grouped in this order - Frühling ( Spring), September (September), Beim Schlafengehen (On going to sleep) and Im Abendrot (In the glow of the evening) - and titled collectively by his friend Ernst Roth, who published in 1950 as a cycle of increasing dramatic intensity, and the instrumental demands of the score have been rising in every lied. In these poems (three of them belong to Herman Hesse and the other to Joseph von Eichendorf) brings together the romantic ideas of persistence, the very human desire to transcend through art (not through religion) and Nature's indifference to death. So a parting face permeates these four songs, composed by an old man of 84 years, where they shake hands autumnal serenity, melancholy and memory of the life spent with the serene feeling and acceptance the inevitable decline.
sumptuous atmospheres big band, Strauss draws an extraordinary variety of tones from the massive orchestra, often gently using small groups to create the illusion instrumental chamber music. Unlike the orchestra, richly annotated and colored by the author, the vocal part is not identified expression marks in the score, so you have to take as reference the harmonic modulations that surround it. The four lieder , written with excellent vocal technique from his wife Pauline in mind, require a considerable fiato to withstand the long phrases without taking a breath (some managers help the singer rittardandos through, to allow additional breathing), and a very wide tessitura (from Si sharp D flat major), which has turned into transpositions on demand and almost inaudible phrases. The melodies are long and sinuous, chromatic harmonies with subtle nuances in the text support, in a perfect sublimation of voice and orchestral texture. Except in the last stanza of the final lied, the songs have a form derived directly from the structure of his poems in three parts, changing the musical content right where change stanza.
work which crowned his long and fruitful relationship with romantic lied, closing an aesthetic universe looking to the past, are the spiritual testament of a decadent post-Romantic sound world, a funeral elegy dedicated to the Western musical tradition, which the avant-garde music of the first half of the twentieth century had declared passed.
The first performance of Vier letzte Lieder held at the Royal Albert Hall in London on May 22, 1950, eight months after the death of the author. Wilhelm Furtwangler and the Philharmonia Orchestra accompanied the walkírica Kirsten Flagstad, who was then already exceeded the peak of his career. Great dramatic singer was never renowned for his dedication to lieder. The order of songs was different from this edition, now accepted as canonical and after the premiere , which cast off with a conviction, an intensity and a really volcanic energy. The radiant light of tempi in some cases holds the record, in fact over the past sixty years have gone tempi inexorably lengthening. The movement is continuous throughout the orchestra, without a moment's rest, and seems to some independently of a vocal line of unusual lights and sound excellence. Though Flagstad gave his powerful nobles in the caressing tone and smoothness combined with the vocal opulence, and had not the extent required (some high notes were smoothed, and in fact the Norwegian singer never dared again with Frühling ) . This historic document (Testament), which probably comes from the dress rehearsal and not the concert, has a battered, dull and excusable sound quality, limited dynamics and acetate surface noise.
In October 1945, at the end of World War II, was forced into exile in Switzerland for the subsequent denazification court. In those quiet places he spent his last years without working, except those known as Vier letzte Lieder (Four Last Songs): Compound no cycle thinking throughout 1948 were grouped in this order - Frühling ( Spring), September (September), Beim Schlafengehen (On going to sleep) and Im Abendrot (In the glow of the evening) - and titled collectively by his friend Ernst Roth, who published in 1950 as a cycle of increasing dramatic intensity, and the instrumental demands of the score have been rising in every lied. In these poems (three of them belong to Herman Hesse and the other to Joseph von Eichendorf) brings together the romantic ideas of persistence, the very human desire to transcend through art (not through religion) and Nature's indifference to death. So a parting face permeates these four songs, composed by an old man of 84 years, where they shake hands autumnal serenity, melancholy and memory of the life spent with the serene feeling and acceptance the inevitable decline.
sumptuous atmospheres big band, Strauss draws an extraordinary variety of tones from the massive orchestra, often gently using small groups to create the illusion instrumental chamber music. Unlike the orchestra, richly annotated and colored by the author, the vocal part is not identified expression marks in the score, so you have to take as reference the harmonic modulations that surround it. The four lieder , written with excellent vocal technique from his wife Pauline in mind, require a considerable fiato to withstand the long phrases without taking a breath (some managers help the singer rittardandos through, to allow additional breathing), and a very wide tessitura (from Si sharp D flat major), which has turned into transpositions on demand and almost inaudible phrases. The melodies are long and sinuous, chromatic harmonies with subtle nuances in the text support, in a perfect sublimation of voice and orchestral texture. Except in the last stanza of the final lied, the songs have a form derived directly from the structure of his poems in three parts, changing the musical content right where change stanza.
work which crowned his long and fruitful relationship with romantic lied, closing an aesthetic universe looking to the past, are the spiritual testament of a decadent post-Romantic sound world, a funeral elegy dedicated to the Western musical tradition, which the avant-garde music of the first half of the twentieth century had declared passed.
