Al consagrar la candidatura de Roque Saen Peña el presidente Jose Figueroa Alcorta dio un mensaje politico de clara necesitadad transformadora. La nueva candidatura significo una derrota para los sectores más roquistas del PAN, pero por otro lado afianzaba la necesidad de una reforma del sistema electoral. Durante su campaña Saenz Peña se encargo de proclamar la necesidad de este cambio que consideraba fundamental. No era un caso aislado: para 1910 el consenso acerca de modificar las normas electorales. Unos años antes en 1902 el roquismo había ensayado su versión de una posible reforma electoral lo cual demuestra que todos los sectores políticos y de opinión lo consideraban un imperativo ineludible.^[1]

Carmona, Guillermo Lagos (1981). Historia de las fronteras con Chile. Editorial Teseo. pp. 256, 257 y 260. ISBN 978-99954-1-389-7.

La convulsion politica del año 94 no dejo hacer el presupuesto. No conocemos en cosecuencia los presupuestos de 1895, 96 y 97, al recibir la Municipalidad de manos de Ortiz Basulado, el 4 de enero de 1898 Guillermo Davindson enumera en caja 24,01 $ y una lista de acreedores por 2.598,79 $. Recien el 14 de enero de 1898 el CD con la presencia de los mayores contribuyentes Dapena, Bocuzi y Cascardi sancioana la ordenanza de impuestos y ellaboran el presuspuesto para el año. Se preven ingresos por la suma de 10.800 $ M/n principlamente por el pago de patentes (4.300 $ m/s) y abasto (2.500 $ m/n) p.46

El 27 de nomviebre de 92 se realizan las primeras elecciones municales desde la constitucion de las autoridades locales, resultan electos Municipaes Titulares, Tomas Gutrie y Manuel Lagos, Jorge Dreyer es Municipal Suplente; para el Consejo Escolar son elegidos Pedro Bourel, Sotero Vazquez y Nicolas Bocuzi, Bartolome Clara y Camilo Devincenzi. La cantidad de votantes en tanto que son 740 los hombres mayores de 20 años, habitantes ene l partido segun el censo de 1895, la mayoria de ellos pobladores del area rural. El ejido urbano (cuartel 1) registra 162 hombres mayores de 20 años. La revolucion radical de 1893 provoca la renuncia de las autoridades proovinciales determinando la intervencion del ejecutivo nacional que logro la rendicion de las fuerzas sublevadas. La intervencion de Quintana en Buenos AIres designa a Jorge Saaveda en la Intendencia de Varela, el 28 de agosto se hace cargo de la misma, en ausencia del intendente Guillermo Davidson p. 57

A efectos de restaurar el poder municipal confecciona una lista con las personas de "mayor representacion al margen de cuestiones politicas", esta ultima considenracion es llamativa, ya que si es que exitian portadores de representacion popular era logico que se queria excluir a militantes del radicalismo. Entre esos ciudadanos representativos estabab Boccuzzi. p. 58 A fines de septiembre de 93 al hacerse cargo de las autoridades por Saavedra se producen ciertas modificaciones, Boccuzzi y Guthrie asumen como concejales, Bartolome Clara lo hace como Presidente del Consejo DIrectivo. Al referise a la anterior gestion municipal, frente a un reclamo de sueldos de su ex-secretario Pdro Risso, el CD expresa que la misma fue "derrocada" por la revolucion de julio. En octubre se forman las comisiones empadronadoras para formar el Registro Civico Municipal, elaborandose una lista de 179 integrantes Miguel Cascardi, Norberto Novolisio y Nicolas Boccuzzi seran los responsables, subitamente la Intervencion Nacional en la procvincia determina el cese de Dapena, Novolisio y Cascardi como concejales, el primero de ellos continuara como Tesorero Municipal. El gobierno provincial designa en octubre de 1894 una nueva Comision Municipal, Intendente Alberto Ortiz Bsualdo, presidente del CD Emilio Lahora, Vice-Presidentes CD Juan Luzardi y Vicente Negrete, el lcande del cuartel primero es reemplazado por p. 59 Martinez. El gobierno inicia las actividade s de las comisiones empadronadoras del partido. Jorge Saavedra es nombrado Juez de Paz del Partido y Boccuzzi medico honorifico de la policia. El 7 de enero de 1898 G. Davidson se hace cargo de la intendencia, se designa a Boccuzzi como meico policial, situacion que desata la reaciion adversa del Comandante de la Guerdia Nacinoal en el Partido que objeta esta decision realizando cargos contra Boccuzi. La Guardia Nacional era hacia fianes del siglo una fuerza gravitante en el manteniendmitno del orden politico y social de los pueblos y ciudades de campaña y de gran peso en cuestiones electorales, pero el CD reinvindica la pertenencia de Boccuzzi omo medico municipal y policial desde 1894 desatendiendo las consideraciones del comandante.p.61

En abril de 1917 Yrigyen internviene Buenos AIres por la violacion que la ley electoral provincial hacia de la ley nacional al impedir el voto de los joveenes de 18 a 22 años, Jose Luis Cantilo fue el Comisionado Nacional en la provincial. En Florencio Varela fue nombrado Comisionado Alberto Barzi, ante el se presentaron el 1 de enero de 1918 para consituir un gobierno municipal los electos en abril del año anterior Antonio Bengochea, Vicente Cabello, Tomas Guthrie y Pedro Bernaschina todos candidatos de la UCR, tambien lo hacen los electos consejeros escolares Sallares p. 67 Tobias Berascola, Felix Morando y Martin Villar. Vicente Cabello sera designado Intentente, Presidnete y Vice-Presidente del CD Juan Pagani y Antonio Bengochea, En las elecciones de municipales de 1917 votaron 137. p.68

En junio de 1892 la Intendencia decreta la vacunacion obligatoria contrala viruela, a cargo del medico municipal Boccuzzi, otorgandose a la poblacion tres meses para hacerla. En 1898 mandato de Davidson y se constituye una comisión de vecinos por Boccuzzi, Pedro Pagani y Luis Vecinos (encargada de conservar los caminos municipales, los vecinales y las calles.p. 77 Se solicita un ing del Departamente Provincial para realizar la delineacion de las calles del pueblo y levantar un plano del mismo.p. 78

El monumneto a Boccuzi se hizo en 1910 p.82

Levoratti, Jorge. Los origenes de Florencio Varela 1830-1918. año 1996. Editorial Estilo Grafico. ISBN 987-95766-3-2.

Las autoridades constituidas el 28 de agosto el Gobierno de la Intervencion Nacional en la Provincia, nombra Comisionado Municipal Jorge Saavedra, quien en brevisima atuacion y con facultades acordadas por ese gobierno provincial, designa, el dia 17 de septiembre, las nuevas autoridades del Municipio, las cuales, estaban constituidas asi: intendente Pedro Bourel, Consejales Guillermo Davidson, Norberto Novolisio, Jose Dapena y Tomas Guthrie. Suplmentes Miguel Cascardi y Juan Brown. Por excusacion de los vecinos Davidson y Novolisio se constituye el Consejo Deliberante con la inclusion de Bocuzi Y Bartolome Clara, sindo desginado presdiente del cuerpo este ultimo, a quien por renuncia lo substituye en el cargo Guthrie el 20 de nomviebre.

El 7 de mayo de 1894 Bourelpresenta su renuncia por lo que a su reemplazo asume Boccuzzi. El 19 de octubre por decreto del Superior Gobierno de la Provincia nombrase una Comsion Municipal para integrar las autoridades del Municipio cuya distribucion de cargos se hicieron: intendente Alberto Ortiz Basualdo.

1903/4 Bartolome Oliver en caracter de comisionado Municipal por decreto del gobierno de la provincia. Su primera medida fue nombrar una Comison de Fomento constituida entre otros por Bocuzi para que tuvera a su cargo el arreglo y la ornamentacion del pueblo. p.4

1917 Vicente Cabello es reelecto en el cargo de Presidente, integrando el Consjo el doctor Sallares.

1 de mayo de 1918, se constituye el Consejo bajo la Presidente de Sem Luis Rosselli e integrado por Sallares, Martin Villar, Tobías Beráscola y Félix Morando.

En los años 1920/1 es electo presidente Sallares, quien actua con Pedro Arbe, Tóbias Beráscola, Felix Morando y Carlos Terzaghi, durante el primer período y con los señores: Baltasar Tejeiro Sánchez, Florentino Calvi, Juan Aguirre y Carlos Terzagui, en el segundo de u asuncion.

1925 es Presidente del Consejo Antonio Bengochea.

1926: Por renovacion parcial del consejo delibeante se incorporaron los nuevos consejeros electos entre ellos Sallares. Sineod desgnado Intendente Municipal Antonio Bengochea y Presdiente del Consejo Sallares. En 1927 Sallares fue relecto en el ejercicio de la Presidencia. En 1928 asume la intendencia Sxx Luis Rosselli y se incorporan los nuevos Consejales electos, entre ellos Sallares. En 1929 Sallares es reelecto en el cargo de Presdiente que tambine lo habia ejercico el año anteiorr. En 1930 es designado presidente Barzi.p.6

Boccuzzi

El lema de Bocu en pro de sus connacionales italianos era "tener vivo el amor a la patria distante, fomentando la unión". El primer presidnete de la patrotica fue (se fundo el 29 de sep de 1901) fue Miguel Cascardi. Luego lo sucedio Boccuzi en xxxx.

Dessy Instito Biologico

Ingagura febrero de 1911 el primer cuerpo de edifciio que el instittuto biologico argentino levanta con el proposito de instalar sus laboratorios. Dos años antes el 7 de eenero de 1909 se habiaconstituido la sociedad anonima bajo tal denominacion y si directorio estaba integrado de la siguiente forma: Director Tecnico Dessy, presidente Honorario Elise Canton, presidente Arturo Vatteone, secretario RA Enriquez. Vocales Alfonso Gentili Luis Dufaur y

Victoria Robertazzi/ Adolfo Castalda. Nueva era Tallere Graficos America.

SALLARES

1- Datos personales: Apellido y nombre: SALLARES, SALVADOR Lugar de defunción: Florencio Varela Fecha de defunción: 19/5/1943

Nombre del padre: s/d Ap. y nombre de la madre: s/d Ap. y nombre de la esposa: s/d

2- Carrera política: Influencia política: 3° Sección electoral

Partido político 1: Unión Cívica Radical Partido político 2: s/d

Fue presidente de la UCR del distrito

1924- febrero DELEGADO, por la 3° sección electoral EN LA CONVENCIÓN UCR de BS. AS. (ATENCIÓN dice SALVADOR SALLARÁS)

1928- 26/2 DELEGADO por la 3° sección electoral EN LA CONVENCIÓN DE LA PCIA, que elige diputados nacionales y electores de presidente y vice.

