Manafonistas

Here, For Your Amusement

Colourwise I’m more meadow than hedgerow
though I have wooden clothes pegs and underneath it all
I’m comfortable as a smock. Less wild than a meadow.
I expect you will wonder what this is all about – well it’s wrong,
like giving names to the eggs in the box.

Here is a picture of a horse very proud of itself.
Here is a drawing of a flower, from hundreds of years ago
– you will still find such flowers in the garden! There is something
you will want to understand in these pictures,
so you spend time with them. Perhaps that’s what it’s about.

I would like to be able to make a very nearly complete list,
of everything that matters to me, leaving nothing out.
Is that what it’s like to be afraid to die? Also
to have the most inquisitive eyes and see beauty beauty
beauty pick away at the wallowing mortar.
To know the composure of a closed clam.

The Sarah Jarosz Trio

(Sarah Jarosz, Alex Hargreaves and Nat Smith perform the title track of Sarah’s 3rd album from 2013 for an exclusive audience in her hometown of Wimberley, Texas. For those who wonder what instrument she’s playing, it’s an Octave-Mandolin built by Fletcher Brock …)

Am 16. Oktober in den Klanghorizonten, am 4. November wahrscheinlich in den JazzFacts, und am 5. November im Handel, ein Solokonzert von Eberhard Weber aus dem Jahre 1995.

CD Touch TO:92
Release date: October 14
www.touchmusic.org.uk
stangl.klingt.org

„2003, London: the first time I visited Tate Britain, Tate Gallery, and the first time I saw and really experienced the paintings of JMW Turner (1775-1851). Overwhelmed, especially by his late and unfinished works I was stunned by the power of the stillness of his work. 25 years before that something similar; me, as a young man in Madrid; Prado, Goya paintings and etchings – for me an initiation which opened up the door to earlier art and its pioneers. Like Goya one generation before him, Turner is one of those artists whose language was becoming radicalized in the high age. (In the field of music he is the contemporary of Beethoven.) His later paintings transcend light, full of poetic imagination, exquisite liquid calm. Free pure painting – nothing as light, air and water. When I left the exhibition, it was clear to me that this visit was the starting point for my musical approach to his paintings. Over the years, it was a pleasent challenge to get closer and closer to the painter’s complex simplicity, transforming the enigmatic atmospheres of his late and unfinshed works into personal tempting musical soundscapes.“

Burkhard Stangl, September 2013