Beloved History

To historians he is an enigma: he receives us as he did his ambassadors, with the utmost cortesy, listening to us, replying in a low and often unintelligible voice. Never speaking of himself at all. For three whole days just before he died, he confessed the errors of his lifetime. But who could truly imagine these errors, numbered before the tribunal of a conscience whose judgements may or may not have been just, as it searched the recesses of a long life? Here lies one of the great mysteries of his life, the shadow which if we are truthful we must leave across his portrait. Or rather his many portraits. What man does not change in the course of his life? And Philip’s life was a long and disturbed one, from the painting by Titian of the prince in his twentieth year to the terrible and moving portrait by Pantoja de la Cruz which show us the king at the end of his reign, the shadow of what he once had been.  —  Fernand Braudel, The Mediterranean and the Mediterranean world in the age of Philip II

THE EMPRESS  1.03, creat. Katharina Eyssen & Lena Stahl 

To historians he is an enigma: he receives us as he did his ambassadors, with the utmost cortesy, listening to us, replying in a low and often unintelligible voice. Never speaking of himself at all. For three whole days just before he died, he confessed the errors of his lifetime. But who could truly imagine these errors, numbered before the tribunal of a conscience whose judgements may or may not have been just, as it searched the recesses of a long life? Here lies one of the great mysteries of his life, the shadow which if we are truthful we must leave across his portrait. Or rather his many portraits. What man does not change in the course of his life? And Philip’s life was a long and disturbed one, from the painting by Titian of the prince in his twentieth year to the terrible and moving portrait by Pantoja de la Cruz which show us the king at the end of his reign, the shadow of what he once had been.  —  Fernand Braudel, The Mediterranean and the Mediterranean world in the age of Philip II

Palacio de Buenavista, Ciudad de México

the wedding

While he was in Portugal, the King had felt that he was rapidly ageing. He was, it is true, not yet sixty, but his stern devotion to work, the disappointments which he had already experienced, the loss of his wife, and, lastly, the death of Diego, the heir to the throne, during his absence, had made him prematurely an old man. His hair was now quite white; he was frequently a martyr to gout, being sometimes attacked in the right wrist, the hand which, literally, directed all his far-reaching plans. He was rapidly losing his teeth; no doubt, as he rather humorously wrote to his children, the little Infanta Maria’s teeth were coming so quickly in recompense. This child, in whom Philip displayed the greatest interest, died within a few months of his return from Portugal, and of his fourth marriage only one child, the small and delicate Prince Philip, was left him. — L. Klingenstein, The Great Infanta Isabel, Sovereign of the Netherlands

Ángela Cremonte and Marcel Borràs as Mary I of England and her husband Philip II of Spain in Carlos, Rey Emperador 2015

This is the oldest piece of music known to humankind. It’s engraved in cuneiform on a tablet from 1400 BC. And it was a hymn to their goddess Nikkal.

Whilst its the oldest piece of music, it’s not complete (I believe the oldest complete song is the Seikilos Epitaph), so it’s transcription is controversial; there are a few differing decipherments.

1.  Find the tablets. 2.  Know enough cuneiform to identify the language, the culture, the time period, and the fact that this is music notation, which was vanishingly rare in a culture where people wrote with a stylus on wet clay. 3.  Know what instruments people played and how they were used. 4.  Figure out how many strings this instrument had and how they were tuned.  This is harder than it looks because, while instruments can sometimes survive millennia, strings tend not to survive, and as any string player knows, tuning often doesn’t survive a single performance. 5.  Figure out the tuning system – our Western even-tempered scale is a recent invention.  J.S. Bach composed the Well-Tempered Clavier to show off even-tempered tuning in 1722.  The octave is a creation of physics; dividing the octave into pleasing individual notes that can be put together to make music is a creation of culture, and there’s no reason to assume that ancient Mesopotamians used modern Western scales. 6.  Learn the corpus of music theory that supports the structure of this piece of music.  If you know the theory, you can figure out what the music is doing; if you don’t know the theory, you have a random string of notes, not music. 7.  Because this was only a semi-written culture, music was heavily improvisatory.  You have to know that what’s written down is more of an outline or a suggestion.  The real art is in filling in the rest of the pattern.  A lot of traditional non-Western music works like this (and up until fairly recently, quite a bit of Western classical music also incorporated this aspect; even today, the art of playing a cadenza is a Thing), so if you’re not an ethnomusicologist, you’ll want to bring one in, preferably one who works with contemporary West Asian folk and/or classical forms. 8.  Ahhh!  At last!  You’ve gotten to the point where you think you can figure out what this piece is supposed to sound like.  Now you have to transcribe it all into Western staff notation (which isn’t designed to handle music like this). 9.  Unless you are also an expert on building and playing ancient Mesopotamian lyres, you must now go and find someone who is.  Fortunately, there are one or two of these people around.  Give that person your music, and book the recording studio! 10.  The next time anyone asks you why studying music is important, now you know.

Spain Eurovision 2022

Y'all have competition

Mommy? Sorry. Mommy? Sorry. Mommy? Sorry.