Der COHENPEDIA – Blog auf www.leonardcohen.de # (seit 1 9 9 6 !!! ) # – Willkommen zu Christof Graf s COHENPEDIA – LEONARD COHEN – Blog ist seit 1.9.2014 online. Der COHENPEDIA-Blog ist anlässlich Leonard Cohens 80. Geburtstag am 21.9.2014 und seinem zu diesem Datum veröffentlichten Spätwerk "Popular Problems" entstanden. Der COHENPEDIA – Blog ist eine Subdomain zur seit 1996 bestehenden ersten deutschsprachigen Website (www.leonardcohen.de) über Leonard Cohen sowie der damit verlinkten WWW.COHENPEDIA.DE.
17.500 Besucher sind bisher angereist.
Um 14 Uhr hat der LIDL-Rock Store den Betrieb aufgenommen.
Die Parkbereiche A1, A2 und B7, sowie die Caravan Parking Flächen B2a, B3 und C8 sind bereits belegt.
Der General Campingbereich A2/A5 ist ebenfalls voll belegt, wer bereits in der Warteschlange steht, erhält noch Einlass.
Wir befüllen aktuell die folgenden Parkflächen:
General Camping: B5b, B5c, B9, C6a, Krebsberg
Green Camping: In der Acht
Rock’n’Roll Camping: B5a
Caravan B-Zone: B4
Caravan C-Zone: C7
Caravan D-Zone: D2, D3
Innerhalb der einzelnen Bereiche werden die Teilflächen nach Bedarf belegt.
‘Write me and tell me your heart’ — Leonard Cohen’s letters to Marianne Ihlen
This June Christie’s brings to auction more than 50 letters from Leonard Cohen to his muse and lover, together with seven of Marianne Ihlen’s own letters. Together they offer fascinating glimpses of the young poet’s yearnings and artistic struggles
Two parallel stories unfold across this remarkable correspondence between Leonard Cohen and Marianne Ihlen, his muse and lover. The first is that of the romantic relationship that inspired songs such as So Long, Marianne and Hey, That’s No Way to Say Goodbye, with the letters revealing a deep tenderness that never fades, even long after they’ve parted. They underscore Marianne’s role during pivotal years as a bedrock for Leonard, in both his life and work.
The second story is that of Leonard Cohen the artist. The letters begin in 1960 when he is a 26-year-old struggling writer with a single book of poetry under his belt, and go on to cover the writing, revision, and publication of nearly everything that follows, including his transition in the mid-1960s from poet and novelist to singer-songwriter. They span to 1979, save for one later postcard, which was written in the 2000s.
Cohen first arrived in the Greek island of Hydra in April 1960 and quickly fell for the bohemian lifestyle if offered. He purchased a house on the island that September with the proceeds of a small inheritance.
Marianne was married to Norwegian novelist Axel Jensen at this time, and they had a baby together. But the marriage was troubled and Marianne and Leonard were quickly drawn to each other. During their years together she would provide him with a nourishing, stable existence.
Their relationship, however, was often long-distance and occasionally turbulent, and it eventually drew to a close as Cohen’s career as a musician began. Even so, notes and letters were exchanged for many years after they parted, highlighting what Cohen refers to in one letter as their ‘enduring love’. And as he sings in Hey, That’s No Way to Say Goodbye, ‘You know my love goes with you as your love stays with me / It’s just the way it changes, like the shoreline and the sea.’
These important letters shine a light on Leonard Cohen’s love, his life and work — through his own poetic words. They contain numerous lines and passages that sound like early drafts of songs, with each one giving new context, new understanding, to his oeuvre.
Postmarked from all over the world, they take us from Hydra and Cuba to the Chelsea Hotel and Nashville, from Scientology to Zen Buddhism, from young poet to world-famous artist.
Cohen’s first separation from Marianne
This early letter was written from the beaches of Tel Aviv, marking Cohen’s first separation from Marianne after meeting her earlier in the year. It is more formal and self-conscious than letters that follow, and he describes feeling jarred by city life after so much time on their idyllic Greek island.
The letter closes with a line that reads like song lyrics: ‘It’s hard to write you. The surf is too loud. The beach is too crowded, and you’re too much in my heart to put anything down.’
The collection includes two photographs of Leonard bearing his handwritten notes to Marianne on the reverse. This one, likely dating to the mid-1960s, was written while Cohen was en route to Rome. The other tells her he is coming to Hydra soon and asks, ‘Will you be there?’
The difficulties of a long-distance romance
Writing from 3702 Mountain Street, in Montreal, this letter from early 1961 reveals the strains of being apart. During this period, Cohen was dividing his time between Greece and Canada, essentially returning to Montreal periodically in order to earn money to fund his life in Hydra.
A recurring theme throughout the letters is the conflict he feels between love and independence; despite his love for Marianne he is compelled to be on his own, but once on his own, he longs for her. ‘Forgive my long silence. I have not even spoken to myself,’ he writes, before closing ‘Write me and tell me your heart.’
