The score of Michael Finnissy’s 2004 composition Back on Earth is designed “to roughly convey an impression of Saturn’s rings.”

Read more and listen here.

Via Musical Notation Is Beautiful.

In 1880 art collector Charles Ephrussi commissioned Manet to paint A Bundle of Asparagus for 800 francs.

When Manet delivered the painting, Ephrussi gave him 1,000 francs.

So later that year Manet delivered the small painting below with a note: “There was one [sprig] missing from your bundle.”

(Thanks, Jon.)

Critic Harold C. Schonberg called Leopold Godowsky’s Studies on Chopin’s Études “the most impossibly difficult things ever written for the piano”; Godowsky said they were “aimed at the transcendental heights of pianism.” In the “Badinage,” above, the pianist plays Chopin’s “Black Key” étude with the left hand while simultaneously playing the “Butterfly” étude with the right and somehow preserving the melodies of both. One observer calculated that this requires 1,680 independent finger movements in the space of about 80 seconds, an average of 21 notes per second. “The pair go laughing over the keyboard like two friends long ago separated, now happily united,” marveled James Huneker in the New York World. “After them trails a cloud of iridescent glory.”

The studies’ difficulty means that they’re rarely performed even today; Schonberg said they “push piano technique to heights undreamed of even by Liszt.” Only Italian pianist Francesco Libetta, above, has performed the complete set from memory in concert.

Leyland Kirby’s composition Everywhere at the End of Time depicts the progression of Alzheimer’s disease through six hours of successively degraded ballroom music:

STAGE 1: Here we experience the first signs of memory loss. This stage is most like a beautiful daydream. The glory of old age and recollection. The last of the great days.

STAGE 2: The second stage is the self realisation and awareness that something is wrong with a refusal to accept that. More effort is made to remember so memories can be more long form with a little more deterioration in quality. The overall personal mood is generally lower than the first stage and at a point before confusion starts setting in.

STAGE 3: Here we are presented with some of the last coherent memories before confusion fully rolls in and the grey mists form and fade away. Finest moments have been remembered, the musical flow in places is more confused and tangled. As we progress some singular memories become more disturbed, isolated, broken and distant. These are the last embers of awareness before we enter the post awareness stages.

STAGE 4: Stage 4 is where serenity and the ability to recall singular memories gives way to confusions and horror. It’s the beginning of an eventual process where all memories begin to become more fluid through entanglements, repetition and rupture.

STAGE 5: More extreme entanglements, repetition and rupture can give way to calmer moments. The unfamiliar may sound and feel familiar. Time is often spent only in the moment leading to isolation.

“Stage 6 is without description.”

Victoria Rose Richards embroiders moors.

The artist lives in Plymouth, England, and creates aerial views in needlework of the Devon countryside.

More at My Modern Met.

https://www.youtube.com/watch?v=Aw-E6LzJux8

This 2020 installation, by French artist Pierre Brault, is a reaction against accelerating lifestyles.

Fittingly, it takes a day to unfold.

In the Japanese art of kintsugi, broken pottery is not discarded but mended with a lacquer mixed with gold, silver, or platinum, to connote an appreciation of the flawed and the imperfect and to mark the repair as one event in the object’s life, not the end of its useful service.

The Japanese philosophy of mushin finds an analogy with human life. Christy Bartlett writes in Flickwerk: The Aesthetics of Mended Japanese Ceramics (2008):

Not only is there no attempt to hide the damage, but the repair is literally illuminated … a kind of physical expression of the spirit of mushin. … Mushin is often literally translated as ‘no mind,’ but carries connotations of fully existing within the moment, of non-attachment, of equanimity amid changing conditions. … The vicissitudes of existence over time, to which all humans are susceptible, could not be clearer than in the breaks, the knocks, and the shattering to which ceramic ware too is subject.

“This poignancy or aesthetic of existence has been known in Japan as mono no aware, a compassionate sensitivity, or perhaps identification with, [things] outside oneself.”

(See Edifice Complex.)