Bernart de Ventadorn is, like Josquin Desprez some decades after him, a composer, or in Bernart’s case more properly a troubadour, using the distinction of experiencing his name spelled twelve various ways in as much historical resources — For Bernart we often browse Bernatz or Bernard, as well as for de Ventadorn we would look for de or del Ventador or Ventedorn, etc etc. But, peculiarities of nomenclature apart, Bernat is still of great curiosity to supporters and learners of Medieval music: almost 20 of his music survive with both poem and melody unchanged, quite a significant number compared to various other twelfth-century troubadour music that have drop to us. Based on tradition, Bernart was created sometime around 1135 in Ventadorn castle (therefore the “de Ventadorn,” that is not really properly a final name) within the south of France. Hardly any is known for certain of his lifestyle, but he will seem to possess served the courtroom of Eleanor of Aquitaine in Normandy for quite some time, and perhaps also that of Count number Raimon V of Toulouse. Star provides it that he passed away within a monastery sometime around 1195, but no documentary proof supports the star. Bernart’s music are great representatives from the monophonic melodic design of Traditional western European countries in his time; in fact, these are much better than “great” — Bernart’s music was incredibly well-known through the DARK AGES (that is without a doubt among the factors that so a lot of they have survived), and his contact was sensed by many years of music artists after him. Many today believe the eight-stanza music “Can vei la lauzeta mover” (also spelled “Quan vei la lauzeta mover”) to become both best-preserved and incredibly most likely the most important of all middle ages tracks, and certainly of most songs written within the langue d’oc, or Provençal, vocabulary. Each rhyming stanza is defined towards the same four phrases of music, which musical paragraph itself is totally through-composed, in order that no two phrases audio as well save for the repetition of some fundamental melodic gestures.
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|1||I was working with Anthony Daniels, who played C3PO, on Jackanory. He rang me after the show one night and said 'I'm doing this film, it's a science-fiction film and the director's asked me if I know any other youngish character actors around who could do it, and I said you might be interested.' The next day, I found myself at Elstree and I walked out very early in the morning after a long journey, desperate for something to drink. Walked out on to this massive soundstage, with this spaceship - the Millennium Falcon - at the other end. There's nobody there except for one bloke in the corner. He looked like an assistant, so I said, 'Excuse me, my name's Paul. Somebody's called me over here to see some guy, you couldn't get me a cup of coffee, could you?' And he went and got me a coffee. I said, 'Thank you very much, do you know this guy called Lucas? George somebody-or-other? He's the director of this.' He said, 'I'm George Lucas.' So I'd made George Lucas go and get me a coffee.|
|2||The character will live forever. For years I thought, "I'm a serious actor, I've played Macbeth, and on my tombstone it will say Here Lies Greedo". And according to all my kids that's pretty cool, so I feel very good about that now. [on being known only for his small role in Star Wars]|
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