1928- 26/2 designado ELECTOR DE PRESIDENTE Y VICE, por la CONVENCIÓN DE LA PCIA DE BS AS, UCR

1931- 15/3 CANDIDATO A DIPUTADO PCIAL., por la 3° sección electoral, electo directamente en su sección electoral y ratificado por la CONVENCIÓN DE LA PCIA

1934 – Confinado en Martín García a raíz de los sucesos de Santa Fe

Cargos:

Municipales:

Cargo1: CONSEJERO ESCOLAR Mun: FLORENCIO VARELA Fecha: antes 1924

Cargo 2: PRESIDENTE DEL CONSEJO ESCOLAR Mun: FLORENCIO VARELA Fecha: idem

Cargo 3: CONCEJAL Mun: FLORENCIO VARELA Fecha: 1926

Provinciales:

Cargo1: DIPUTADO Provincia: BUENOS AIRES Fecha: 1924

Cargo 2: DIPUTADO Provincia: BUENOS AIRES Fecha: Electo abril 1931

Nacionales:

Cargo1: ELECTOR Provincia: BUENOS AIRES Fecha: 1928

Desempeño político de familiares: s/d

3- Nivel educativo: a- Del político: Facultad: CIENCIAS MÉDICAS Título: MÉDICO. Desempeñó su profesión durante 53 años b- De los familiares: s/d

4- Patrimonio: Ocupación principal: MEDICO Y POLITICO

5- Instituciones económicas en las que participó: s/d

6- Instituciones financieras en las que participó: s/d

7- Instituciones educativas en las que participó: s/d

8- Instituciones sociales en las que participó: s/d

9- Instituciones deportivas en las que participó: s/d

10- Instituciones profesionales o gremiales en las que participó: s/d

11- Instituciones de bien público en las que participó: s/d

12- Instituciones culturales en las que participó: s/d

13- a- Miembro de las FFAA: s/d b- Vinculación con instituciones militares: s/d

14- a- Religión: s/d b- Vinculación con instituciones eclesiásticas: s/d

15- Condecoraciones internacionales: s/d

16- Obras que escribió: s/d

17- Observaciones: Una calle de Florencio Varela lleva su nombre

18- Bibliografía y Fuentes:

- Gallo (C.), Giacobone (E.), Radicalismo Bonaerense, 1891-1931. La ingeniería política de Hipólito Yrigoyen. Buenos Aires, Corregidor, 1999, pp. 240, 258, 259, 299, 304.

- La Verdad. XXVI (3209). Quilmes, 9 julio 1935, p. 25.

- “Legisladores de la provincia de Buenos Aires, 1904-1931”. Base de datos del grupo “Movimientos Sociales y Sistemas Políticos en la Argentina Moderna”

- Linari (G.), Florencio Varela. Pueblo mío…. Florencio Varela, s.e., 1999, 64 p.

BOCUZZI[editar]

Inicio su participación cmuniria a eailz del ciclon que aslolo a Varela el 8 de septiembre de 1888. Unico medico en el lugar, actuo atendiendo a los heridos y contusos tras el meteoro y permanecio aqui hasta su muerte acotencida el 22 de julio de 1907.

A su teson se deben muchas realidades de Varela, primariamente la autonomia ya qu eél profundamente republicano defendio siempre el derecho de los pueblos a darse su gobierno, luego la atención hospitalaria, bregando para la creacion de una sala de primeros auxilios y finalmente la union de los italianos en FV ya que asu gestion se debe la creacion de la sociedad Italiana La Patroitica.

Ocupo cargos en el gobierno comunal, fue concejal e intentede por pocs meses. Su labor filantropica en beneficiod e los mas necesitados se debe a su labor filantropica en beneficio de los mas necesitados ya que

"no tenia automvil, ni coche, ni ampli y lujoso consultorio, ni porteros con humos de ministros, tan poco apegado al interes que no cobraba ni aelantado ni de otra manera que aquella que mejor cuadraba a la volunda y condicones de su cloientela y esta era el pueblo todo". (32)

Carta enviada por el intentedente de Quilmes Jose A Lopez a Martin Drake, miembro de la Comision en Homenaje a Boccuzzi, febrero de 1908.

Cuando en el siglo xx despuntaba un grupo de italianos residentes en la zona decidio fundar uns Sociedad Cosmopolita para dar rienda suelta a sus inquietudes muscales. La llamaron "La lira" pero su vida fue efimera. Los integrantes de esta Asociacion dejaron de ser un puñado de musios de aldea y se nuclearon firmemente con proposito de brindar ayuda a sus compratriotas a traves de la que llamaron "Sociedad Italiana de Socorros Mutuos La Patriotica" bajo el lema de "tener vivo el amor a la paria distante, fomentando la nio", era 1901 y su primer presidente fue Miguel Cascardi.

DESSY (f. 15 de julio de 1951)[editar]

Fue a argentina contratado por el Gobierno de la PBA para asumir la subdireccion del Instituto Experimental de HIgiene, establecimiento en el que apenas años despues en 1900 paso a ocupar la direccion. Ya casado con su novia de italia se radico en La Plata y luego en Buenos Aires donde el joven profesional fue llamado para fundar el Laboratorio Central del Hospital de Clinicas, al servicio de la Facultad de Medicina. Trabajo tambien en la direccion del Hospital Italiana durante varios años mientras continuaba con su tareoa de investigador ensu propio laboratorio.

Incurisono en el periodismo, fundando la Revista Sudamericana de Ciencias Medicas, primero, y en 1903 y despues le Revista Sudamericana de Endocrinologia, Inmunologia y Quimioterapia en 1918.

Instituto Biologico: desarrollo una importante labor cientifica que se vio complementada con una generosa tarea solidaria en favor de las instituciones de beneficiencia y de ospitales municipales, provnciales y nacionales, a los que abastecia de forma gratuita de productos elaborados en el establecimiento. En el instituto no solo trabajo en la preparación de sueros medicinales y veterinarios sino qe tambien se trabajo en cltivos pracicamente desconocidos en el pais hasta ese momento, como fue el del soja, con cuya harina el doctor logrí elaborar un pan para celiacos, y conbinadolo con trigo, otro no solo de sabor agradable sino tambien de alto valor nutritivo. Alejado del instituto por disidencias con otros cientificos regreso al trabajo solitario en su laboratorio particular, en la ciudad de buenos aires, donde la sorprendio la muerte el 15 de julio de 1951.

El instituo fue la primer industria radicada en el distrito.

SALLARES[editar]

Enrolado joven en las filas del radicalismo, Sallares ejercio la militancia desde los puestos en los que le toco actuar: fue consejero y presidente del Consejo Escolar, diputado provincial, consejal y presidente del Comité de la UCR por FV.

Cuando fallecio las autoridades locales decretaron asueto administrativo el dia de su seplio, atendiendo a las funciones que desempeñara en vida y a la labor "que ha desarrollado en nuestro medio,sabio y nobilisticamamente durante ciencuenta y tres años".(ref Honorable Consejo Deliberante Florencio Varela, Libro de Actas año 1963.)

Sus restos reposan en el mansoleo en el cementerio local y en el acto de su sepoelio dejo el doctor Alfredo Scrocchi "Cuando murio el Galeno" estuvieron de luto la amistad y el amor".

Menos de una semana despues de su muerte, se le imuso su nombre a la hasta entonces calle Humberto 1, arteria donde tenia su residencia el hombre publico desaparecido.

Todo lo anterior de Florencio Varela, pueblo mío... de Graciela Linari. 1999. ISBN 987-42-1411-7. Bocuzzi p. 22. Dessy p.23 y Sallares p.24.

20 de setiembre de 1904 miembros de la Sociedad de Socorros Mutuos La Patriotica reunidos para una celebracion frente a la primera sede de la institucion.

En 1899 un grupo de vecinos -impulsados inicialmente por Nicolas Boccuzzi- funda la Sociedad Cosmopolita Musical de FV y que luego cambiaria su nombre por el de La Lira.

Junto a un grupo de musicos radicados en la zona y con el apoyo de los inmigrantes italianos que comenzaban a radicarse la entidad se convierte en lo que es hoy La Patriotica, cuyo objetico era "tener vivo el amor a la patria distante y fomentar la union".

-

El Instituto Biologico Argnetino

...

Florencio Varela una ciudad con historia Editorial Barrio Chino Comunicacion. año 1993.

Adrián Nario, más popularmente conocido como El Bananero (Estados Unidos, 12 de septiembre de 1976) es un músico, diseñador gráfico y humorista uruguayo. Formó parte de la banda uruguaya de ska-punk Once Tiros, pero es muy más bien conocido por sus videos humoristicos que subia en su sitio web a partir de 2005,^[2] luego se traslado a Youtube, donde se hizo muy popular en todos los países de habla hispana. Aunque actualmente se lo suele llamar youtuber, El Bananero comenzó a producir sus videos de humor mucho antes de la invención de dicho término. Su canal de Youtube fue cerrado en tres oportunidades debido al contenido sexual de su humor.^[3]

En una encunesta de lectores del diario Clarín de Argentina sobre cual es el mejor youtuber de habla hispana, El Bananero salío en el primer puesto.^[4]

Some months before Marcel Dupré left France to tour the United States in 1946, he made an interesting proposal to Jeanne Demessieux. It is here translated into English from her published Journals: Wednesday, January 9, 1946 At Meudon. . . The Master informed me, with some effort, of his plan for the future. MD: "I’m thinking right now about making an important decision for the future, We’re only talking about it now, nothing is decided, but it could happen. I'm looking for a post in America." JD : "A permanent post?” MD: "Yes, and for you too. Here in France, we can’t even eat, so we'll all leave together, and you bring your parents along as well. We'll keep Meudon to come visit from time to time. Will you leave?” JD: "Yes." Dupre had asked me the following question twice before: MD: "Would you accept a fixed position abroad, for example, as municipal organist of a big city, with twelve concerts a year?" I had answered clearly some years ago that I didn’t want to be an expatriate. At that moment Dupre had said to me: MD: "I was offered a job then, but I didn’t want to be an expatriate either, so I refused." He sat there, lost in thought. I feel that he is discouraged and weary, and ready to make an enormous sacrifice. France has paralyzed him in his sole ambition, which is to carry the organ to its summit. It's what he lives for. I am also sure that he fears that Mammy [Mme. Dupré] will endure a life and an old age full of care, as we are in the midst of a misery which has lasted for the last six years and remains so somber.”

https://www.abebooks.co.uk/JOURNAL-1934-1946-BULLETIN-REVUE-ORGUE/17478786034/bd

https://symetrie.com/fr/titres/l-orgue/issn_0030-5170_287

Olivier Messiaen wrote a testimonial for the Six Études of Jeanne Demessieux in Christiane Trieu-Colleney's "Jeanne Demessieux: Une Vie de Luttes et de Gloire" (1977). They are translated here into English: "The six organ études of Jeanne Demessieux are, in their way, masterpieces. The more recent works of Ligeti and Xenakis may present a more advanced kind of difficulty, but, insofar as pedal technique is concerned, we have not yet surpassed the extraordinary difficulty of the Demessieux Études. I think particularly of the two études in thirds and sixths, wherein Jeanne Demessieux demands of the feet what Chopin demanded of the hands. Like most of my colleagues, I have read through these études for my personal pleasure and have made much progress because of it. Jeanne Demessieux knew how to unite in her Études technical interest, a harmonic perfume, and originality of registration. Every good organist must know them and study them. But very few, however, will be able to play them with the dizzying virtuosity that their author possessed."

^[5]

Septiembre de 1941: "Pronto, cuando haya envejecido, serás tú quien será el intérprete de mis obras. Tú eres el único que tiene la técnica para dominarlos.

Junio de 1942: "Ya has comenzado el ascenso que te permitirá superarme ... es un placer ver a uno superado por aquellos a quienes uno ama.

