Monthly Archives: January 2018

Bayeux Tapestry to return to the UK … 900 (or so) years after it left!



Much speculation this morning about an announcement, due to made tomorrow by Emmanuel Macron, who, it is thought, has agreed to loan the Bayeux Tapestry to the UK. Usually exhibited at the appropriately named Musée de la Tapisserie de Bayeux in Normandy, it will be the first time that the tapestry — which isn’t technically a tapestry at all, since it is embroidered (and, interestingly, usually thought that most of the embroidering was undertaken by women) — has been in the UK since it was produced here (? Kent) in the 1070s (? finished by 1077). The agreement is being hailed/”spun” as evidence of the strength of Anglo-French relations following Brexit … hmm. More here.


Requiem for Hieronymus Bosch



“Orchestra” from the Hell wing of Bosch’s Garden of Earthly Delights, c.1490; Prado, Madrid

Markus Stenz conducts.

Markus Stenz conducts:

2016 was a big year for Bosch. Put on to mark the 500th anniversary of his death, major retrospectives of his work were staged at the Prado and the Noordbrabants Museum in the artist’s hometown of ‘s-Hertogenbosch, while 2016 also saw the publication ( … finally) of the findings of the Bosch Research and Conservation Project, in two sumptuously-illustrated tomes.

One thing I missed among all of this, though, was the appearance of a major new choral work inspired by the painter and his work, composed by Detlev Glanert of the Royal Concertgebouw Orchestra and performed in November 2016 in Sint-Janskathedraal, ‘s-Hertogenbosch. It’s a gripping listen, which merges the structure of the requiem mass with thirteenth-century poems and songs, alongside the accusatory roaring of David-Wilson Johnson, whose initial summoning of Bosch — who must subsequently stand and defend himself against charges of sin — is just ever-so-slightly terrifying. As Andrew Clements put it, the Requiem is ‘an outstanding choral achievement, a work of great power and intensely vivid invention, which uncannily finds musical parallels to Bosch’s surreal imagination, and to the extremes of his visions of heaven and hell, grandeur and intimacy.’ Well worth a listen and widely available to buy, but also on Spotify. 

Alternatively, want to know what the ‘butt music’ being played in the Hell wing of Bosch’s Earthly Delights sounds like — the music being conducted by a hideous pink monster with an enormously wide beak, and whose sheet music has been tattooed to some poor guy’s arse (pic. at top of post)? Go here.

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