What does is it mean to see a painting—and is seeing it the same thing as understanding it? Hieronymus Bosch's monumental Garden of Earthly Delights is instantly recognizable to most lovers of Renaissance art, and as Professor Catherine B. Scallen explains, it has been admired, looked on with shock, and puzzled over for 500 years. In its own time it was copied and even made into tapestries. It has been owned by a deeply devout Catholic king of Spain—and in the 1900s was cited by various scholars as representing the lost golden age of humanity, symbolizing the coded language of the alchemist, or even proving its creator's belief in sexual license. In the turbulent 1960s its images were common in dormitory rooms, delighting students eager to accept its joyful, frolicking nudes in their fantasy landscape as a proclamation of freedom and self-indulgence.
Norwegian symphonic black metal giants, DIMMU BORGIR, finally emerge from the depths of darkness, to mark 2017 as the year of their monumental return. On April 28th, they will finally release their highly-anticipated DVD »Forces Of The Northern Night«, containing two of the band's live rituals: Their legendary show in Oslo, showing DIMMU BORGIR on stage with the Norwegian Radio Orchestra and a bombastic choir, as well as the entire performance at Wacken Open Air 2012 with almost 100 musicians on stage. Both concerts present a spectacular sound scenario of raging black metal in front of an epic orchestral landscape and the band's unique visuals.
The art of transcription - of recasting music, more or less literally, from one performance medium into another - has been a common practice for a long time. A good transcription (or a paraphrase) tests the abilities and the imagination of the transcriber as much as the creation of an original composition. Trying to maintain the distinct characteristics of a given work, while meeting the demands of a new medium, are not always easily achieved. But in a world where the pursuit of stylistic authenticity has become the performance ideal, transcriptions and paraphrases have often been frowned upon by purists as tamperings or sacrilegious alterations with the purity of the composer’s original.