She remained however faithful to Dupré and was convinced of the rightness of Dupré's ideas and principles. The Organ Reform movement tried to gain influence, but was confronted with the unyielding Dupré, holding the influential posts at St. Sulpice and the professorship at the Conservatoire, and enjoying popularity as virtuoso. It might be possible that the Organ Reform movement tried to interest Demessieux for their ideas, seeing in her a possible flamboyant prophet, capable of attracting large audiences with her virtuosity and musicality

Of contemporary composers, the 'toccata'-pieces by Messiaen were on her programs quite often, like the Transports de joie from l'Ascension,Dieu Parmi nous from La Nativité and Combat de la Vie et de la Mort from Le Corps Glorieux; many organists who later specialized in Messiaen's music heard his music for the first time by Jeanne Demessieux. Messiaen himself was among her greatest admirers, and said about her own organworks: they have a special perfume and all good organists should practice her Six Études, although not many will be able to play it like she did. In the late 50's he wanted her to record his (then) complete organworks, but because of disagreements about the conditions, Demessieux never signed the contract with the recording company

Seguir a partir de la frase "Apart from the Franck recording, she recorded LP's for Decca, featuring works of Purcell, Bach, Bach/Vivaldi, Liszt, Berveiller and Messiaen (from Victoria Hall Genève) and a recording for the inauguration of the Metropolitan's Cathedral in Liverpool in 1967"

https://www.academia.edu/31329455/Jeanne_Demessieux

En su libro de memorias, Álvarez recuerda la hostilidad del ambiente intelectual y editorial en el que se movía cuando avisó que tenía la intención de producir "música joven": "En todas partes me decían que estaba loco, que el rock y el blues en castellano eran una ridiculez. Los muchachos de Manal empezaron a presentarme a otros músicos que conocían (Miguel Abuelo, Tanguito, etcétera) y de esa forma surgió Mandioca: gracias a la negativa de los grandes sellos. El primer concierto que organizamos con el disco de Manal en la calle fue en el Teatro Payró, cuya capacidad de 120 espectadores nos parecía una enormidad. Tenía tanto miedo que no recuerdo nada de nada" (Álvarez 2009: 91).

http://www.scielo.org.ar/scielo.php?script=sci_arttext&pid=S1851-98142015000100002#ref

Ángel David Revilla (16 de julio de 1982, Caracas) más conocido como Dross Rotzank o simplemente Dross, es un escritor, periodista y youtuber. Desde 2007 reside en Argentina.^[6] Comenzó escribiendo guías para videojuegos para sitios web como Meristation y GameFAQs, luego comenzó a escribir en su propio sitio web El Diario de Dross. Su canal de Youtube cuenta con más de 10 millones de seguidores.

Publicó dos libros, Luna de Plutón y El Festival de la Blasfemia.

Biografía[editar]

Nació el 16 de julio de 1982, Caracas, Venezuela, tiene ascendencia italiana y estadounidense. Su padre murió en un accidente de avión que él conducía. Revilla se recibió de periodista en Venezuela. Pero 2007, abandonó Venezuela para radicarse en Palermo, Buenos Aires, Argentina junto a su madre como consecuencia del régimen de Hugo Chávez, ya que según Revilla la vida de un periodista sería muy complicada.^[7]^[6]

Carrera[editar]

DrossRotzank abrió su canal de YouTube en 2006, pero la mayoría de sus primeros videos ya no están disponibles. Se traslado a Buenos Aires, Argentina,^[8] donde continuó subiendo contenido a su cuenta de YouTube. Su contenido anterior consistía principalmente en vlogs de comedia, y ocasionalmente gameplays. A finales de 2013 Dross decidió dar un vuelco, cambió radicalmente la temática de su canal, enfocándose en temas de terror, incluyendo misterios inquietantes y hechos, conspiraciones. Dross ya había subido videos de terror antes de cambiar de estilo, estos eran la serie de Dross cuenta tres historias de terror, y sigue siendo una de las pocas secciones de antaño que sigue saliendo en su canal, las cuales son lanzadas rara vez durante el año. Actualmente, su video más visto es "Las 7 cosas más asquerosas encontradas en comidas de McDonalds", con más de 32 millones de visitas, en las que hace una cuenta regresiva de las cosas más repugnantes que han sido servidas accidentalmente en la cadena de comida rápida.

YouTube schedule[editar]

El canal de DrossRotzank publica tres videos a la semana. De lunes a viernes, por lo general sube videos que consisten en historias de terror o sucesos paranormales, los domingos sube un "Top 7". Ocasionalmente, puede subir un video opinión sobre algún tema de actualidad en lugar del primero, mientras que "Dross cuenta 3 historias de terror" se hace rara vez durante el año. En enero de 2017, su canal de YouTube tenía más 10 millones de suscriptores.^[9] Su canal secundario llamado Los Vlogs De Dross publica regularmente videos hablando de varios temas, es una forma de volver a su viejo estilo.

No busco probar verdades ocultas ni nada de eso. Sólo quiero divertir a la gente.^[10]

Otros trabajos[editar]

En 2015, Dross participó en un proyecto llamado "Dross Dark Tales of Terror", donde cuenta algunas historias de horror contemporáneas.

Escritor[editar]

A principios de 2015, DrossRotzank anunció que estaba escribiendo una novela.^[11] En una entrevista Dross contó que cuando fue invitado a la Youtube Media Fest hubo una sesión de preguntas y respuestas con el público, en donde confesó que su sueño era publicar un libro. Precisamente entre la audiencia había personas de editorial Planeta.^[6] El libro Luna de Plutón fue publicado por Editorial Planeta en España y Latinoamerica, y se convirtió en un best seller en pocas semanas.^[11] Su segundo libro, El Festival de la Blasfemia fue editado a principios de 2016. Participó de la Feria del libro de Buenos Aires que se celebró en 2016.^[12]

También ha manifestado su deseo de escribir un guión para un videojuego.^[10]

Novelas[editar]

Luna de Plutón (2015)^[13]
El Festival de la Blasfemia (2016)
La Guerra de Isaac (2017) (Coming Soon)

Referencias[editar]

↑ Herrera de Noble, 2011a, p. 7.
↑ Entrevista con El Bananero, impertinente rey de YouTube
↑ [1]
↑ Soy una celebridad de clase B Diario Clarín.
↑ Christiane Trieu-Colleney (1977). Jeanne Demessieux : une vie de luttes et de gloire. Avignon, Les Presses Universelles.
↑ ^a ^b ^c Droos el youtuber de los 6 millones de seguidores
↑ Dross Rotzank, el personaje que logra millones de reproducciones en YouTube
↑ Dross: “Ando soltero porque soy una persona sumamente aburrida”
↑ DrossRotzank cuenta de suscriptores en vivo.
↑ ^a ^b Dross: "Una de mis metas es escribir la trama de un videojuego"
↑ ^a ^b (Spanish) Ten best selling books in the first week of 2016 in Mexico.
↑ Los vértigos de una feria Clarín.
↑ Dross, una estrella de YouTube, presenta su primera novela.

Marcelo Amuchastegui o mejor conocido como El Loco Fierro (La Plata, 1957 - Rosario, 28 de mayo de 1991) fue un barrabrava de Gimnasia y Esgrima La Plata y militante peronista.

http://www.shookdown.es/s-lanzan-chool-choices-y-estrenan-video-para-losers/

http://www.recording-history.org/HTML/musictech6.php

Una variedad de otros compositores barrocos aparece de vez en cuando en sus conciertos-algunos de éstos están siendo tomados obviamente de la serie de Anthress des Maïtres Classiques de Dupré. Parecía gustarle los recitales de apertura con Purcell's Trumpet Tune, algo que interpretó por primera vez como bis en uno de sus programas de Salle Pleyel, cuando notó cómo "refrescaba a la audiencia". De la grabación de Hamburgo podemos escuchar hoy en CD, optó Para un acercamiento brillante, chispeante a esta música, esto absolutamente en contraste con el estilo pesado, pesado y pomposo dado a menudo al mismo trabajo por muchos jugadores ingleses y americanos de su tiempo. La Fantasía de Mozart en F menor, K. 608 era obviamente otra obra favorita de la suya, y la realizaba con frecuencia. En general, sin embargo, sólo incluyó la extraña pieza barroca como un poco de "pelusa" en sus primeros años; Sin embargo, en los años 60 incluyó más obras, como Buxtehude, a veces una suite de Clérambault, aunque obviamente sintió que sus atenciones se dirigían mejor (y pedían) hacia música más específicamente "concierto". De particular importancia (por ser inusual) fue ella incluyendo una fuga de Gibbons en un recital en la Abadía de Westminster el 3 de mayo de 1956, también porque parece que fue su única interpretación de algo inglés. No parecía interpretar obras americanas.

Ella nunca lo escribió, en lugar de jugar su transcripción de la memoria de la partitura del piano. Del mismo modo, muchas de sus composiciones reales nunca fueron escritas hasta que eran exactamente como ella los quería en su cabeza. La música de César Franck fue de particular importancia para ella, y después de Bach que apareció con más frecuencia que cualquier otra cosa.

Es interesante notar que en el órgano de su apartamento, instrumento comprado por el éxito de sus conciertos americanos, colgó la famosa foto de César Franck tocando serenamente el órgano de Sainte-Clothilde.

Aparte de Franck, la única compositora romántica francesa que interpretó con regularidad fue Widor, presentándose a menudo el Allegro de la Sexta Sinfonía. Sólo rara vez realizaba una sinfonía completa -de vez en cuando quizás el Gothique-, pero las variaciones de éste y de la Quinta aparecían a menudo, esta última regularmente en sus programas posteriores. Curiosamente, Vierne (cuya música le habría gustado tan bien) sólo ocasionalmente apareció: por ejemplo, a veces apareció el Scherzo de la Sinfonía No. 2, mucho en el papel de un refresco entre obras más grandes. Del siglo XX, sólo tres nombres aparecieron con regularidad: Messiaen, Berveiller y Demessieux. Aparte de sus primeros años, durante los cuales aparecieron sólo de vez en cuando, casi nunca realizaba obras de sus otros contemporáneos. Con frecuencia realizaba una o dos de sus propias piezas. Aparte de sus conciertos muy tempranos, ella no jugó el Six Etudes como un set completo, más tarde tomando a menudo apenas uno o dos (Tierces, Notas Repetées, Accordes Alternatés y Octaves que eran los ella eligió lo más a menudo posible). A veces incluía uno de sus preludios corales (Rorate Caeli -su favorita del set- y Attende Domine aparecían con más frecuencia), y la austera y granítica Dogme de las Sept Méditations parecía una obra por la que tenía un afecto particular Apareciendo muchas veces; De vez en cuando tocaba uno o dos movimientos de este mismo conjunto. El Triptyque (con su misterioso y conmovedor Adagio escrito apenas un día después de la "ruptura" con Dupré) apareció en los programas a lo largo de su carrera. En la década de 1960, la recientemente escrita Prélude et Fugue y las Répons pour le temps de Pâques con frecuencia presentaba, al igual que su Te Deum en los años siguientes a su propia composición. La asociación de Jeanne con Jean Berveiller era importante.

