Not many appear on the open market, which is ironic since they were scattered all over the world. No one really knows how many are still unaccounted for. Anyone can buy a magnificent medieval manuscript for the right price, but not an Ege. When one does appear, there is a howl from the ivory tower regarding its rights to first dibs" Rothstein. A seemingly endless blog started after we mounted the "Scattered Leaves" exhibit two years ago and put the images on the web.
How and why should a disbound and dispersed Ege book be reconstructed?
First, the reconstruction would be digital and virtual. But the digitized edition of the Beauvais Missal would have its benefits beyond the physical book. Beauvais Missal leaf owners, many of whom are unaware of the original book context of their possession, could have the opportunity to collaborate in the project of recreating it.
The incremental re-composition of the book would be a work in progress that everyone could follow, a kind of unfolding narrative moving to completion.
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Using a Flash program to simulate the turning of the pages for the user would avoid the potential damage from turning the pages of the actual book. As a result, the page will remain the unit of attention as a result, though the verso and recto pages work together at times as a simultaneous visual unit forming an important relationship as John Dagenais and others have shown Dagenais.
To remake the book would yield new knowledge only if the relationship between or among leaves told us something the individual leaves do not. If the whole is indeed greater than the sum of the parts in this case, it will is so in ways as yet unclear to us. We often erroneously equate the book with the novel, a piece of technology whose meaning does depend on its intact narrative state. Ege in fact confuses the relationship between the page and the book here.
It refers to the book from which the page was removed, not to the individual page itself. Of the Beauvais Missal, for example, he writes:. The students curating the "Scattered Leaves" exhibit in the Snelgrove Gallery soon had to come to terms with this discrepancy. In fact, Ege was frequently quite wrong about dates, scripts and locations, something else the students had to try to correct. The modernist enterprise of reinterpreting the fragment as a trace of indelible meaning, not as a nostalgic example of an irrecoverable unified past, through Pound and so many others, can assist here.
The page can be rethought the same way.
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In the end, reconstructing the book will challenge our assumption that it is. Dagenais, John. Peter Stoicheff and Andrew Taylor. Toronto: U of Toronto P, Drucker, Johanna. Berkeley, SIMS. Ege, Otto. Terry Belanger.
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Rothstein, Joanie. University of Saskatchewan. Exhibition; rpt. Shailor, Barbara. Stoicheff, Peter and Andrew Taylor, eds. The Future of the Page. Warde, Beatrice. Cleveland: World Publishing Company : The sequence is created by adding two adjacent numbers whose sum becomes the third number: 0,1, 1, 2, 3, 5, 8, 13 etc.
However, after her father's death in the late s and the family's subsequent move to Manchester, Mo, she began what she described as "closet" writing. It was her publisher's decision to use the initials V. This was done for the purpose of neutralizing her gender so as to sell to adult male audiences; the common belief was that men did not like to read books by women writers. Andrews eventually became a full-time writer. Her first novel was a science fiction fantasy entitled The Gods of the Green Mountains, published in Andrews died of breast cancer on December 19, , in Virginia Beach, Virginia.
After her death, her family hired a ghost writer, Andrew Neiderman, to finish the manuscripts she had started. He would complete the next two novels, Garden of Shadows and Fallen Hearts, and they were published soon after. With the onset of war, few composers had the creative wherewithal to write music. For every Kurt Weill writing for Broadway, or Erich Korngold composing in Hollywood, there were dozens of composers who simply folded inwards with new environments, unable to tap resources in new homelands.
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Walter Bricht and his wife, the pianist Ella Kugel. She had premiered his first piano concerto and stood prepared to premiere the second had the Anschluss not halted all developments. There are a number of speculations put forward. Even Bricht suggests that he was unsure about becoming an American composer.
Again, his birthdate worked against him. Their advantage was they were establishing themselves and not re-establishing themselves. His B minor quartet, op. His symphony was to be performed by the great orchestras of Germany and Austria and commissions were arriving from such well-known musicians as the one-armed pianist Paul Wittgenstein.
The musical Zeitgeist was shifting at terrific speed. After the First World War, the potential for modernising music was enormous and ideas were abundant. Some processes grew out of Max Reger, developing into New Objectivity. Both Hindemith and Ernst Toch considered Reger their spiritual and artistic father.
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What was promoted in Berlin was different to what was being promoted in Vienna, Paris or Prague. Paradoxically, an opera that was aesthetically and musically as far removed from Jonny as possible to imagine, suddenly broke all records.
From its German premiere in Breslau under the title of Schwanda der Dudelsackpfeifer, it enjoyed more performances in a single year than Jonny spielt auf! Krenek had clocked performances in the first year, Schwanda came in with a staggering Andrew Constantine, Toccata Classics. Regardless, Bricht ticked none of the above boxes. Any young composer who was seen as merely following in the footsteps of their teachers was dismissed as irrelevant. The organic development from one generation to the next did not qualify.
Moreover, real money was being made with operas and there was little interest in any composer still writing something as old-fashioned as a symphony or a sonata. Bricht was not alone. There were a number of young composers whose individuality was processed through evolution rather than revolution. Photos of both Viennese music journalists on seperate walks in the country: Julius Korngold and Balduin Bricht.
The parallels with Erich Korngold and his father Julius Korngold are too obvious to be ignored. Unlike Julius Korngold, Balduin Bricht appears to have been less partisan and less manipulative in the promotion of his family. Julius is always friendly in his reviews of Bricht and his mother. By this point, a favourable mention by Julius Korngold who retired in was reason enough for UE not to sign a young composer.
This is only speculation, however, and perhaps further research in the UE archives can offer more information. Together with Pisk and Kurt Pahlen, it was clear that Bricht moved in progressive circles — both musically and politically. Despite these credentials, he remained without a publisher. The reasons seem baffling in retrospect.
At the time, such rejection appears to have weighed heavily and would have hampered opportunities in a new homeland where a publishing contract would have increased his credibility.