“I bought a really flashy piano that I couldn’t play at all.”

“I read an interview with Tom Waits, around the time of his album “Rain Dogs,” in which he talked about how you come to a point on an instrument where you have to stop playing it and find another instrument that you don’t know what you’re doing with. Part of songwriting is having that naïve excitement about not quite realizing why you’re getting off on it, because you haven’t had time to pull it apart yet. Songwriting relies on not pulling things apart: the best ideas are the simple ideas.”

Thom Yorke
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Chansons d’Amour : (Thott 291 8º ) : 37 verso


Chansons d’Amour  : (Thott 291 8º )  : 37 verso

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This Chansonnier, named by Knud Jeppesen as the perhaps most interesting and valuable medieval music handwriting in the Royal Library, occupies a special position among the relatively few manuscripts that surrender the French-Burgundian Chansons repertoire from the late 1400s. The script contains text and nodes for 33 three-star songs. A song – “Iactens secours” – was added in the 16th century. In conclusion, there are a number of “modulation exercises.”‘

The Netherlands diary

One of six decorative patterns of a knot; round shape of intertwined strapwork with an empty, disc in the centre, in the four corners single knots with ornamental foliage. Woodcut
One of six decorative patterns of a knot; round shape of intertwined strapwork with an empty, disc in the centre, in the four corners single knots with ornamental foliage. Woodcut

Entry from ‘Albrecht Dürer and his Legacy’ BM exh. cat. 2002, no.103:
‘This woodcut design for ornament is one of six ‘knots’, as Dürer referred to them in his Netherlands diary (see Goris and Marlier, p. 81) copied after six engravings of c. 1490-1500 thought to be designed by Leonardo da Vinci

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