Tanto parecer ser querido jazz y particularmente de Duke Ellington-y la influencia de esta música "más ligera" se refleja en el estilo colorido de Berveiller. Su música se adaptó al obvio deseo de Jeanne de aportar frescura a sus programas, y tocó muchas de sus obras: Epitaphe, la Suite, su transcripción de Franck's Redemption y Cadence, escrita para su debut en Estados Unidos en 1953 (aunque uno se pregunta por qué no lo hizo Incluyen cualquiera de sus Etudes allí, porque son mucho más espectaculares). Y, por supuesto, había ese famoso Movimiento-organistas que intentaban desenterrar la partitura durante tantos años. Sin embargo, no todas estas obras fueron, como se ha afirmado de diversas maneras, dedicadas a ella. Messiaen era de particular importancia para Jeanne; Él la admiraba mucho, y ella era uno de sus primeros y más poderosos defensores. Realizó regularmente sus piezas en recitales.

Los movimientos de L'Ascension y La Nativité aparecían con frecuencia, al igual que las suites enteras de vez en cuando. Por ejemplo, dio el primer concierto completo de la primera en el Royal Festival Hall de Londres el 15 de mayo de 1957 y tocó La Nativité completa en el Festival de Bach Inglés el 1 de julio de 1964 en Christ Church, Oxford. También tocó el banquete Céleste, la aparición de la iglesia eterna y el combate de la muerte y de la vida regularmente. También es interesante notar que muchos jugadores de generaciones más jóvenes que más tarde se asociaron con esta música la escucharon por primera vez en las actuaciones (ya sea en directo o en directo) de Jeanne Demessieux. También es una medida del respeto que Messiaen sostiene para ella que con frecuencia la invitó a ser examinadora de su clase de análisis en el Conservatorio. ¿Y Dupré? Realizó gran parte de su música durante sus años de estudio, y algunas piezas también aparecieron en sus primeros recitales públicos fuera de Francia. Realizó el Preludio y la Fuga en B como parte del debut en Londres y la Symphonie-Passion para un recital allí el 13 de marzo de 1947 para la Sociedad de Música de Órgano. (Este recital ha sido, a menudo erróneamente debido a Felix Aprahamian, citado como su debut en Londres.) También realizó la Suite en Londres.

Sencillos Beach Boys[editar]

Año	Sencillo	Posiciones						Sello/catálogo
Año	Sencillo	EUA ^[1]	RU ^[2]	IRL ^[3]	HOL ^[4]	AUS ^[5]	NZ ^[5]	Sello/catálogo
1970	"Add Some Music to Your Day"/"Susie Cincinnati"	—	—	—	—	—	—	Brother 0894

Música y armonías Beach Boys nene[editar]

Armonías[editar]

El bajo es, en muchos aspectos, sencillo y muchas veces se limita solo a reproducir el acorde de tónica en cuartos de igualdad o el uso de tonos de órgano. Ejemplos de esto son los títulos como "Country Air" o la parte 2:30 en "Good Vibrations", y la canción "Vegetables", a excepción de un corto cántico a capella para cantar las notas de Re mayor, o también un E7 mayor. Además, el coro de "California Girls" se limita a sus propios tonos de acordes básicos en cuartos. Además de aplicarse técnicas complejas como la transposición de un semitono, así como una progresión armónica, progresiones de acordes complejos e inusuales, también hacen cambios en la tonalidad, hacen la escala cromática y modulación y también a menudo enarmónico.^[6]

Un mayor uso del cromatismo, con una ejecución baja y cuarto de voz de tenor lo encontramos en "Their Hearts Were Full of Spring". Un ejemplo de los cambios repetidos de clave dentro de una canción la tenemos en el estribillo de "California Girls". Aquí cambian algunos compases de la clave de Si bemol mayor para La Mayor, Sol mayor y luego de vuelta a Si.^[6]

En "The Warmth of the Sun" se resalta a Brian Wilson en las melodías con la siguiente progresión de acordes inusuales: C - Am - Bb - Cm - Dm - G - G+. La presente es en especial del acorde de Eb, Cm pero a partir del contexto de otra manera convencional, con progresiones armónicas I-VI-IV-V de música popular, connotan las inspiraciones de jazz en Wilson.^[7] "Heroes and Villains" es una pieza compleja, tiene elementos de Barbershop y armonías de jazz.^[8]

Beach Boys Enlaces[editar]

Cinta[editar]

El ProDigi[editar]

Artículo principal: ProDigi

En 1980 apareció el ProDigi, un formato multipista digital que utilizó profusamente marcas como Mitsubishi, Otari y AEG desde finales de la década de 1980, hasta principios del siglo XXI, cuando fue retirado del mercado. El ProDigi, en su funcionamiento básico, es similar a los magnetófonos multipista analógicos, permitiendo tanto la edición física "a tijera" como la edición electrónica. El ProDigi es muy similar al DASH, la principal diferencia es que permite un número máximo de pistas inferior (32 pistas ProDigi, frente a 48 DASH).

El DASH[editar]

Artículo principal: DASH

Un nuevo formato digital apareció por 1982 denominado DASH, que en sus siglas traducidas al español indica que es un magnetofón con cabeza estacionaria, o sea, que tanto en la grabación como en la reproducción solo la cinta se mueve (como también lo es el S-DAT, en cinta de casete). En 1988, Sony y Tascam adoptaron el formato DASH como formato estándar para el magnetófono multipista digital.

El DASH, en su funcionamiento básico, es similar a los magnetófonos multipista analógicos, permitiendo tanto la edición física “a tijera” como la edición electrónica. El DASH proporciona grandes prestaciones dirigidas al campo profesional. Permite desde las 2 hasta las 48 pistas de sonido, con una sincronización fiable, y admite una variación en la velocidad de 12,5%, por encima o por abajo.

Los DASH multipista han sido muy aceptados por los estudios de grabación, donde todavía están en uso en estudios de grabación.

En donde es de noche o día

Pappo[editar]

Volumen 7 de Pappo’s Blues no es otra cosa que un grandísimo curro. La banda estaba en sus últimas, sobretodo por los nuevos proyectos en los que se metía Pappo como Aeroblus. Pero para seguir subsistiendo editarían un disco con versiones regrabadas de canciones viejas con la formación encabezada por el Carpo, Alejandro Medina y Dario Fernandez en batería. Con la diferencia de que son un poco más pesadas y que incorporarían dos temas (inéditos) instrumentales que no están nada mal: “El Jugador” (de Ale Medina, con el Carpo improvisando a morir y el bajista poniendo su base y por momentos tratando de salirse del molde) y “Detrás de la iglesia”

de

https://persimusica.wordpress.com/category/pappos-blues/

Grabador de cinta abietta[editar]

http://www.reeltoreel.de/worldwide/Tips09.htm info sobre grabacion 4 pistas y dos pistas

http://hyperphysics.phy-astr.gsu.edu/hbase/audio/tape.html iformacion cabezal por cabezal

http://www.palsite.com/pcat_erasehead.html info cabeza borradora

http://www9.dw-world.de/rtc/infotheque/magn_recording/magrec_04.html grabacion y curva de histierisis

http://www.theransomnote.co.uk/music/interviews/false-starts-and-eternal-sunsets-molly-nilsson-talks/

http://elcomercio.pe/eldominical/entrevista/molly-nilsson-nada-ir-demasiado-lejos-noticia-1875029

JD[editar]

The Legend of Jeanne Demessieux: A Study The year 2008 marks the fortieth Tanniversary of the death of Jeanne Demessieux, and it may therefore be

interesting to reflect on various aspects of her extraordinary career. Where did this legend begin and what has been her legacy? And what of the enigmatic lady herself—of whom so many have loved to talk, yet of whom so few have ever really known much. This article deliberately reflects more on the person and the artist than would a conventional academic study, and inevitably space here cannot discuss every angle of her career. A more purely biographical article appears by this writer in Organists’ Review, November 2008.

Jeanne Demessieux died on November 11, 1968: born in Montpellier on February 13, 1921, she was only 47. One might even say that she “disappeared,” for the dazzling star of this organist had already dimmed somewhat: once the talk of organists worldwide, a legend in her own younger years, the changes of musical fashions—as well as several unexpected twists of fate—had rendered her almost something of a bygone curiosity. This is reflected in the fact that some who were studying elsewhere in Paris during the ’60s never even crossed the city to hear her play at the Madeleine.

At the time, the circumstances surrounding her passing were only discreetly alluded to and, as with so many musicians of exceptional achievement, much of what she had achieved was all too quickly forgotten, overlooked in favor of newer artists. A large crowd attended her Paris funeral in the Madeleine, and on that day even the organ—of which she had been titulaire since 1962, and that she so loved—mourned. Instead of flooding the church with music as it had so many times under her remarkable hands, it stood silently in respect of her passing, a vast black drape hanging from its gallery to the floor. Only some days before she died, she had told friends “I can hear the flutes of the Madeleine” as she lay convalescing in her bed after nearly two months in hospital. Little did she know she would never play the instrument again.

And how did this woman, once the “Queen of Organists,” become almost overlooked in her later years, bypassed in favor of a younger generation? The spectacular successes and triumphs of her youth have been unparalleled by any other organist, yet the burning apogee of these years seemed almost to burn part of her out as the blaze faded, leaving her inwardly exhausted and bereft. An artist of the great virtuoso tradition, her style became less popular as the so-called Organ Reform movement continued to sweep through and gain ever-greater momentum like a rushing wind. And there was her health. Throughout her life, Jeanne Demessieux battled with serious health problems, undergoing numerous operations beginning in her early 20s. She fought cancer silently in an age when any public knowledge of such an illness was a social taboo that would leave the sufferer ostracized and an outcast.

Few ever got to see the woman behind the public persona; being both very reserved, but also having an uncommon force of character and purpose, she didn’t let many people see the “person” behind, except the few she truly trusted. It must also be surmised that the famous “rupture” with Dupré probably seriously affected her faith, and it was a “scandal” she was aware would never leave her.

In many ways, so many elements of her life seemed always to have two such opposing poles: on one hand triumph and fame, on the other, obscurity; being “the chosen one” of her master Dupré, but then being bypassed and cast out; being very much a “grande dame” when at the organ or mixing professionally, yet 30

Nov 08 pp. 30-33.indd 30

Jeanne Demessieux at Pleyel organ, Paris, 1946 (photo credit: Van Tuijl collection; courtesy Lynn Cavanagh)

being a woman of an (at times) uncomfortably reserved nature. The gentleness and sensitivity she showed those whom she trusted contrasted with her strong opinions and individuality. On one hand she was admired as a great artist—on the other she was viewed with suspicion because her brilliance was such that some simply couldn’t see past that alone, and undoubtedly many seethed with jealousy. Even Demessieux herself was aware of the two poles in her personality—gentleness, sensitivity and creation contrasting with “violence” (although her exact word, it referred more to force and strength of character than any darker force). This duality in her nature reflected the two very different natures of her adored parents: her father—cultivated, artistic, sensitive and affectionate; her mother—highly strung, a forceful, driven nature disguised behind an emotive, gentle façade. By quite some years, she was the first woman to achieve international fame as a virtuoso organist, and her gender undoubtedly had a serious impact on her career. Not only was she entering what was at the time an almost exclusively male domain, it undoubtedly meant that she had, in fact, to be even better than her male colleagues to be accepted as their peer.

