Sunday, 27 March 2016

The Mozarty Party World Peace and Global Prosperity Tour

Welcome to this ethereal little theatre for a brief introduction to the forthcoming Mozarty Party World Peace and Global Prosperity Tour.

Regardless of your beliefs about life in the universe, if you love peace, virtue, knowledge and wisdom, how do you usually display the art of sprezzatura in the context of the 21st century Enlightenment?











In accordance with the philosophical essence of this second Age of Enlightenment, whenever an adequate supply a remarkably beautiful sprezzatura performances of the highest quality become possible, only then are inclusive auditions, serious rehearsals and truly free public performances likely to occur.

Most performances on the tour ahead will be introduced, in several languages, either by the Count of Casatico himself, Baldassare Castiglione, or by one of his mortal or ethereal associates.  You may even audition to become a mortal associate yourself, if already suitably accomplished.

The well-known portrait of this courtly gentleman was painted just over five hundred years ago (c. 1514-1515).  It is almost certainly the work of Raphael (1483-1520), though there is no documentary evidence to prove the fact.  This is why, for the sake of accuracy, the work is described as being attributed to Raphael, even though, in almost every respect, it is known that the portrait was, indeed, painted by Raphael.  Art history relies upon evidence, of course.












Paintings by Raphael are often considered to be as valuable as important philosophical ideas.  This especially applies when those paintings happen to be missing.

Whilst beginning with reflections on the Renaissance era of European history, the Mozarty Party World Peace and Global Prosperity Tour, and the simultaneous journey towards the second Age of Enlightenment, will usually place sprezzatura at the heart of democracy and diplomacy. All the history reflected throughout the tour will be based on evidence, too.

The Mozarty Party provides insights into the beauty, understanding and magnificence to be revealed through history, and through experiences of the present.  The most respectable audience members and other performers, at least in this ethereal theatre, have the ability to distinguish between outstanding arts and outrageous antics.










Through all his experiences, Signor Castiglione gained an understanding of the necessity for reasonableness, perceived confidence and understatement in achieving a successful career.  His book, which took him twenty years to complete,was first published in Venice by the Aldine Press in 1528, just a year before his death. In 1527, the Sack of Rome had occurred.

While painting the portrait of his friend, Raphael was in the middle of his most famous commission, painting frescoes in four relatively small rooms in the Apostolic Palace in Rome.  He had many assistants to help him, unlike another commissioned artist who had preferred working alone on a nearby ceiling.

In this ethereal theatre, everyone is encouraged to be well-prepared for the future.  They may do so by becoming well acquainted with the best of the past, preferably at an early age.  They will usually become enlightened by knowing how the best of the past is distinguished from the worst of the past, and the worst of the present.















The Mozarty Party World Peace and Global Prosperity Tour is mainly about the best of the present for the benefit of the best of the future.  There is obviously still much training for everyone to complete.

For anyone missing out on the opportunity to train at an early age, there are a few free tutorials sometimes supplied through the International Training Centre for the Harmonious Interplay of Beauty, Understanding and Magnificence. Those tutorials should help everyone to catch up with the requirements.

Were you at the public performance here in January this year?

New interpretations can often give rise for new meanings and the rejection of older ones.  The consequences can sometimes be dangerous and sometimes not.  This applied not just in relation to older texts but also in newer political circumstances, of course.



















For many years, as the author of The Book of the Courtier (Il Libro del Cortegiano), Signor Castiglione (1478-1529) has gently encouraged people, especially influential and/or reasonable people, to reflect on matters of etiquette and morality.  How do you usually reflect on matters of etiquette and morality, dear audience member?

Signor Castiglione was born near Mantua in Lombardy, a city known in Italian as Mantova.  He had a humanist education in Milan before returning to Mantua to work for the Gonzaga family.  After a while, he then entered the service of the Duke of Urbino. This lead him to Rome where he eventually became an diplomat in the service of Pope Clement VII at the Spanish court of Charles V.

Unfortunately, at the age of fifty, Signor Castiglione died in Toledo, of plague.  The city of Toledo had, for many years, been a centre of scholarship and interfaith tolerance.  The world renowned research on tolerance and democracy, in the Department of Government at Uppsala University in Sweden, is itself known as TOLEDO.











It is well known that, throughout history, politics and religion have often been intertwined with each other and, unfortunately, with hypocrisy and complacency.  Religion is often a blend philosophy, politics and history, without necessarily supplying a factual basis for beliefs and actions.  Politics is often a blend of philosophy, history and religion, without necessarily supplying a factual basis for beliefs and actions.

