One of the most brilliant pieces ever

I dreamed to find this music sheet for a lo-o-ong time, but today I finally caught my luck by its tale.

Its world famous Mozart’s violin duo and its geniality and brilliance is obvious if you just have a look at it. Two violinists stand face to face and put this music sheet in between AND CAN PLAY, as music is written in the way which allows both musicians to play without turning this page upside down and the melody everyone sees MATCHES and creates beautiful duo.

Look, you can see treble clefs from both sides of the sheet!



Mozart - Der spiegel (reverse duo)

Was Beethoven Black? Was His African Heritage Whitewashed? ("Did you ever know?..", p.7)

(Original text is here:

In the 15th and 16th century, written history underwent a massive campaign of misinformation and deception. With the European slave trade in full swing, Africans were transported to various parts of the world and were stripped of every aspect of their humanity, and in most of western civilization, were no longer considered human. This triggered a wholesale interpretation of history that methodically excluded Africans from any respectful mention, other than a legacy of slavery. This can result in being taught, or socialized, from one perspective. In this instance, historical information tends to flow strictly from a European perspective.

In an age where history is seriously being rewritten, new information is coming forth that is shocking intellectual sensitivities. What was once considered written in stone is now melting away with the discovery of facts that heretofore have been hidden or omitted; things so different that they are generally classified as controversial or unusual.

That brings us to the topic of this post; the true identity of Ludwig van Beethoven, long considered Europe’s greatest classical music composer.  Said directly, Beethoven was a black man. Specifically, his mother was a Moor, that group of Muslim Northern Africans who conquered parts of Europe–making Spain their capital–for some 800 years.

In order to make such a substantial statement, presentation of verifiable evidence is compulsory. Let’s start with what some of Beethoven’s contemporaries and biographers say about his brown complexion.:


(Louis Letronne, Beethoven, 1814, pencil drawing.)

” Frederick Hertz, German anthropologist, used these terms to describe him: “Negroid traits, dark skin, flat, thick nose.”

Emil Ludwig, in his book “Beethoven,” says: “His face reveals no trace of the German. He was so dark that people dubbed him Spagnol [dark-skinned].”

Fanny Giannatasio del Rio, in her book “An Unrequited Love: An Episode in the Life of Beethoven,” wrote “His somewhat flat broad nose and rather wide mouth, his small piercing eyes and swarthy [dark] complexion, pockmarked into the bargain, gave him a strong resemblance to a mulatto.”


 Beethoven’s death mask: profile and full face

C. Czerny stated, “His beard–he had not shaved for several days–made the lower part of his already brown face still darker.”

Following are one word descriptions of Beethoven from various writers: Grillparzer, “dark”; Bettina von Armin, “brown”; Schindler, “red and brown”; Rellstab, “brownish”; Gelinek, “short, dark.”

Newsweek, in its Sept. 23, 1991 issue stated, “Afrocentrism ranges over the whole panorama of human history, coloring in the faces: from Australopithecus to the inventors of mathematics to the great Negro composer Beethoven.”

Of course, in the world of scholarship there are those who take an opposite view. In the book The Changing Image of Beethoven by Alessandra Comini, an array of arguments are presented. Donald W. MacArdle, in a 1949 Musical Quarterly article came to the conclusion that there was “no Spanish, no Belgian, no Dutch, no African” in Beethoven’s genealogy. Dominque-Rene de Lerma, the great musical bibliologist, came to the same conclusion.

Included in this discussion is a reference made of Beethoven’s teacher, Andre de Hevesy, in his book, Beethoven The Man. “Everyone knows the incident at Kismarton, or Eisenstadt, the residence of Prince Esterhazy, on his birthday. In the middle of the first allegro of Haydn’s symphony, His Highness asked the name of the author. He was brought forward.

“‘What!’ exclaimed the Prince, ‘the music is by the blackamoor (a black Moor). Well, my fine blackamoor, henceforth thou art in my service.’

“‘What is thy name?’

“‘Joseph Haydn.’”

In Alexander Thayer’s Life of Beethoven, vol.1, p. 134,  the author states, “there is none of that obscurity which exalts one to write history as he would have it and not as it really was. The facts are too patent.” On this same page, he states that the German composer Franz Josef Haydn was referred to as a “Moor” by Prince Esterhazy, and Beethoven had “even more of the Moor in his looks.” On p. 72, a Beethoven contemporary, Gottfried Fischer, describes him as round-nosed and of dark complexion. Also, he was called “der Spagnol” (the Spaniard).