She had immense good fortune; she was taken under the wing of the great Dupré when she was still only fourteen. In her, he saw at last the messenger he had been looking for: someone of unlimited and precocious talent, the prophet who would bear the torch of the glorious French organ school forward from him, as he himself had done from his own master Widor. In addition to his other responsibilities and work, he devoted the next eleven years to her education, tirelessly and meticulously preparing her for the role he knew she could fulfill. Proclaiming her as his true successor, he elevated her prowess to such a level that she simply had no realistic competition; even before her famed 1946 debut, he proclaimed to Léonce de Saint-Martin: “You know that I do not say anything glibly, and I say Jeanne Demessieux is the greatest organist of all.” He proclaimed that posterity would rank her alongside Clara Schumann.

Cocooned in this privileged world of Dupré’s home in Meudon, she was loved and nurtured by him and his family as their own. Yet only a year after her triumphant debut concerts, he abruptly severed all contact with her, cutting her off and out of his life without any explanation. Anyone wishing to understand the possible motives and reasons is strongly encouraged to refer to the excellent article by Lynn Cavanaugh, which offers the best considerations of this issue. [See “The Rise and Fall of a Famous Collaboration: Marcel Dupré and Jeanne Demessieux”

by Lynn Cavanaugh, in The Diapason, July 2005.] Although she was devastated and suffered enormously from this, some around her felt it was actually a good thing; they were all too aware that under the gently acquiescent girl was a woman who would be unable to live in another’s shadow. Despite Dupré’s unlimited generosity to her (he did, after all, do everything possible to plan her future triumph and success), they knew she could never be a puppet—however well-intentioned the master.

Again, the reader is refered to the above-mentioned article, which discusses with great clarity the unfortunate situation and “fall-out” of this “rupture.” Undoubtedly, there were some who reveled in the scandal of the “fallen angel” and used the situation both for their own opportunity, and also as an advancement in the “turf war” that undoubtedly existed in the Parisian organ world. Despite the fame she enjoyed outside Paris (and to a lesser degree in France), she was certainly given the cold shoulder by a certain faction of its organists and concert promoters. As a result, even today many in France are surprised to know of the celebrity she had outside their country because of her having been largely ostracized from the French organ world. Her music remains largely unknown there. The legend begins

Jeanne Demessieux made her debut in 1946 at age 25. Dupré himself had arranged a series of six recitals at the Salle Pleyel, Paris, in which he could launch the career of this, his most exceptional pupil. He planned every detail for their maximum impact, even calling them “Six Historic Recitals.” Even the venue, the restoration of its organ, the setting of the stage were a specific part of their big scheme to launch her career. An audience of 1,725—considerably more than was customary for a debut recital (on any instrument) in Paris at the time—witnessed the level of accomplishment she displayed. It was a level that no other organist had before displayed, and the reaction of the audiences at these concerts was simply sensational. Her debut was compared to those of Horowitz, Menuhin, and Gieseking; Dupré himself said “You have shown us this evening that we are in the presence of a phenomenon equal to the youth of Bach or Mozart . . .”

Of Paris’s finest organists present—including Langlais, Litaize, Grünenwald and Falcinelli—Duruflé more humorously (but no less seriously) declared “Next to Jeanne Demessieux, the rest of us play the pedals like elephants!” The press gave free reign to the emotions felt by all, and noted that not even Liszt himself could have stunned them more—and the musical sensitivity she displayed was compared to that of Vierne. At the conclusions of these recitals she was often almost mobbed by the throngs who came to hear her as they clamored for autographs and a closer glimpse of her; their enthusiasm was like fire. In short, these recitals were a triumph the like of which had never been seen before and has not since. They heralded what was to be an unparalleled few years. Her career That first evening (February 26, 1946), when that young woman walked out onto the stage at the Salle Pleyel, dressed simply and elegantly in a pale blue dress, had an impact on the organ world, and it was never the same again. As a result of the word spreading—as well as due to the very careful particular public relations that the Duprés had planned—the young Jeanne quickly received a flood of invitations to give recitals throughout Europe. On many of these occasions she was the first woman ever to play in those cathedrals, churches

D’Arcy Trinkwon

Jeanne Demessieux in Dublin, 1952 (photo credit: Van Tuijl collection; courtesy Lynn Cavanagh)

and concert halls. Within a few years she had played in virtually every major European city, having given 200 recitals in only four years. As was the case with outstanding performers in an age before the numerous distractions of society today, her concerts usually attracted and drew capacity audiences—both fascinated by her as a woman, but also stunned by what they heard.

In the autumn of 1947 she gave a second, equally triumphant series of six recitals at the Salle Pleyel. Her London debut was on February 26, 1947 at Westminster Cathedral (where she would return many times). Attended by the whole of the Willis firm, Willis himself had to attend to a cipher immediately before the recital began! She made five visits between 1946 and 1948 alone, including a concerto at the Proms with Sir Malcolm Sargent, Jeanne loving the great Royal Albert Hall instrument. However, it is worth noting that the English critics were usually fairly hostile and, although not widely known, there was a definite intrigue involved here. In 1947 the London Organ Music Society, then headed by George Thalben-Ball, made a request that she present herself and undergo something of an audition for them; understandably insulted, she flatly refused such a ludicrous request—but they, with a pompous attitude, never got over the fact that she did. Equally—unlike the Americans—they seemed to have a serious issue with being so outshone (in so many ways) by a woman! At the time, English organ critics were usually organists from this Society, and the mean-spirited reviews they gave were in stark contrast to those given by the Americans whose generosity of spirit and enthusiasm knew no limits. During her years of training and preparation, Dupré had warned her she would undoubtedly encounter elements of jealousy. However, the audiences themselves and non-organist critics in the UK also shared this enthusiasm. Although not widely known, in 1953 Demessieux played, by invitation of the young Queen Elizabeth II herself, at her coronation in Westminster Abbey.

At the time of the Pleyel recitals, Dupré had been both planning and insistent that Jeanne must go and make her debut in America; he saw her potential as an artist to achieve considerable fame and success. She, however, flatly refused to agree to go there unless assured of the best possible terms and conditions; her strong-willed nature was beginning already to assert its independence. It has been written and suggested that Dupré was trying to manipulate her into something uncomfortable—to create a Hollywood-style glamor star—but surely he only saw the very real chances for her to �make a great life and in turn give herself the freedom such success would allow to devote herself to music. Dupré left for another of his own tours there the following year. Upon his return he never spoke to or had any dealings with her again.

Jeanne’s first tour in North America did not, in fact, take place until 1953: but it was simply triumphant, the audiences and critics alike stunned by the experience. [See “The American Recital Tours of Jeanne Demessieux,” by Laura Ellis, The Diapason, October 1995.] Perhaps only Virgil Fox displayed a similar degree of virtuosity, although his style was, of course, far more flamboyant and his repertoire far more popular. She returned again in 1955 and 1958, and on each occasion packed audiences from coast to coast rewarded her with feverish ovations.

In the early days of her career, her virtually non-stop schedule of concerts included nearly every major city of Europe and North America—all the more remarkable since travel was in those days more reliant on slow trains and sea. Touring was not something she enjoyed, finding it exhausting and, at times, nothing but a punishment. She made only three tours of North America, apparently refusing any further invitations because of a wish to remain near her aging and ever more frail parents.

Unlike many were beginning to do, Jeanne refused to travel by plane unless absolutely necessary; as result of losing a great friend in a crash in her youth, Jeanne was terrified of flying. Undoubtedly, as the years progressed and younger organists were increasingly leaping on planes to play everywhere, this must have curtailed her activities and left her somewhat behind. Disliking traveling generally, unlike such as Dupré, she never ventured further afield to such places as Australia either.

The apogee of her career was undoubtedly during the late 1940s to the mid1950s. Although she continued giving recitals widely after that, a new generation was emerging—figureheads of the socalled Organ Reform movement—whose fresh ideas and new approach to the organ were captivating followers, leaving the grander virtuosos of previous generations somewhat bypassed. But certainly no other organist—before or since—could ever claim such an auspicious beginning to a career as Jeanne Demessieux.

Repertoire What did Jeanne Demessieux’s repertoire include? As may be expected, her choice of music was very much based on the traditions of the French Romantic school; during her years with Dupré she studied most of Bach’s works (including all the great preludes, toccatas, fantasias, fugues, sonatas, Orgelbüchlein), as well as many of the works that were the cornerstone of Dupré’s own repertoire—including the great works of Liszt, Franck, Mendelssohn. She also studied numerous works of Dupré himself—both sets of preludes and fugues, both symphonies, Evocation, Le Chemin de la Croix, the Variations, Suite Bretonne and Sept Pièces—all of which she performed in Meudon before 1946. And there was the “riddle” of the Etudes he wrote for her, the transcendental sketches he later regrouped. (It may be pertinent to remark that this was not done, as has been incorrectly noted by some, after the “rupture” between them: it was openly discussed between them prior to her Salle Pleyel debut.)

Jeanne’s concert programs are fascinating to study. However—as with all performers who play from memory—the inevitable restrictions of memorized concert repertoire meant there were, as a result, numerous repetitions of the same works. This aside, all her programs show a decided concern for a variety and balance of periods, texture, styles and emotional impact. Despite a certain classical austerity and obvious concern for music of serious quality, purity and refinement—much in the way a concert pianist of the same era would have chosen that instrument’s classics—there was also very much a regard for aural and structural color.

Nearly every program included at least one major work of Bach, often supNOVEMBER, 2008

Nov 08 pp. 30-33.indd 31

Jeanne Demessieux publicity photo (photo courtesy Williams)

Emmet

Smith

and

Lew

plemented by an intimate and expressive chorale prelude or two. Although she played all six of Bach’s trio sonatas in a recital at Dupré’s home on March 19, 1942, only very occasionally did she perform one of these in her subsequent programs. By contrast, some of Handel’s concertos (I, II and X) featured regularly in her programs, complete with spectacular cadenzas of her own—and it may be worth noting here that Dupré’s edition of these was, in reality, almost entirely her work, done during her years of study with him. A variety of other Baroque composers featured occasionally in her concerts—some of these obviously being taken from Dupré’s series Anthologie des Maïtres Classiques. She seemed to like opening recitals with Purcell’s Trumpet Tune, something she first played as an encore in one of her Salle Pleyel programs, when she noted how it “refreshed the audience.” From the Hamburg recording we can today hear on CD, she opted for a bright, sparkling approach to this music, this quite in contrast to the heavy, ponderous and pompous style often given to the same work by many English and American players of her time. Mozart’s Fantasia in F minor, K. 608 was obviously another favorite work of hers, and she performed it frequently. Generally, however, she only included the odd Baroque piece as a bit of “fluff” in her early years; in the ’60s she did, however, include more works— such as Buxtehude, sometimes a suite of Clérambault—although she obviously felt her attentions better directed (and requested) towards more specifically “concert” music. Of particular note (for it being unusual) was her including a fugue of Gibbons in a recital at Westminster Abbey on May 3, 1956—also because it appears that was her only performance of anything English. She did not appear to play any American works.

Despite performing all the Mendelssohn sonatas and preludes and fugues in her youth, these were only rarely included subsequently, whereas the three great works of Liszt featured throughout her whole career and were of obvious great importance to her. Occasionally she chose one or two lighter works of Schumann (a fugue, perhaps a canon) or, less often, maybe a Brahms prelude, usually placed as a moment of contrast after or before a big piece. An unusual work in her repertoire (from the ’50s onwards) was her own transcription of Liszt’s Funérailles—one of the first times being at Westminster Abbey on May 3, 1956, and subsequently she played it quite often. She never wrote it out, instead playing her transcription from memory of the piano score. Similarly, many of her actual compositions were never written out until they were exactly as she wanted them in her head. The music of César Franck was of particular importance to her, and after Bach it appeared more regularly than anything else. It is interesting to note that on the organ in her apartment, an instrument bought on the success of her American concerts, she hung the famous print of César Franck serenely playing the organ of Sainte-Clothilde.