Optimistic about career opportunities and grateful for her support of his novel, The Favourite Game, which would be published later that year, Cohen writes to ask Marianne to join him in New York. ‘I want you to come to New York very soon and I’m working to arrange it. There’s a fair chance that a U.S. magazine will use a section of my book before publication and that will mean some money.’
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He closes: ‘I could never have rewritten my book without you, and I don’t think I’ll write another one without you. So if I don’t make a fortune within the next little while, let’s get back to Hydra and be poor together.’
‘I sang in New York for the first time last night,’ Cohen reveals in this letter from February 1967. After years of struggling as a poet and novelist, in the mid-1960s he decided to pursue a music career. He was championed by Judy Collins, who recorded Suzanne with great success, and his first album, Songs of Leonard Cohen, was released in December 1967. This letter is on Penn Hotel letterhead, and it is during a stay there that he would write Hey, That’s No Way to Say Goodbye.
‘I put steel strings on my guitar, that’s like changing from underwear to armour, that’s New York City.’ In the course of this fabulous letter written from Bleeker Street, Cohen captures the texture of city life, the current music scene, and his ‘enduring’ love for Marianne. He would sign with Columbia Records only a few weeks later, on 26 April, earning an advance of $2,000.
In his song Anthem, Cohen famously writes ‘Ring the bells that still can ring / Forget your perfect offering / There is a crack, a crack in everything / That’s how the light gets in.’ This bell originally decorated a staircase in Marianne’s home in Hydra before accompanying her when she went to live with Cohen. It sat in various places, including on his desk for many years, and most likely provided inspiration for one of his great lyrics.
Lot 1
From Tel Aviv with love
Tel Aviv, 13 September 1960
Estimate: USD 6,000 – USD 9,000
(EUR 4,803 – EUR 7,204.50)
Lot will start on 05-Jun-2019 10:00 AM (EST)
Autograph letter signed (“Cohen”) to Marianne Ihlen („My dear Marianne“), Tel Aviv, 13 September 1960.
Two pages, 270 x 202mm, pencil on lined paper; with transmittal envelope (torn).
“It’s hard to write you. The surf is too loud. The beach is too crowded, and you’re too much in my heart to put anything down.”
An important early letter written from the beaches of Tel Aviv, marking his first separation from Marianne after meeting her earlier in the year. Fleeing rainy London, Cohen first arrived in Hydra in April 1960. Enamored with simple island life and the bohemian community, he would purchase a house there that September with the proceeds of a small inheritance. Marianne was married to Norwegian novelist Axel Jensen at this time and they had a baby together. But the marriage was troubled and Marianne and Leonard soon came together, though he would later recall that initially they “didn’t think there would be a love story. We thought we would live together” (qtd in Nadel, Various Positions,p. 83).
This letter is more formal and self-conscious than those that follow. Feeling jarred by the city and longing for Hydra, Cohen opens: “My dear Marianne, I just want to write you.” He quotes a Chinese poet whose name he had forgotten: “’What is the use of speaking? / There is no end / to the things of the heart.” He writes of feeling lost in Israel and contemplates spending more time learning Hebrew. On his work he reports: “The novel is finished, but I haven’t gathered strength for the 3rd draft. I miss the whiteness of Hydra and the bare rooms of my house.” As he will do often in the letters that follow, he mentions that he has sent money. He closes: “Well, I’ve got no more gold hair and I’m back to a familiar loneliness which is not too unpleasant, except when I compare it with certain intimacies I’ve known.”
Please note this lot is the property of a private individual.
Berlin, 29. Mai 2019 – RAMMSTEIN landen mit ihrem unbetitelten, neuen Album einen internationalen Megaerfolg. In 14 Ländern setzen sie sich aus dem Stand an die Spitze der Charts, und zwar in Deutschland, Österreich, Belgien, Dänemark, Frankreich, Niederlande, Norwegen, Finnland, Estland, Portugal, Schweiz, Russland, Polen und Kanada. In Schweden, Großbritannien, Italien, Spanien, Australien, Tschechien, Lettland und Litauen ist die Band in den Top 5. Ein besonderer Erfolg ist der Einstieg auf #9 der Billboard Charts und damit ihre erste Top 10-Platzierung in den USA.
Mit fast 270.000 Units ist es sogar die erfolgreichste erste Verkaufswoche einer Band im neuen Jahrtausend überhaupt in Deutschland. Das Album ist nicht nur die erste Veröffentlichung von RAMMSTEIN seit zehn Jahren, sondern auch ihr zehntes #1-Album in Deutschland. Gleichzeitig rangieren aktuell acht weitere Alben in den deutschen Top100-Charts.
Die beiden vorab veröffentlichten Singles ,,Deutschland„und ,,Radio„ wurden bereits über 150 Millionen Mal gestreamt.