The first performance of Vier letzte Lieder held at the Royal Albert Hall in London on May 22, 1950, eight months after the death of the author. Wilhelm Furtwangler and the Philharmonia Orchestra accompanied the walkírica Kirsten Flagstad, who was then already exceeded the peak of his career. Great dramatic singer was never renowned for his dedication to lieder. The order of songs was different from this edition, now accepted as canonical and after the premiere , which cast off with a conviction, an intensity and a really volcanic energy. The radiant light of tempi in some cases holds the record, in fact over the past sixty years have gone tempi inexorably lengthening. The movement is continuous throughout the orchestra, without a moment's rest, and seems to some independently of a vocal line of unusual lights and sound excellence. Though Flagstad gave his powerful nobles in the caressing tone and smoothness combined with the vocal opulence, and had not the extent required (some high notes were smoothed, and in fact the Norwegian singer never dared again with Frühling ) . This historic document (Testament), which probably comes from the dress rehearsal and not the concert, has a battered, dull and excusable sound quality, limited dynamics and acetate surface noise.
Maybe youth radiant timbre Lisa Della Casa (Decca, 1953) is not ideally suited to the character of songs, but is elegant, smooth and natural reading of the text (though the pronunciation is improved). In addition, seraphic freshness is an added advantage to the technical difficulties of the opening song Frühling. Stands the great leap from high E to the maternal D-flat major that emphasizes the expressive word Nacht (night) Beim Schlafengehen , where, however, can not fully complete the B flat major acute in the last sentence . Karl Böhm was a close friend, beloved disciple of the composer and translator of his symphonic poems. So reading has any legitimacy in tempi very light, eliminating the need for editorial changes to attempt to claim some soloists additional respiratory milestones, and away from the solemnity of the history of the recording of this work become appropriate. Sound decision provides a distinctly stale aroma, with lofty speech on a Vienna Philharmonic somewhat blurred and strident.
In its first report of this work was accompanied by Elisabeth Schwarzkopf Otto Ackerman (EMI, 1953): The voice is lush, bright and beautiful, in the prime of his career, despite some masking issue . The flying performance is precisely that : the meaning of the text is translated in detail and temperament, in a wide range of tones, inflections, accents, light and shade, coloring the way certain words, the use of portamento, the unprecedented ability to refine the wording adjusting the volume. Like many other singers (Della Casa, Janowitz, Studer ...) reorganized the layout of the syllables in Frühling last sentence " deine Gegenwart Selige " so begins the final word on the G-sharp, two bars after the terms of the score. Suggestively delicate, intimate, spontaneous and excited (like on the last word "Tod , evanescent and spiritual), the voice is less affected than in his last recording, which is often preferred for superior sound quality and orchestral accompaniment . The sound, somewhat stale, leaving the Philharmonia Orchestra in a very distant background.
The feverish reading of Herbert von Karajan with the same lineup (EMI, live, 1956) did not tolerate each other to reach full development in the third approach, this time in the company of George Szell (EMI 1965). The tempi are somewhat quieter, allowing the nearest Schwarzkopf greater depth, sensuality and longing. Artistic maturity gives even more delicate nuances and inimitable style in reading these poems, song, performed with finesse of a goldsmith. This revealing emphasis may be considered (in other minds, other worlds) as an artificial, aristocratic hypertrophied emotional expression. While retaining the breadth of range (there are problems when approaching the low end), dynamic and colorful, the issue is less natural and the voice has lost brightness (Frühling is transposed a half step down) and amplitude of fiat (invents a slight variation of September text to avoid the long final melisma on " Augen" and get an extra inspiration), and in return offers autumnal colors are diluted with the refined textures twilight Szell gets the Berlin Radio Symphony Orchestra. Highlight how in September move voice and orchestra intertwined in each measure of its sinuous line, which favor the middle tessitura of the soprano comfort. In the final leg of Im Abendrot voice takes on a role closer to recitative and the orchestral texture becomes transparent, with the serene melody of the tube rocked by string and wood, showing explicitly the image of decay and mortality (quoted from his youthful tone poem Death and Transfiguration , but without the claim-resolution glorious life after death, but with the shadow of a doubt, sinking in a minor key.) Sound warm and pretty, ideal fusion of voice and orchestral texture, this recording was produced and dominated by Walter Legge (husband and patron of Schwarzkopf) and is considered one of the largest in the history of the phonograph.
tempi The inevitable fall of Sergiu Celibidache labored allowed the RAI Orchestra of Rome (Nuova Era, 1969) clarifying exemplary instrumental in accompanying Gundula Janowitz, which features a flexible and light emission. However, it is even better with the personal refinement of sound, majestic and dense textures Herbert von Karajan achieved in the Berlin Philharmonic (DG 1973). The singer is radiant, ethereal, and purity are dazzled by the almost instrumental tone (say Aryan), a powerful vibrato in the upper register, the perfect smoothness of timbre, the splendid breath control, volume heroic. Janowitz could hardly find a bra more morbid, within the broad tempi chosen, that of the great Straussian was Karajan, despite its cloying insistence on orchestral dynamics. Making sound is detailed but overly reverberant, unbalanced in favor of both soprano and artificial as a whole and in the annoying intrusion of the celesta.
The only comparable body singing Wagner and timbral lushness of its first interpreter is Jessye Norman power. Of prodigious extent of registration (in the grave, dark, corresponds to a mezzo and sharp, bright, a soprano) and velvet sound, not essentially dramatic. The amazing breath control supports an endless breath, no matter how slow metaphysical accompaniment. Her hieratic and visceral reading is certainly not the most nuanced, but the most deliciously gooey, the richest texture. Back with such irresistible power and ease at the beginning of Frühling. At the beginning of the second verse of the song Schlafengen Beim, conjures one of the most exciting vocal crescendos in the history of the disc, expanding from a breathy whisper to a resounding forte glorious in resplendent in A flat sharp Und die Seele . In the final pages of resigned Im Abendrot , Norman fascinates with soft voices and sustained, drawing serenity in farewell, while Kurt Masur to front of the Gewandhaus Orchestra of Leipzig (Phillips, 1982) weaves a translucent cloak to clothe the nakedness of the Goddess languishing, highlighting the much more dense orchestration and harmonic language and melodic treatment significantly different from the other lieder. Superb recording, in which the voice, very close to the microphone, diluted in the instrumental color as arising naturally from it.
In front of an analytic Staatskapelle Dresden Giuseppe Sinopoli (DG, 1993) presents a voluptuous version based on the unblemished beauty of Cheryl Studer instrument of a holder of Straussian ideal. A lyrical voice but with dramatic overtones, combining the virtues of this record the classic: Schwarzkopf interpretive nuance with lush vocal amplitude of Norman, the tonal brilliance Della Casa with full rotundity of Te Kanawa. Thanks to his technical ability can be discerned only division of the phrase " deine Gegenwart Selige (Frühling ), however, the melisma (another apparent dislocation for contemporary music) in Beim is so Schlafengehen long and extensive record that the soprano is forced to slightly alter the lyrics, singing Tausend, Tausendfach to breathe in between (like the vast majority of the sopranos). Making sound spectacular, with the voice facing the listener and the instruments fluttering everywhere.
Soile Isokoski
combines the unlimited glow rings, even throughout the pitch range (or a bit of tension in the radiating passages treble), with a large seasoned fiato with a warm purr almost schwarzkopfiano . Simple and pure diction, impeccable legato, ecstatic and mystical, to emphasize the expression uses a slight hint of vibrato, and allows more weight and meaning to the changing colors of the orchestra, as in the quiet and joyful immersion sunset at the end of the cycle, or the intimate Schlafengehen Beim, who has all the aroma of a lullaby, with its soft textures and arrullantes. Note the lovely violin solo that characterizes restful sleep. Instead of the traditional search for emotional intensity, accompanied by Marek Janowski on the podium of the Berlin Radio Symphony Orchestra (Ondine, 2002) provides neutral, in an apparent simplicity, fast tempi (what Bohm), and transparent and detailed sound making (attention to the woods).