Other than Franck, the only French Romantic composer she performed with any regularity was Widor, the Allegro from the Sixth Symphony being presented often. Only rarely did she perform a complete symphony—occasionally maybe the Gothique—but the variations of both this and the Fifth appeared often, the latter regularly in her later programs. Interestingly, Vierne (whose music would have suited her so well) only occasionally appeared: for example, sometimes the Scherzo of Symphony No. 2 appeared, much in the role of a refresher between bigger works. Of the twentieth century, only three names ever appeared with regularity: Messiaen, Berveiller and Demessieux herself. Other than her early years—during which they appeared only occasionally—she hardly ever performed any works of her other contemporaries. She frequently performed one or two of her own pieces. Apart from her very early concerts, she did not play the Six Etudes as a complete set, later often taking just one or two (Tierces, Notes Repetées, Accordes Alternatés and Octaves being those she chose most often). She did sometimes include one of her choral preludes (Rorate Caeli—her own favorite of the set—and Attende Domine appearing most often), and the austere and granite-like Dogme from the Sept Méditations seems a work she had particular affection for, it appearing many times; occasionally she played one or two other movements from this same set. The Triptyque (with its mysterious and poignant Adagio written just a day or so after the “rupture” with Dupré) appeared on programs throughout her career. In the 1960s, the then recently written Prélude et Fugue and the Répons pour le temps de Pâques quite often featured, as had her Te Deum in the years following its own composition. Jeanne’s association with Jean Berveiller was of significance. Both apparently loved jazz and particularly Duke

Ellington—and the influence of this “lighter” music is reflected in Berveiller’s colorful style. His music suited Jeanne’s obvious wish to bring freshness to her programs, and she played many of his works—Epitaphe, the Suite, his transcription of Franck’s Redemption, and Cadence, written for her 1953 U.S. debut (although one wonders why she didn’t include any of her own Etudes there, for they are far more spectacular). And, of course, there was that famous Mouvement—organists sought to unearth the score for so many years. However, not all these works were, as has been variously claimed, dedicated to her. Messiaen was of particular significance to Jeanne; he greatly admired her, and she was one of his first and most powerful advocates. She regularly performed his pieces in recitals. Movements of both L’Ascension and La Nativité appeared frequently, as did the whole suites occasionally. For example, she gave the first complete performance of the former at London’s Royal Festival Hall on May 15, 1957, and she played the complete La Nativité at the English Bach Festival on July 1, 1964 in Christ Church, Oxford. She also played Le Banquet Céleste, Apparition de l’Eglise Eternelle, and Combat de la Mort et de la Vie regularly. It is also interesting to note that many players of younger generations who later became associated with this music first heard it in performances (either broadcast or live) by Jeanne Demessieux. It is also a measure of the respect Messiaen held for her that he frequently invited her to be an examiner for his analysis class at the Conservatoire. And Dupré? She performed so much of his music during her years of study, and some pieces also featured in her earliest public recitals outside France. She performed the Prelude and Fugue in B as part of London debut, and the Symphonie-Passion for a recital there on March 13, 1947 for the Organ Music Society. (This recital has often, erroneously due to Felix Aprahamian, been cited as her London debut.) She also performed the Suite in London.

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�But did she ever perform Dupré after the “rupture”? Very seldom and from the rarity with which she did, one may believe it was only when specifically asked. She never played any in America, but it is poignant to note that she included the Symphonie-Passion in what was to be one of her final recitals—one in Chester Cathedral, as part of the Chester Festival in July 1967.

Whatever her feelings of betrayal and disappointment, her respect for Dupré as an artist, as much as for the values he upheld and represented, never diminished; neither was she ever known to make any remark against him. A testament to this was the article she contributed to Études (Paris, April 1950) entitled “L’art de Marcel Dupré.”

Improvisation Improvisation featured in all of her recitals, and her extraordinary skill in all forms of this art was widely known. Dupré once claimed that he could train any technically competent organist to improvise a five-part fugue within six months; so, given the extraordinary gifts of this pupil, it is not surprising that he trained her in this skill to be as brilliant (more, some said) as he was himself. At her first Salle Pleyel recital, she improvised a four-movement symphony. She also did the same in her March 1947 London recital, whose brilliance prompted George Thalben-Ball to say—with a reserve of generosity typical of the British organists—that it was “trick” improvisation because “no one can think that fast”! The French prowess at improvising specific and disciplined musical structures was a world apart from the meandering service-style improvisation of the English, and, again, one notes the distinctive “green eye” looking at her.

Of particular note was a recital she gave at the Conservatoire in Liège on March 1, 1957, the entire program of which was improvised! During it she improvised in numerous forms and structures—from choral variations, a trio sonata, prelude and fugue, paraphrase, and various treat-

ments of chorale (polyphonic, contrapuntal, canon, fugue, ornamented). Concertos Quite unusually for an organist of her times, Jeanne was invited to perform concertos fairly often. There were the Proms, the performances with orchestras in France, Belgium and elsewhere—although never, surprisingly, America. She wrote her own “concerto,” Poème, in the very early ’50s, giving its premiere in 1952, as well as that of Langlais’ Concerto. In December 1964 she gave the Belgian premiere of Poulenc’s, also performing Jongen’s Symphonie Concertante with the Orchestre de Liège. Less successful was her recording of two of Handel’s concertos with the Suisse Romande orchestra; she found working with its conductor, the aged Ernest Ansermet, very difficult and was infuriated by his despotic wish to control the proceedings—including her playing, and even trying to suppress her cadenzas. Again, her strong will and individuality were far too strong to be so treated by a despotic conductor. Recordings Nearly all the recordings Jeanne made were for Decca, in those days probably the most significant recording company. Her first were several 78s, featuring works by Bach, Widor, Franck, Mendelssohn, and Purcell’s Trumpet Tune. Then she made numerous LPs—several were made at Victoria Hall in Geneva in the early 1950s; in addition to the Handel concertos mentioned above, these included works of Bach, Liszt, Widor and Franck. A recital of Bach and Franck on the organ of St. Mark’s, North Audley Street (an instrument later removed to Holy Trinity, Brompton, where it remains) was also issued. A project a few years later for her to record a series in Notre-Dame (Paris) was never realized, much to her great regret. She did, however, record several mixed selections at the Madeleine a few years before her famous recording of Franck made there, for which she won the Grand Prix

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du Disque in 1960. Two years later she was appointed Organiste-titulaire of this great church and its organ, an honor she considered so special she admitted she “cried with joy.” She had served prior to this appointment as organist in the church of Saint-Esprit during her teenage years. In the early 1960s, Messiaen agreed she should record his (then) complete works. Although greatly passionate about this project, her refusal to sign the contract easily and continued questioning and bargaining of its terms meant that by the time of her unexpected death, the actual contract remained still unsigned. On the strength of her extant recordings, one can only imagine how we have missed out from these never being recorded. Her last recording was made at Liverpool Metropolitan Cathedral as part of the celebrations of the then new cathedral and its organ. It was rumored that during the ’50s she recorded the Six Etudes for Decca, although this may have been just a legend. Certainly this writer has failed to unearth any concrete facts about these. Many of Demessieux’s recordings have now been reissued by Festivo and are available on CD. They testify to an artist of exceptional gifts and clearly disprove the claim of those who tried to brand (even dismiss) her merely as an empty virtuoso. Performance style Jeanne Demessieux was a spectacular and transcendental virtuoso. Although the influence and tradition handed down to her by Dupré is apparent, her playing obviously had a personality decidedly her own, one markedly different from his; despite certain similar elements, there are few other similarities. From recordings we can hear her remarkable strength of authority, characterized by the same rigorous heroism and rhythmic power that Dupré demonstrated—but her playing demonstrated very little of Dupré’s rigidity, instead displaying a far more emotional expressive range, even at times being remarkably sensual. In recitals, critics repeatedly spoke of her commanding mastery, taste, responsibility and respect for the composers and works she played (with the exceptions of those less generous mentioned earlier). Again, from her recordings, it is also very clear that she listened intensely to her own playing and to the inner workings of what she played. She was also very aware of and sensitive to acoustics, which she employed in a very personal way. Demessieux once remarked “a performer has her rights,” implying that a performer must create an interpretation. Unlike many of the “organ reform” brigade, she, like Dupré and other virtuosos, did not attach great importance to slavishly following the score indications and registrations (as some have insisted we all should) in either her own or others’ music without question or a certain (tasteful) liberty. From her journals we can note frequent questioning of things such as metronome markings and performance indications. Her ambition was clearly to make music “live,” free from rigidity and the dogmatic approach certain other performers favored. Another point is worth mentioning with regards to certain British and American reviews in which it was claimed she was simply a dazzling virtuoso and nothing more. For one, they missed that her playing—decidedly French—was strikingly different from the often overtly sentimental styles of performance common in both countries at the time. Few players had the exceptional sensitivity and subtlety she was capable of in her Bach chorales, her Franck. Maybe her excessive brilliance actually irritated some who were made all the more aware of their own limitations. One thing is certain: no one, especially not Demessieux herself, would claim any were “definitive”—for such a claim would only reveal more arrogance and ego than true artistry. But these recordings are a wonderful testament to a great artist; we younger generations have truly missed out, not being able to hear her live.

Jeanne Demessieux, Marseille, 1948 (Archives of the Association “Les Amis de Jeanne Demessieux,” Versailles)

The performer The commanding presence of Jeanne Demessieux was widely remarked upon, and she was known for an aristocratic “hauteur” combined with a feminine, graceful demeanor. As with Dupré (and most of his pupils), once seated at the organ she was virtually motionless. Sitting bolt upright with regal carriage, she played with remarkable physical dignity and relaxation, and had no interest in the kind of performing histrionics and display that were customary in America—something often remarked upon by the press. This seemed to cause an even greater impact on the audiences, because the authority and strength of her performances belied her small and fragile physique. Dupré himself had repeatedly spoken of her power and strength as a player, even using the terms “masculine” and “virile.” In the early days of her career, applause in churches was not customary and recitals were quite a sober affair; she presented herself accordingly in reserved, but elegant, attire. However, in concert halls or more relaxed venues Jeanne brought a sense of occasion and glamor not previously known in recitals and not adopted as the norm for many years afterwards. She was known for beautiful, stylish long evening gowns, often including a train that she would drape gracefully over the back of the organ bench. Perversely, this often obscured the pedals and her legendary pedal prowess from the view of the audience! The silver shoes—with their high Louis XV heels—in which she always played have become part of her legend. However, it would be quite wrong to believe there was anything remotely exhibitionist or “flashy” about her presentation—this was quite contrary to her reserved nature; it was for her just presentation and style. Other than occasionally during church services, she never used music and played everything entirely by memory, never traveling with any scores. According to Marie-Madeleine Duruflé-Chevalier, who was a loyal and trusted friend, she had little (if any) difficulty in recalling any of the great works of the repertoire from memory.