Other “patent” sources, of which there are many, include, but are not limited to, Beethoven by Maynard Solomon, p.78. He is described as having “thick, bristly coal-black hair” (in today’s parlance, we proudly call it “kinky”) and a “ruddy-complexioned face.” In   Beethoven:  His Life and Times by Artes Orga, p.72, Beethoven’s pupil, Carl Czerny of the “School of Velocity” fame, recalls that Beethoven’s “coal-black hair, cut a la Titus, stood up around his head [sounds almost like an Afro].  His black beard…darkened the lower part of his dark-complexioned face.”

(Blasius Hofel, Beethoven, 1814, monochrome facsimile of engraving after a pencil drawing by Louis Letronne.)

"The show must go on!.." (c)

Yes, indeed.

Sad to say, but “ATOMIC” is over. Terrific event, terrific music, terrific band, warmest and most welcoming atmosphere both from the management and from the audience – there’s nothing else to wish!

I’ll always remember you guys and hope to see you soon in new production!!



P.S. If one cannot see me – I’m second right in the back row.

P.P.S.  Woooow, turns out it was staged in New York and had 500 shows in total !!!!!! I an happy and a puppy!  😉

MOZART’S mug shot ("Did you ever know?..", p. 6)

(Original text is here:



This picture is a facial composite of Wolfgang Amadeus Mozart, circa 1777, generated around 1991 (no later than 1992) by the Bundeskriminalamt Wiesbaden—the Federal Criminal Police Office of Wiesbaden, Germany—from four portraits that appeared during Mozart’s lifetime. The details on how or why they did this are scarce, unfortunately. In 1777 Mozart was twenty-one years old.

Who do you think he looks like—Gene Wilder? Tim Roth? Tom Hulce? Ladies (and gents), would you give this man your phone number?

There’s actually a second picture like this out there. An Alabama resident named Christine Pursell took this snapshot while on vacation in Mitteleuropa a few weeks ago. Pursell notes that it dates from 1993, although it says “Copyright 2002” on the picture itself.


What do you think? Nicolas Cage? Ted Bundy?

Everyone seems to agree that this fellow doesn’t particularly resemble the paintings that have survived of Mozart, but it’s still fun to think about.

P.S. from me:  Well………..

He looks really scary, doesn’t he? If I knew him in person, most likely I would try to avoid him, seriously.

Funniest gig ever

The topic of this fabulous gig was was quite common – annual anniversary at St.Paul’s College near of Sydney University.  But who can guess that this is going to be gig to remember – I never had so much fun!

One of the guests had some kind of relation to the Agricultural Department of Something-Something, so he managed to bring  (ttttrrra-ta-ta, attention!)  4 kittens, 4 chickens, 4 little duckies, 4 bunnies and 4 little cute goats, just to please and entertain the guests (some of them were with their kids), and, you know, whether you’re early 20th or late 50th – you still cant resist to give a cuddles here and there if you see these cuties!


Last exam on this season - "bravo!"

My far-away student, Ugo, who lives in Alice Springs, has his AMEB exam yesterday and his mum told me that when he was done to play his program, examinator said “bravo!”.

I’m speechless!! Its so priceless moment, entire year of hard work worth to hear that easy short word, because as far as I heard, examinators rare express their relation to what they heard.

Which means, Ugo amazed him, he really did,  I’m SSSSOOOOOO  PROUD !!!


UPD: This guy have got “A+” at the exam. Incredibly well done!!!!!!

7 Things to Consider When Buying a Fine Bow (c)

Purchasing a quality bow can be a wise investment for your playing and your wallet

By Philip Kass posted July 2011

Photo: Richard Ward, Ifshin Violins

The last few years have witnessed a dramatic increase in violins and bows as investments. With traditional investments, like real estate and the stock market, not as strong as they once were and interest rates at historic lows, many are scrambling to find investments that pay a better return. As a result, the market for collectible violins and violin bows has been vigorous.

Violins and bows fit into the category of “usable collectibles”—that is, they pay musical and financial dividends. Indeed, the value of fine stringed instruments and bows increases over time, but one must use them to treasure them. And, while the market in both violins and bows continues to grow, bows are especially enjoying some advantages over violins in the current collector market. Bows generally cost less (so they are more accessible) and take less storage room, and while musicians may have one or two instruments, they likely own numerous bows, and so the demand is much higher. And bows offer more bang for your buck—while $10,000 can buy a nice violin, it will buy a first-class French bow from the early 20th century. Furthermore, the number of well-preserved classic bows declines at a faster rate than it does for instruments, adding to bows’ increasing rarity—and value.

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