Art history, on the other hand, is about placing aesthetics in the context of ethics, politics and history.  There have been many discussions in the parlour of Villa Twaklinilkawt about artistic significance.













There have also been deliberations in the parlour as to whether the discussions on artistic significance have been too early or too late

There have been conversations in the parlour about public and private interests

Two months ago, in this ethereal theatre itself, we had the first and only public performance of a new production.  As you may already know, especially if you were here, it celebrated two hundred and sixty years of Mozarty musical activity in the world.












At around this time last month, the first and only public performance of another new production occurred here.  That was presented in relation to other public performances.

No two performances or productions are ever quite alike in this location, even when exclusive access is supplied to its private events.  In most locations with live audiences, audience members are themselves likely to contribute to the performances, depending on the etiquette and morality of the situation.

Thomas Tallis (1505-1585) is obviously of a slightly later generation than that of the accomplished Signor Castiglione and his equally accomplished friend, Raphael.  If Ye Love Me is performed here by the Voices of Ascension Chorus & Dennis Keene.  The words for the work are from the New Testament:


John 14:15-17:

If ye love me, keep my commandments.
And I will pray the Father, and he shall give you another Comforter,
that he may bide with you forever, even the spirit of truth.



Whether you believe in a resurrection or several resurrections, or not, you may believe in the possibility of a sustainably peaceful and prosperous world.  Enlightened persons do not seek revolutions or insurrections, unless absolutely necessary.  They seek stability through a reasonable and clear approach to honest reform, aided by trustworthy dialogue whenever possible.
 
Thomas Tallis was an English Catholic composer during the short reign of the Protestant child-king Edward VI (r.1547-1553).  The career of Mr Tallis later flourished in the equally dangerous context of Elizabethan England.  As a Catholic, his beliefs were still based on the Vulgate.

But if the words of If Ye Love Me are from the English-language King James Version of the Bible, it would have been possible for Mr Tallis to have set them to music.  The King James Bible was published long after Mr Tallis died.

















It is plausible that the words were from an earlier English-language version, possibly the Tyndale Bible from which the official Great Bible of 1539 was produced.  The New Testament of the Tyndale Bible relied upon the earlier work of Erasmus.

Mr Tallis possibly set the text in English to save his career, and perhaps even life, in a tense, Protestant-dominant situation.  William Tyndale was born in Gloucestershire in England sometime between 1484 and 1496.  He was executed for his Protestant beliefs in 1536, not far from Brussels in the Duchy of Brabant.













If Ye Love Me by Mr Tallis was first published in 1560 though the work had been performed during the earlier time of Edward.  Also published in 1560 was the newly completed Geneva Bible, which would soon have a profound influence on English literature, and on politics.

The English-language version of the The Book of the Courtier had a profound influence at the court of the first English Queen Elizabeth.  Elizabeth reigned from 1558 to 1603.  The Book of the Courtier was first published in an English-language edition in 1561, translated by Thomas Hoby.  Elizabeth was then about twenty-eight years of age.











The influence of The Book of the Courtier continued into the European Enlightenment, and especially into international diplomacy.  Its influence even continues to this day amongst the well-informed advocates of world peace, global prosperity, enlightened democracy and reasonable tolerance.

Signor Castiglione had observed that consistency, integrity and decisiveness were necessary in all matters involving politics and diplomacy.  He also knew that fair agreements were the basis of peace.

The book was deeply influenced by the enlightened cultural leadership provided by educated women, most notably Isabella d'Este and her sister-in-law, Elisabetta Gonzaga.  Such matters are frequently discussed here in Villa Twaklinilkawt with a similar level of dignity.  They are also discussed elsewhere from time to time.
















The Mozart era of sprezzatura only began in the latter half of the 18th century though some of its influences originated long before the time of Tallis, Castiglione and Raphael.  By the 18th century, irony and sprezzatura had become firmly established in European diplomatic history, along with hypocrisy and complacency.

It is very well known that no-one else has ever expressed musical sprezzatura to the same extent as Mr Mozart.  Indeed, much of Mr Mozart's music was written for diplomatic purposes, in several important locations, mostly Catholic but sometimes Protestant and occasionally with those points of view either ignored or intertwined.

The Mozarty Party World Peace and Global Prosperity Tour will mainly consist of private performances in the most culturally-appropriate of diplomatic settings.  Should you wish to be involved in the tour, in any way at all, please contact the Villa Twaklinilkawt Communications Team.

Before providing your enlightened opinion, on any matter at all, and especially before performing at the initial audition, your accurate examination of every relevant context should occur - in the relevant context of the juxtaposition of all relevant contexts.

To assist you, here is another performance of If Ye Love Me by Thomas Tallis, from 2010: