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Maria Zambrano observes the allegory of Spain in Quijano, an ambiguity that manages to be expressed with the depth of literature that is not afraid to delve into the most intimate secrets of existence. Iberian modernity, already Baroque, is born accompanied by ambiguity: literary creation reaches the novel and thus finds another ontological possibility, the possibility of being narrated and spun between poetic metaphors with no fear of the depths and contradictions of the oscillating Baroque soul. Baroque, novel, ambiguity, failure, Cervantes, Don Quijote Se descubre en el arte -otro nombre de la humana creación- el anhelo elevado a empeño de reencontrar la huella de una forma perdida ya no de saber solamente, sino de existencia. Se plantea la necesidad de desandar el camino para encontrar y observar los momentos fractura, por ello se propone una revisión de la razón moderna, una reforma del entendimiento español que contempla, para el conocimiento, la importancia fundamental de la literatura.

After Yarbrough's tragic paralysis in a 1964 traffic accident, Sipe continued on his own, creating church organs in Texas and then beyond, as well as teaching and practice in- struments for Southern Methodist University in Dallas and Texas Christian University in Fort Worth. With a new infusion of money from investor David Knutson, Sipe was tapped to head the tracker initiative, and in 1970 he became the company's vice president and tonal director. A showpiece for Aeolian-Skinner's new venture, it was featured on the \"King of Instruments\" recording series by the late Robert T. Anderson, professor of organ at Southern Methodist University.

Convention travel was typically still by yellow school bus and private car, with occasional use of comfortable tour buses. In this era of OHS convention concerts, Baroque music was still predominant fare, and although Reger, Mendelssohn, Scott Joplin, Elgar, and Vierne made appearances, there was a broad selection of early composers, including Sweelinck, Frescobaldi, John Bull, Buxtehude, Bach family members, Balbastre, Couperin, and Clérambault, who had been regular convention fare since the young society's inception in 1956. The most striking news that came out of the 1974 Annual Meeting was the surprise announcement that the OHS was removing the notice in all official documents of the Society that it was headquartered at the York (Pa.) Historical Society, home of David Tannenberg's last organ and the first formal headquarters of the fledgling organization. The Iowa and Boston organs, along with the large fourmanual Casavant tracker installed in the Cathedral of St. Peter and Paul in Providence, R.I., were the last major organs designed by Phelps during his association with Casavant and culminated a decade of state-of-the-art neo-Baroque work by the firm that propelled it to the forefront of North American organbuilding in the 1960s.

The essential link of the Baroque with the experience of strangeness and with its own admiration or wonder has been pointed out many times. The very word «baroque» means «strange» (Spitzer, 1980: 311) and it is often said that Baroque art is defined by the «aesthetics of strangeness» (Paz, 1982: 85) or that admiration is one of its fundamental principles (Riley, 1963: 173). The following pages wish to explore this hypothesis with reference to the way in which the philosophical thaumazein is present in two important Baroque moments: in disillusionment, omnipresent in the Baroque culture of the seventeenth century, and in «the marvelous real» suggested by the neo-Baroque. El momento de alteridad, constituyente del núcleo de la experiencia filosófica, es ocultado por toda la tradición ontoteológica posterior detrás de la referencia a un plano de realidad más auténtica en el que reside el verdadero fundamento explicativo del mundo apariencial.

THE FIRST EFFORT to build an organ in colonial South Africa occurred in 1720, but the plan for a Dutch instrument to be installed in the Groote Kerk in Cape Town never came to fruition. Because of the impact of the Reformation in Europe, no organs were constructed in South Africa before 1735.1 Evidence suggests that the first documented organbuilder in the country was Johann Jacob Posse (Poosen), who emigrated from Eisleben, Germany, and whose ship docked in Cape Town in 1735. The largest free-standing organ in South Africa in terms of structural design is found in the Feather Market Centre in Port Elizabeth. [...]many South African organs during the 1970s and 1980s were characterized by fresh, natural, and unforced tone.12 However, the tonal features of this newly-found sound idiom were not appreciated in all circles and began eliciting various levels of criticism in the organ fraternity. Paul Ott built other significant organs in South Africa based on Orgelbewegung principles:16 Evangelisch-Lutherische Kirche St. Petri in Paari (1962, И/Р/10) Deutsche Evangelisch-Lutherische Kirche in Kroondal (1964, II/P/14) Deutsche Evangelisch-Lutherische Kirche in Mossel Bay (1971, II/P/17) Deutsche Evangelisch-Lutherische Kirche in Pretoria (1973, II/P/21) The Kroondal organ was donated to the congregation by Bayer, the German pharmaceutical company.17 Ott also built a number of practice organs for the music departments of the University of Stellenbosch (two in 1967), the University of the Free State (two in 1970), and the University of Pretoria (one in 1970).18 MARCUSSEN & SØN The internationally acclaimed Danish firm Marcussen & Søn was established in 1806 by Jürgen Marcussen (1781-1860).

Este artículo pretende establecer una comparativa de los conceptos de cuidado en dos tiempos distintos, pero en diálogo: de un lado la funcionalidad del cuidado como elemento constitutivo de la subjetividad barroca en la figura de Baltasar Gracián; del otro lado, la caracterización y el vínculo recíproco entre mundo y ethos, pensado eminentemente a partir de Heidegger y Sloterdijk. Sin desestimar las divergencias epocales, no completamente asimilables ni plenamente traducibles entre sí, se busca examinar las condiciones mínimas y compartidas acerca del cuidado que en los casos presentados posibilitan la constitución del sujeto y del mundo. Con tal lectura pretende indagar en otra vinculación de nuestro presente con la modernidad: en vez de enfocarse en el las posibilidades de emergencia del sujeto autoconstituido y constituyente, se trataría más bien de repensar las condiciones de un ethos instalado en el mundo que se le presenta.

Un simple partimento serait trop aride pour commencer car, comme nous l'avons vu, cette musique est précise dans l'écriture, et nos efforts se porteront au moins autant sur la propreté des lignes de l'accompagnement que sur le solo de basse lui-même. Rappelons que l'usage de dissonances est limité : finalement, il s'agit surtout de la chaîne 7-6 sur un mouvement descendant de la basse par mouvement conjoint (voir ci-dessus), mais pas systématiquement, ici la solution avec consonances : A 3 voix, la voix médiane doit se déplacer en conséquence : « PARTIMENTO ARRANGÉ » Le moment est venu d'essayer de reconstituer la pièce au moyen d'une version à trous, sorte de « partimento arrangé » (comme un café peut être arrangé...) : Le C. F. est attaqué ici sans introduction. Dans ce cas il y a presque toujours une correspondance entre voix accompagnantes et solo, comme ici, pour l'avant-dernière période (Christe eleison).

The aim of this study is to characterise Pieśni nabożne by Remigiusz Suszycki and to reflect on the vision of the hereafter presented in this poetic cycle. Pieśni nabożne were first printed in 1697 by the print house of Franciszek Cezary the Younger in Kraków. They were subsequently reprinted and supplemented in 1700 and 1702. The collection is internally diverse. The third part, collectively titled Świat górny, contains two genres of works: songs and echoes. On close reading, it is possible to recognise Remigiusz Suszycki’s literary strategy, which consisted in juxtaposing songs and echoes, creating a form of dialogue between two subjects in two corresponding works. The dialogue that takes place between the two pieces is intended to highlight two different perspectives – the earthly one (representing the human viewpoint) and the heavenly one (showing the vision of the heavenly intelligences). The whole is tied together by an idea related to the tradition of negative theology: throughout Świat górny, unscientific faith is valued positively, while the attitude of man possessing uncertain knowledge is valued negatively, against the background of man’s intellectual achievements in the field of natural science presented in the work. These observations also allow us to present the profile of a little-known author, namely Remigiusz Suszycki. A fuller characterisation of Pieśni nabożne also fills a gap in research on late Baroque religious poetry.

According to Edwin, the Johnson Company built the elder Hedges an organ for his home as a practice instrument for Edwin. In this instance, while the tracker-action chassis was retained (its action apparently being the part of overriding concern), all the flute ranks were discarded, principals were kept, but denicked and revoiced, strings were cut down into upperwork, and the organ was crowned with a new Zimbel and Krummhorn. When he left the firm after a dispute with his business partner, Merklín formed a competing company with J. Gutschenritter, the former Merklín foreman, titled J. Merklín & Cie. On his retirement in 1899, the surviving partners retained the name of the firm until Merklin's death in 1905, at which time Gutschenritter added his name. The specification appears on paper as a carbon copy of a stock-model Cavaillé-Coll orgue de choeur, including the general style of the detached console, hitch-down pedal couplers and expression pedal, and pedal ventil control for the lone manual reed stop (anches).