fifteen years ago, Renée Fleming recorded this cycle for the RCA (1995). The heady timbre creamy luster, the beautiful legato (maybe a voluptuous Italianate point) and phrasing, his ability to seamlessly support the long and undulating lines melodic, the enviable size, clean and smooth issuance ... made an ideal pairing with the twilight Four Last Songs. However, the accompanying prose Christoph Eschenbach conducting the Houston Symphony Orchestra gave a conventional joint outcome. In the recent re-reading for Decca (2008), the most renowned of the German directors present, Christian Thielemann, is shown as a powerful Straussian, and the Munich Philharmonic Orchestra the perfect background to accurately highlight the richness of the harmonic changes with which shapes Strauss score. This shows fabulously shimmering accompaniment, distilling countless new details, for example, at the start of Frühling, which started in the gloomy woods captures the restless, anxious and vital energy crackling long-awaited spring. The voice of the soprano seems to have acquired a greater palette of colors, a perfect dynamic control entries protected by the orchestration (like the hushed end of September ), diction, further refinement with which enjoying each moment with her proper dramatic effect. Again, as in the case of Elisabeth Schwarzkopf, we have the depth or artifice "dilemma? I will not be excessive ailment he characterization at the expense of the melody (as collateral makes it seem that these interpretations to be very slow, something that belies the MINUTES). Take immediate and sound great in concert, incredibly detailed textures and orchestration tasty, sensual audible breathing of the soloist.
In a magnificent Programme of the Discovering Music series (broadcasted in BBC Radio 3), Stephen Johnson explore in detail the process of the Deconstructive Truly Four last songs. A delight to share.
Recommendation Letter Community Service
A story by Marc Pautrel
The short story, the Microfictions not a very popular genre in France. Of course, this does not practice. Proof of this is the book of Régis Jauffret, Microfictions had a big impact. The truth is that, although English-speaking readers, as well as in English properly await a story with a conflict, whether explicit or not, among the French is more the idea of \u200b\u200b vigenca récit. Of course there are the contes or nouvelles. However, this goes beyond the dimensions of the text. The Narrative secuencilidad traps of the facts, without necessarily these are articulated in a flame-point knot or whatever, to serve as centrifugal and centripetal force at the same time.
is extremely difficult these days to offer a possible definition of a genre, because as you build it, under every brick put a stick of dynamite. Thus, since the last brick, contemplate their immediate destruction.
However, in practice these short recits I mention the book The sleeping office of Marc Pautrel. Bordeaux is a writer for adoption. Here he published his first book and everyone else writes here. I consider it a fine prose writer of great sensitivity, and I think it is appropriate to present a translation of one of his texts, precisely what the title of his first book. Is a free translation ( traduttore, traditore , you know).
sleep The office of Marc
Pautrel
He shook hands, smiling, but he said nothing. Was so small that you would have said that he had stopped growth in ten years. His height gave him the appearance of a human being reduced, small rectangular face fine lines, blue eyes, pale complexion, a complete baldness, short arms and legs, this guy was not old, maybe thirty, maybe forty, or fifty or sixty. The impact for its serene and mysterious smile on his lips. He never spoke, one would say it was dumb, but his eyes showed that he thought that the head had precise ideas on various topics. His office was sleep.
He lay on his back, body straight, arms stretched over his legs, his head on the mattress. A light blanket covered it: doubled in the autumn, under a quilt in spring and covered with a thick blanket up to his neck in winter. When he slept, we thought it was dead. One dead, smiling and breathing quietly.
The room where the man worked was free of noise and benighted. A light as filtered under the door. A mechanical clock, put on the ground beside a large bed, ticked at their own pace. Outsiders
got paid to sleep day and night. When he woke up, had to write in his notebook the dreams he had. The only dreams, nightmares ever. Perhaps I had nightmares. As it was, he did not have to write them down. Attendees spent every day in the room to retrieve the book, which they handled with great care.
man He loved his work. He exercised conscientiously and effectively. We would say that was the best: he was sleeping as long as possible without waking, one who had the greatest number of dreams and more varied. He was happy to sleep. He felt a great pleasure to be dropped in light sleep, as if a tube at the height of his kidneys would have passed through the body at right angles, as if it were a football doll, feet forward, vertical, submerged in the waters of oblivion.
