Sacrifying oneself for a better world

Drama in the making. © Charles Thibo

Can there be anything more dramatic than a man proclaiming the absolute power of the Love, seeing into the eyes of his enemies and submitting calmly and willingly to martyrdom to prove his faith and to convince his followers that they are right to believe in what he has said? To profess the ultimate sacrifice to set an example? To die so that others could live sometime somewhere in a better, more peaceful world? Hardly.

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Building the Goldberg City with Bach

Lichtstudie. © Charles Thibo

Light and sound and the combination of the two have always fascinated me. Here lies the origin of this blog – tweets about a specific moment with a specific piece of music and a specific picture associated to both. But I am just an amateur. Meet the masters of sound and light, for instance the French artist Jean-Michel Jarre.

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The master architect’s counterpoint legacy

Infinity. © Charles Thibo

Composing a fugue – I imagine an architect building a tower. A tower with a solid base. I imagine a fearless architect putting one building block upon the next until the tower reaches a vertiginous height. I imagine an ambitious architect decorating the tower with elaborate artwork. The master architect of fugues was Johann Sebastian Bach. Nobody succeeded in building a higher tower, nobody devised more artful decorations without falling into the trap of cheap effects.

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Humble flowers blossoming in a Hamburg garden

Supreme elegance marks Reincken’s music. © Charles Thibo

You, yes, you – this is your chance. Your chance to come up with a last-minute Christmas gift with a high probability to please both you and the person you will give it to if you’re in for Baroque music. A rarity, both from a recording perspective and from a historical point of view, a sublime example of composing. In 1687 the German composer Johann Adam Reincken wrote a set of six partitas that he called “Hortus musicus recentibus aliquod flosculis” (A musical garden of some recent flowers). It is the only piece of Reincken’s chamber music that has survived. It follows the standard structure of five movements: Sonata, Allemande, Courante, Sarabande, Gigue.

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