Teacher In her years of study, Dupré had repeatedly spoken of his wish that she would succeed him as Professor of Organ at the Paris Conservatoire, also expressing his wish that she succeed him as Organiste-titulaire at Saint-Sulpice (“only Jeanne Demessieux can occupy the organ loft of the great Widor” he declared). Indeed, on a few occasions about the time of her first Salle Pleyel recitals, she took his class while he was absent giving concerts. However, after the “rupture” these were just shattered dreams. The conservatoire post was in the end filled by another Dupré disciple, Rolande Falcinelli.

�Jeanne Demessieux at Texas Christian University, 1955 (photo courtesy Emmet Smith and Lew Williams)

In addition to her concerts, Jeanne did, however, teach both organ and piano throughout her career. In the early days, she was teaching some 25 hours each week, on top of which were 14–15 hours for Saint-Esprit. After all this came the most important call on her time—her own practice; she often worked eight hours a day at the organ, as well as composing. And in addition to all these demands, was the greatest of all—her hectic concert schedule!

In Paris she taught privately in her apartment, also doing some teaching in Nancy. She was appointed professor of organ at the Royal Conservatoire in Liège in 1952, a role she took with great responsibility, traveling every week on the train from Paris for two or three days. She was as exacting with her pupils as she was with herself. However, she managed this imperceptibly, and their testimonies speak always of her kindness, warmth and encouragement as a teacher—and her unlimited generosity in encouraging them to achieve their maximum. She was also enthusiastic, encouraging and aware that a pupil may wish and need to explore other styles and traditions of performance than her own—illustrated by her recommending one student to go to study with Anton Heiller, who was then setting Europe alight with his brilliant interpretations, in a style very different from her own. Among her outstanding pupils were noted virtuosos Pierre Labric and Louis Thiry.

She was also invited to give various masterclasses and interpretation courses—among them Dublin in 1954 and Haarlem in 1955 and 1956, where she also become chair of the jury for the competitions. Following Dupré’s retirement, she was several times invited to be on the jury for the organ class at the Paris Conservatoire.

Organ building What is less known is that Jeanne Demessieux had a passionate interest in organ building: she was fascinated by traditions and future ideas for organ building. Again, it was Dupré who had awoken this, and again—as with everything she did—she cultivated her own views and knowledge. She admired many diverse types of instrument—the great CavailléColls of course (particularly those in Rouen, Saint-Sulpice, the Madeleine and Notre-Dame), but also many older instruments, such as those in Weingarten and various great Dutch instruments.

In the 1960s, she began a major project for the French government to undertake a classification and study of the great instruments throughout France. Her private papers include a large file of her notes written in longhand analyzing many aspects of each of the numerous instruments considered in detail.

Perhaps least favorite for her were some of the large, heavy and ponderous American instruments. One note in her diary remarked a certain instrument was flat, dull and heavy in sound—“unfortunately, just what Dupré would love!”

The person Jeanne was a person of complex personality—although not in the “temperamental” way. She could have great charm, yet be very aloof and display noted reserve with people. While not displaying NOVEMBER, 2008

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any offensive ego or arrogance, she was well aware of her capabilities and stature: how could she not have been?

Her “duality” has been touched on earlier. A woman of highly intellectual capacity, with a remarkable ability to learn and retain, she was not interested in the superficial—thus she found many of the inevitable post-concert receptions (these being especially part of the American scene in the days she played there) quite dreadful; she loathed them, and even felt she’d earned her money just by enduring “ordeals,” as she called them! She seemed to have confused many—some saw her as very shy, others as reserved, some as charming, some as distant and impersonal. Yet under these various exteriors was a woman who was perhaps exactly all of these things by turn. She was also an observer of others—she noted in her diary how, on one of the boat trips going to play in America, she asked to dine alone at her own table—so that she could watch all the other passengers from a distance, but not have to mix with them or exchange superficial conversation. She also remarked elsewhere that she did not like the “snobbism” of certain artistic and cultural circles, some of whom were there merely because it was “the thing to do.”

Few—realistically only a mere handful—ever knew the real person behind the woman. Of those who did, all have spoken without limit of generosity of her kindness, gentleness, distinction, warmth and charm; to these people she was never affected by her celebrity, but remained a person of modesty and humility. She retained a sincere loyalty and friendship with those she trusted. Possibly the “rupture” with Dupré scarred her here too, for she never allowed many to ever become close to her again.

When relaxed, she had a sparkling and engaging personality, and to some she was a breath of fresh air from the usual, more drab male colleagues whom promoters had to entertain. Her correspondence to friends reflects a charming and effusive spirit; the radiant and effusive tone here was of great warmth, energy and spirit.

What was not publicly known in her life was that she suffered precarious health throughout much of her life, battling cancer in particular. It must be remembered that, until only recent generations, the discussion of illness—particularly serious illness—was an absolute social taboo; knowledge of any serious illness could often leave a person socially outcast, even professionally ruined. In addition to cancer, she had repeated bouts of “nervous exhaustion”—undoubtedly exacerbated by constantly fighting cancer plus her own fragility in order to continue working. Her drive, however, is reflected in that on several occasions she was up and traveling merely days after one of the many operations she underwent.

It was typical of her reserve that she lived in only modest accommodation— her apartment being only two rooms in a suburb of Paris. Yet she died owning multiple properties.

The last years The auspicious successes and good fortune of her youth did not follow her through to middle age. Although the center of everyone’s attention in her youth, this changed. Despite the unswerving loyalty and love of her family, Dupré—the man she loved as her mentor and second “father”—turned against her (as did many in the wake of this), and the wider organ world began to look at new and emerging younger artists, rather overlooking her in the process. Understandably, for someone as sensitive as she undoubtedly was, this must have been immensely difficult to endure.

In the mid 1960s, she began to look back on her life and reflect, sometimes quite plaintively, and began to speak to those she trusted of her exhaustion and serious inner fatigue. Some who met her in these years spoke of her displaying quite visible inward sadness, despite the smiling and charming exterior. In addition to the enormous drain her illness must have had on her, her soul seems to have become disillusioned not with music itself, but with it as a profession and with

all it had demanded of her. Despite her luck, she felt trying to establish her career had been a constant battle, many having viewed her either with suspicion or envy (often both). The dreams of her youth were shattered and soured, the sadness of her broken alliance with Dupré had distressed her immeasurably. Instead of looking back on a happy childhood, she began to look back with resentment on a childhood of solitary study, on a life of great personal disappointment, of disillusioned sadness at betrayed trusts. As a performer, the outstanding fame of her youth had waned.

One wonders how Dupré must have felt when she died, something he is never known to have divulged. Once as dear to him as his if she was his own daughter, to whom he had promised so much (and against whom he had turned against violently), she died—as did his own daughter, Marguerite—from cancer far too young. One wonders what he felt, and notes how pointless all those wasted years of non-communication surely were.

The legacy The legend of Jeanne Demessieux has been of far greater importance than many have considered, or been willing to admit. Maybe some even felt such discussion would have distracted from their own achievements? To many, the star of this brilliant artist has always been something quite untouchable, and many organists (this writer among them) have practiced themselves into a frenzy in the hope of attaining just a little of her level of brilliance. Many openly freely admit how much they have been inspired by her image, and nearly every outstanding female organist since has, inevitably, at some stage been compared to her. Some people were, of course, less generous (as is their right) or simply didn’t appreciate her style, and undoubtedly there were also those who may even have been well served by the waning of her star and her passing because it gave them more space to grow. Yet she still remains one of the most talked of organists of all, a name virtually every organist knows.

Today there is renewed interest in her both as performer and composer and younger generations are discovering a legend anew. Her music is being discovered and performed more than ever before. Her influence is a great deal more than just the eternal talk of “the silver shoes.”

■ In all his studies, D’Arcy Trinkwon has been fascinated by the person behind the musician. An early interest in the Dupré tradition inevitably led to Jeanne Demessieux, and his particular interest in her began when he first heard her recordings in the early 1980s. Over the years he has explored, researched and studied in depth all he could of her, fascinated and inspired by her legend. Inspired by her Salle Pleyel programs, in 1994 he presented eight concerts in as many weeks: “The King of Instruments” was a celebration of the great masterpieces and culminated in a complete performance of her famous Six Etudes—then the first organist to do so in recent time. He has since become particularly associated with them and her other works as a result of his numerous performances of them. He is vicepresident of Les Amis de Jeanne Demessieux. D’Arcy welcomes any correspondance on the subject of Jeanne Demessieux and, time permitting, hopes to write a serious and comprehensive biography of her. <www.darcytrinkwon.com>

Further reading Jeanne Demessieux, “Un Vie de Luttes et de Gloire” by Christiane Trieu-Colleney, Les Presses Universelles 1977 Jeanne Demessieux: Témoignages de ses Elèves et Amis, published by Les Amis de Jeanne Demessieux, 1901 “Six Etudes, Op. 5, of Jeanne Demessieux,” by Marjorie Ness, The Diapason, August 1987, pp. 9–11. “The American Recital Tours of Jeanne Demessieux,” by Laura Ellis, The Diapason, October 1995, pp. 14–18. “The Rise and Fall of a Famous Collaboration: Marcel Dupré and Jeanne Demessieux” by Lynn Cavanagh, The Diapason, July 2005, pp. 18–21. The recordings of Jeanne Demessieux now reissued by Festivo contain excellent writing by one of her devoted friends, Pierre Labric. Websites: Les Amis de Jeanne Demessieux: http://cat. uregina.ca/demessieux/

WINTHROP UNIVERSITY

The work of the Æolian-Skinner Organ Rock Hill, South Carolina Company under the leadership of G. Donald Harrison (1889-1956) has garnered much interest in the past decade, though the number of instruments remaining in unaltered condition from his tenure is lamentably few. Winthrop University’s Opus 1257 was an all-new instrument when completed in 1955 and has seen only two minor changes since then, showing a respectful awareness of this instrument’s value. The D. B. Johnson Memorial Organ is located in the resonant Byrnes Auditorium and displays all of the hallmarks of Harrison’s style, including a relatively mild Great division without reeds; several mixtures with each providing a different texture; a powerful Swell division with French-inspired reeds; and a general emphasis on tonal clarity over density. We are honoured to have been selected by Winthrop University to carry out a mechanical restoration of this exceptional instrument. At the completion of our work in the fall of 2008, every aspect of ÆolianSkinner’s Opus 1257 will have been examined, documented and conservatively restored without tonal changes. Throughout this project, it is our pleasure to work in close consultation with the instrument’s curator and Professor of Music Emeritus at Winthrop, Dr. David Lowry.

The gentleness and sensitivity she showed those whom she trusted contrasted with her strong opinions and individuality. On one hand she was admired as a great artist—on the other she was viewed with suspicion because her brilliance was such that some simply couldn’t see past that alone, and undoubtedly many seethed with jealousy. Even Demessieux herself was aware of the two poles in her personality—gentleness, sensitivity and creation contrasting with “violence” (although her exact word, it referred more to force and strength of character than any darker force).

This duality in her nature reflected the two very different natures of her adored parents: her father—cultivated, artistic, sensitive and affectionate; her mother—highly strung, a forceful, driven nature disguised behind an emotive, gentle façade.

By quite some years, she was the first woman to achieve international fame as a virtuoso organist, and her gender undoubtedly had a serious impact on her career. Not only was she entering what was at the time an almost exclusively male domain, it undoubtedly meant that she had, in fact, to be even better than her male colleagues to be accepted as their peer. She had immense good fortune; she was taken under the wing of the great Dupré when she was still only fourteen.