Often the papers had the drama of professional dreamers went crazy. Confinements were common within the profession; also as rapid wear of their bodies, fatigue and, finally, the dreaded catastrophe: insomnia. The strongest, after a few years, were reduced its capacity to dream and keep those dreams. But this little guy never had problems. It was the best: he slept like no other, he dreamed about ten at a time.
Translated by Ricardo Sumalavia
Pautrel
He shook hands, smiling, but he said nothing. Was so small that you would have said that he had stopped growth in ten years. His height gave him the appearance of a human being reduced, small rectangular face fine lines, blue eyes, pale complexion, a complete baldness, short arms and legs, this guy was not old, maybe thirty, maybe forty, or fifty or sixty. The impact for its serene and mysterious smile on his lips. He never spoke, one would say it was dumb, but his eyes showed that he thought that the head had precise ideas on various topics. His office was sleep.
He lay on his back, body straight, arms stretched over his legs, his head on the mattress. A light blanket covered it: doubled in the autumn, under a quilt in spring and covered with a thick blanket up to his neck in winter. When he slept, we thought it was dead. One dead, smiling and breathing quietly.
The room where the man worked was free of noise and benighted. A light as filtered under the door. A mechanical clock, put on the ground beside a large bed, ticked at their own pace. Outsiders
got paid to sleep day and night. When he woke up, had to write in his notebook the dreams he had. The only dreams, nightmares ever. Perhaps I had nightmares. As it was, he did not have to write them down. Attendees spent every day in the room to retrieve the book, which they handled with great care.
man He loved his work. He exercised conscientiously and effectively. We would say that was the best: he was sleeping as long as possible without waking, one who had the greatest number of dreams and more varied. He was happy to sleep. He felt a great pleasure to be dropped in light sleep, as if a tube at the height of his kidneys would have passed through the body at right angles, as if it were a football doll, feet forward, vertical, submerged in the waters of oblivion.
Often the papers had the drama of professional dreamers went crazy. Confinements were common within the profession; also as rapid wear of their bodies, fatigue and, finally, the dreaded catastrophe: insomnia. The strongest, after a few years, were reduced its capacity to dream and keep those dreams. But this little guy never had problems. It was the best: he slept like no other, he dreamed about ten at a time.
Translated by Ricardo Sumalavia
Monday, March 8, 2010
Bskyb Dg934g Port Forwad
Light is a kind of radiant energy or radiation that can transmitirese by the vacuum. These radiations are waves (electromagnetic) that can have different frequencies. The higher the frequency the more energy.
In the bottom of the image electromagnetic waves would be found less often and less energy and in the upper electromagnetic waves more frequent, more energetic and more dangerous for living beings.
PROPERTIES OF LIGHT
Light proaga straight. We define a ray of light as the line that represents fragic direction and the direction of propagation of light.
shadows and penumbras
Shadow occurs when an opaque object interposed in the path of light. This object will not pass light to form a dark silhouette on the plane that projects light. The shadow represents the silhouette of the object.
If the light source is large and close to the object is produced shadows and penumbras. The penumbra is the area where the light comes from one end of the outbreak but not the other.
REFLECTION OF LIGHT
REFRACTION OF LIGHT LENSES
COLOR White light is actually a mixture of electromagnetic radiation with different frequencies we perceive as different colored lights.
When light hits an object, part of the radiation in the mixture can be absorbed so as to reflect the rest. These are the color of the body.
WORKSHOP ON THE COLOR
LIGHT ON WIKIPEDIA
CONSTRUCTION OF OPTICAL INSTRUMENTS
Friday, March 5, 2010
Will Walk In Clinic Prescribe Birth Control Pills
L'Horizon, a new novel by Patrick Modiano
Yes, I have always seemed to write the same book. Every time I start one, and with a stroke of amnesia, forgetting the past and the same scenes again. It's like a hangover, some waves do not stop ... A photographer who always made the same decision, but from different angles. With my books, without realizing it, I could establish, as metro plans in which lines are lit, a sort of network combinations.
At what point found the title L'Horizon?
Before you start writing. My character returning from the distant past, and I wanted to have a certain timelessness and an opening. To give too ... as it were, is complicated ... the impression that this is superimposed on the past.
Continua haciendo digitar sus manuscritos?
Sí, es absurdo también. Yo podría digitarlos en la computadora, pero yo necesito de esta distancia para poder corregir mis textos. En una pantalla, esto sería más simple, pero también muy rápido. Tengo miedo que la tensión se relaje. (…)
Está usted atento a lo que escriben los jóvenes novelistas. Ayuda a algunos a ser publicados.
Es decir, yo recibo una buena cantidad de manuscritos. Me alegra descubrir un nuevo novelista, esto me estimula. En conjunto, estos textos are especially interesting from a documentary point of view and human-they show followed a total anxiety, but publishers are not very literary. In my early days, the issue was still half craft, which had not changed since 1930. I wonder if today's young people are partners in the publishing industry, which eventually have become factories.
About the outset, it is true that you made false dedications in the books?
Yes, when I was 19 or 20 years I sold books and some escriturasme were easy to imitate, such as those of Paul Valéry and Malraux. I did three or four times to make money. This was not sistamático. Then it became a game when I saw a library, in the homes of others, I had fun writing fake autographs of Simone de Beauvoir to Luis Mariano, for example. And people believed it ... One day in the window of a bookstore, at the Vaugirard street, I saw a book on Robbe-Grillet, dedicated to not know who, and I recognize my signature! Sometimes reality is mixed with fiction, I remember having imitated a dedication of Beckett for a 60's singer, Pierre-Jean Vaillard. I do not know if they really met ... 
I just heard about the emergence of a new novel by Patrick Modiano. Is called l'Horizon. I hope you buy these days. What they share is a fragment of one of his first interviews about this book. 'll Just stick with some answers. If I have time and inclination (yeah sure), I put clips of the interview check for Par and Delphine Marianne Payot Pears.
"Like her hero, Jean Bosmans, also a novelist, would you say:" They were always the same words, the same books, the same subway stations?
Yes, I have always seemed to write the same book. Every time I start one, and with a stroke of amnesia, forgetting the past and the same scenes again. It's like a hangover, some waves do not stop ... A photographer who always made the same decision, but from different angles. With my books, without realizing it, I could establish, as metro plans in which lines are lit, a sort of network combinations.
At what point found the title L'Horizon?
Before you start writing. My character returning from the distant past, and I wanted to have a certain timelessness and an opening. To give too ... as it were, is complicated ... the impression that this is superimposed on the past.
You talk regularly about ghosts of the past within their novels, who suddenly reappear years later. Does that happen in life "real"?
No, unfortunately. It is, in a way a little child, I get to use real names in my novels, my characters, waiting for someone to give me signs of life. But this would never have succeeded.
you know there are other modern tools, less romantic, you can find people ... you know the Internet?
Yes, no, in short, I do in general, to document, but I do not send emails, for example. There is something lazy, there is a time when it is too late. And then, at the same time encontrar a alguien así me parece un poco brutal, esto no me hace trabajar la imaginación.
Yes, no, in short, I do in general, to document, but I do not send emails, for example. There is something lazy, there is a time when it is too late. And then, at the same time encontrar a alguien así me parece un poco brutal, esto no me hace trabajar la imaginación.
Continua haciendo digitar sus manuscritos?
Sí, es absurdo también. Yo podría digitarlos en la computadora, pero yo necesito de esta distancia para poder corregir mis textos. En una pantalla, esto sería más simple, pero también muy rápido. Tengo miedo que la tensión se relaje. (…)
Está usted atento a lo que escriben los jóvenes novelistas. Ayuda a algunos a ser publicados.
Es decir, yo recibo una buena cantidad de manuscritos. Me alegra descubrir un nuevo novelista, esto me estimula. En conjunto, estos textos are especially interesting from a documentary point of view and human-they show followed a total anxiety, but publishers are not very literary. In my early days, the issue was still half craft, which had not changed since 1930. I wonder if today's young people are partners in the publishing industry, which eventually have become factories.
About the outset, it is true that you made false dedications in the books?
Yes, when I was 19 or 20 years I sold books and some escriturasme were easy to imitate, such as those of Paul Valéry and Malraux. I did three or four times to make money. This was not sistamático. Then it became a game when I saw a library, in the homes of others, I had fun writing fake autographs of Simone de Beauvoir to Luis Mariano, for example. And people believed it ... One day in the window of a bookstore, at the Vaugirard street, I saw a book on Robbe-Grillet, dedicated to not know who, and I recognize my signature! Sometimes reality is mixed with fiction, I remember having imitated a dedication of Beckett for a 60's singer, Pierre-Jean Vaillard. I do not know if they really met ...
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