Proclaiming her as his true successor, he elevated her prowess to such a level that she simply had no realistic competition; even before her famed 1946 debut, he proclaimed to Léonce de Saint-Martin: “You know that I do not say anything glibly, and I say Jeanne Demessieux is the greatest organist of all.” He proclaimed that posterity would rank her alongside Clara Schumann. Cocooned in this privileged world of Dupré’s home in Meudon, she was loved and nurtured by him and his family as their own.

He planned every detail for their maximum impact, even calling them “Six Historic Recitals.”

Even the venue, the restoration of its organ, the setting of the stage were a specific part of their big scheme to launch her career.

In the autumn of 1947 she gave a second, equally triumphant series of six recitals at the Salle Pleyel. Her London debut was on February 26, 1947 at Westminster Cathedral (where she would return many times). Attended by the whole of the Willis firm, Willis himself had to attend to a cipher immediately before the recital began!

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La primera gira de Jeanne en América del Norte no tuvo lugar hasta 1953: pero fue simplemente triunfante, tanto la audiencia como la crítica quedaron atónitos por la experiencia. Tal vez sólo Virgil Fox mostró un grado similar de virtuosismo, aunque su estilo era, por supuesto, mucho más llamativo y su repertorio mucho más popular. Regresó de nuevo en 1955 y 1958, y en cada ocasión el público repleto de costa a costa la recompensó con ovaciones febriles.

En los primeros días de su carrera, su programa prácticamente ininterrumpido de conciertos incluía casi todas las grandes ciudades de Europa y Norteamérica, lo que era aún más notable, ya que los viajes eran en aquellos días más dependientes de los trenes lentos y del mar. Touring no era algo que ella disfrutaba, encontrándolo agotador y, a veces, nada más que un castigo. Ella hizo solamente tres viajes de Norteamérica, aparentemente rechazando cualquier invitación adicional debido a un deseo de permanecer cerca de sus padres envejecidos y cada vez más frágiles.

A diferencia de lo que muchos empezaban a hacer, Jeanne se negó a viajar en avión a menos que fuera absolutamente necesario; Como resultado de la pérdida de un gran amigo en un accidente en su juventud, Jeanne estaba aterrorizada de volar. Sin duda, a medida que los años avanzaban y los organistas más jóvenes saltaban cada vez más sobre los aviones para jugar en todas partes, esto debió haber restringido sus actividades y haber dejado algo atrás. No gusta viajar en general, a diferencia de Dupré, nunca se aventuró más lejos a lugares como Australia tampoco.

El apogeo de su carrera fue, sin duda, durante la década de 1940 a mediados de 1950. A pesar de que siguió dando recitales ampliamente después de eso, una nueva generación estaba emergiendo - cabezas de proa del llamado Movimiento de la Reforma de Órgano - cuyas ideas frescas y nueva aproximación al órgano fueron cautivadoras seguidores, dejando a los virtuosos más grandes de las generaciones anteriores un poco anuladas. Pero ciertamente ningún otro organista, antes o desde entonces, podría jamás reclamar un comienzo tan auspicioso para una carrera como Jeanne Demessieux.

Repertorio ¿Qué incluye el repertorio de Jeanne Demessieux? Como era de esperar, su elección de música se basaba en gran medida en las tradiciones de la escuela romántica francesa; Durante sus años con Dupré estudió la mayor parte de las obras de Bach (incluyendo todos los grandes preludios, tocatas, fantasías, fugues, sonatas, Orgelbüchlein), así como muchas de las obras que fueron la piedra angular del repertorio de Dupré, Liszt, Franck, Mendelssohn. También estudió numerosas obras del propio Dupré, ambos conjuntos de preludios y fugas, ambas sinfonías, Evocación, Le Chemin de la Croix, Variantes, Suite Bretonne y Sept Pièces, todo lo cual realizó en Meudon antes de 1946.

Y allí estaba el "enigma" de los Etudes que él escribió para ella, los bocetos trascendentales que más tarde reagruparon. (Puede ser pertinente señalar que esto no se hizo, como ha sido notado incorrectamente por algunos, después de la "ruptura" entre ellos: se discutió abiertamente entre ellos antes de su debut en Salle Pleyel).

Los programas de conciertos de Jeanne son fascinantes para estudiar. Sin embargo -como todos los intérpretes que juegan desde la memoria- las inevitables restricciones del repertorio de conciertos memorizados significaron que hubo, como resultado, numerosas repeticiones de las mismas obras. Aparte de esto, todos sus programas muestran una decidida preocupación por una variedad y equilibrio de periodos, textura, estilos e impacto emocional. A pesar de una cierta austeridad clásica y una obvia preocupación por la música de calidad, pureza y refinamiento serios -como en la forma en que un pianista de concierto de la misma época habría elegido los clásicos de ese instrumento- también había mucho respeto por el color fonético y estructural.

Llenado por un preludio coral o íntimo y expresivo. Aunque tocó las seis de las sonatas de trío de Bach en un recital en la casa de Dupré el 19 de marzo de 1942, sólo muy ocasionalmente realizó una de ellas en sus programas posteriores. Por el contrario, algunos de los conciertos de Handel (I, II y X) aparecen regularmente en sus programas, con espectaculares cadencias propias -y vale la pena señalar aquí que la edición de Dupré de éstos era, en realidad, casi enteramente su obra, Hecho durante sus años de estudio con él. Una variedad de otros compositores barrocos aparece de vez en cuando en sus conciertos-algunos de éstos están siendo tomados obviamente de la serie de Anthress des Maïtres Classiques de Dupré. Parecía gustarle los recitales de apertura con Purcell's Trumpet Tune, algo que interpretó por primera vez como bis en uno de sus programas de Salle Pleyel, cuando notó cómo "refrescaba a la audiencia". De la grabación de Hamburgo podemos escuchar hoy en CD, optó Para un acercamiento brillante, chispeante a esta música, esto absolutamente en contraste con el estilo pesado, pesado y pomposo dado a menudo al mismo trabajo por muchos jugadores ingleses y americanos de su tiempo. La Fantasía de Mozart en F menor, K. 608 era obviamente otra obra favorita de la suya, y lo hacía con frecuencia. En general, sin embargo, sólo incluyó la extraña pieza barroca como un poco de "pelusa" en sus primeros años; Sin embargo, en los años 60 incluyó más obras, como Buxtehude, a veces una suite de Clérambault, aunque obviamente sintió que sus atenciones se dirigían mejor (y pedían) hacia música más específicamente "concierto". De particular importancia (por ser inusual) fue ella incluyendo una fuga de Gibbons en un recital en la Abadía de Westminster el 3 de mayo de 1956, también porque parece que fue su única interpretación de algo inglés. No parecía interpretar obras americanas. A pesar de haber realizado todas las sonatas y preludios y fugas de Mendelssohn en su juventud, éstas fueron sólo raramente incluidas posteriormente, mientras que las tres grandes obras de Liszt aparecieron a lo largo de toda su carrera y fueron de gran importancia para ella. De vez en cuando escogía uno o dos trabajos más ligeros de Schumann (una fuga, tal vez un canon) o, menos a menudo, quizás un preludio de Brahms, generalmente colocado como un momento de contraste después o antes de una gran pieza. Un trabajo inusual en su repertorio (a partir de los años 50) era su propia transcripción de Funérailles de Liszt - una de las primeras veces que estaba en la abadía de Westminster el 3 de mayo de 1956, y posteriormente ella lo jugó bastante a menudo. Ella nunca lo escribió, en lugar de jugar su transcripción de la memoria de la partitura del piano. Del mismo modo, muchas de sus composiciones reales nunca fueron escritas hasta que eran exactamente como ella los quería en su cabeza.

External links[editar]

http://www.susanjanematthews.com/bio.html organista

Referencias[editar]

↑ «Beach Boys Awards». Allmusic.com (en inglés). Consultado el 1 de marzo de 2014.
↑ «Beach Boys: Singles». Officialcharts.com (en inglés). Consultado el 1 de marzo de 2014.
↑ «Search the Charts - Beach Boys». Irishcharts.ie (en inglés). Consultado el 10 de marzo de 2014.
↑ «Nummer - Beach Boiys». Dutchcharts.nl (en neerlandés). Consultado el 20 de febrero de 2018.
↑ ^a ^b Error en la cita: Etiqueta <ref> no válida; no se ha definido el contenido de las referencias llamadas Chats
↑ ^a ^b John Rudolph Covach, Graeme MacDonald Boone: Understanding Rock – Essays in Musical Analysis. Oxford University Press Inc., 1997. Páginas 34 a 48.
↑ (Greg Panfile). «Mind of Brian 6: The Warmth Of The Sun» (en inglés). Cabinessence. Consultado el 1 de marzo de 2011.
↑ Notas del CD de Smiley Smile, Capitol Records por David Leaf, catalogo 7243 5 31862 2 7, 2001. Pagina 7 a la 11.

http://concordiadirecto.com/es-falso-que-illia-anulo-los-contratos-petroleros.html

http://www.clubdelpetroleo.com/Anulacion-Contratos-Petroleros

http://opinion.infobae.com/mariano-caucino/2013/11/06/a-50-anos-de-un-error-estrategico-la-anulacion-de-los-contratos-petroleros/

[FOOTNOTEHerrera_de_Noble2011a7-1] Herrera de Noble, 2011a, p. 7.

[nacion-2] Entrevista con El Bananero, impertinente rey de YouTube

[3] [1]

[4] Soy una celebridad de clase B Diario Clarín.

[5] Christiane Trieu-Colleney (1977). Jeanne Demessieux : une vie de luttes et de gloire. Avignon, Les Presses Universelles.

[universal-6] Droos el youtuber de los 6 millones de seguidores

[7] Dross Rotzank, el personaje que logra millones de reproducciones en YouTube

[8] Dross: “Ando soltero porque soy una persona sumamente aburrida”

[9] DrossRotzank cuenta de suscriptores en vivo.

[tyc-10] Dross: "Una de mis metas es escribir la trama de un videojuego"

[libro-11] (Spanish) Ten best selling books in the first week of 2016 in Mexico.

[12] Los vértigos de una feria Clarín.

[13] Dross, una estrella de YouTube, presenta su primera novela.

[allmusic-14] «Beach Boys Awards». Allmusic.com (en inglés). Consultado el 1 de marzo de 2014.

[official-15] «Beach Boys: Singles». Officialcharts.com (en inglés). Consultado el 1 de marzo de 2014.

[irish-16] «Search the Charts - Beach Boys». Irishcharts.ie (en inglés). Consultado el 10 de marzo de 2014.

[nummer-17] «Nummer - Beach Boiys». Dutchcharts.nl (en neerlandés). Consultado el 20 de febrero de 2018.

[Chats-18] Error en la cita: Etiqueta <ref> no válida; no se ha definido el contenido de las referencias llamadas Chats

[rudolph-19] John Rudolph Covach, Graeme MacDonald Boone: Understanding Rock – Essays in Musical Analysis. Oxford University Press Inc., 1997. Páginas 34 a 48.

[20] (Greg Panfile). «Mind of Brian 6: The Warmth Of The Sun» (en inglés). Cabinessence. Consultado el 1 de marzo de 2011.

[smileysmilenotas-21] Notas del CD de Smiley Smile, Capitol Records por David Leaf, catalogo 7243 5 31862 2 7, 2001. Pagina 7 a la 11.

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