Das insgesamt siebte RAMMSTEIN-Studioalbum wurde in der französischen Provence nahe Avignon aufgenommen und erstmals von dem in Berlin ansässigen Producer Olsen Involtini sowie der Band selbst produziert.
Christoph Schneider, Flake Lorenz, Oliver Riedel, Paul Landers, Richard Z. Kruspe und Till Lindemann -zusammen RAMMSTEIN – sind seit dem 27. Mai auf Stadientour. Alle 30 Termine waren in Rekordzeit ausverkauft.
Frank Briegmann, President & CEO UNIVERSAL MUSIC Central Europe und Deutsche Grammophon: ,,Rammstein spielen längst in ihrer eigenen Liga – sowohl, was ihre Musik und ihre Shows angeht als auch ihren nationalen und internationalen Erfolg. Die Band ist DER deutsche Musikexport und begeistert Millionen Fans auf der ganzen Welt. Sie haben die Provokation zur Kunstform erhoben, und doch ist sie bei ihnen nie reiner Selbstzweck. Ich gratuliere Christoph, Flake, Oliver, Paul, Richard und Till zu diesem grandiosen Erfolg.„…..so eine PRESSEMITTEILUNG der UNIVERSAL MUSIC PRESSE SONDERNEWSLETTER CORPORATE COMMUNICATIONSr UNIVERSAL MUSIC PRESSE SONDERNEWSLETTER CORPORATE COMMUNICATIONS
1995 versammelte sich eine eklektische Gruppe von Künstlern, um Cover für ein Compilation-Album aufzunehmen, um Cohens Karriere zu feiern. Der Frontmann der Eagles, Don Henley, wählte „Everybody Knows“ und verwandelte Cohens makabre Melodie in eine eingängige Singalong-Rock-Hymne mit bluesiger Orgel und Gitarrenbegleitung.
In 1995, an eclectic group of artists gathered to record covers for a compilation album to celebrate Cohen’s career. The Eagles frontman Don Henley chose „Everybody Knows“ and turned Cohen’s macabre melody into a catchy singalong-rock anthem with a bluesy organ and guitar accompaniment.
Hier die beiden Cover der Europe und US-Cover
1996 performte er den Song mit BAD für die VH1 – Storyteller-Serie
2015 nahm Henley „Everybody Knows“ auch in sein Solo-Live-Repertoire auf:
… Then he pulled out Randy Newman’s „Let’s Burn Down the Cornfield“ and Leonard Cohen’s „Everybody Knows.“ It was during these moments that the sports-arena Don Henley disappeared and you got a taste of what it must have been like in the intimate early days of playing at the Troubadour behind Linda Ronstadt just playing songs they were fans of…
Dann zog er Randy Newmans „Let’s Burn Down the Cornfield“ und Leonard Cohens „Everybody Knows“ heraus. In diesen Augenblicken ließ Don Henly die Sportarena verschwinden, und sie erhielten einen Eindruck davon, wie es in den intimen Anfängen des Spiels im Troubadour hinter Linda Ronstadt gewesen sein musste, als sie Songs spielten, von denen sie Fans waren.
Über Leonard Cohen sagte Don Henley 2016 in STUFF ENTERTAINMENT :
„I’d like to make three or four more albums before I eventually check out. At my age, it’s a good feeling to know I have a body of work behind me, of course. It’s a great thing when people know your songs in places like Russia and China. But I hope my best work is still ahead of me. I go back to people like Leonard Cohen, who just kept getting better as he got older, right up until he died.“
Perhaps so. Yet I imagine Cohen still got the biggest cheers at his live shows when he played hits like So Long, Marianne that he wrote way back in the late 60s.
„Ich würde gerne drei oder vier weitere Alben machen, bevor ich irgendwann auschecke. In meinem Alter ist es natürlich ein gutes Gefühl zu wissen, dass ich eine Menge Arbeit hinter mir habe. Es ist eine großartige Sache, wenn die Leute Ihre Songs kennen Orte wie Russland und China. Aber ich hoffe, dass meine beste Arbeit noch vor mir liegt. Ich gehe zurück zu Leuten wie Leonard Cohen, der mit zunehmendem Alter immer besser wurde, bis er starb. „
Vielleicht. Ich stelle mir jedoch vor, dass Cohen bei seinen Liveshows immer noch den größten Beifall bekam, als er Hits wie So Long, Marianne spielte, die er bereits Ende der 60er Jahre geschrieben hat.
Don Henley coverte auch einmal Leonard Cohen`s #Democracy bei der MTV Rock & Roll Inaugural Gala, I guess it was in 1993, don t know anymore exactly:
This clip is from one of Bill Clinton’s inaugural bashes, I forget which one. Don Henley performs Leonard Cohen’s „Democracy,“ introduced by Dennis Miller before he made the switch from left-wing smart-ass to right-wing wise-acre.
https://www.youtube.com/watch?v=USlHqwTQVrU
No Leonard Cohen – Song in THE EAGLES – Live Repertoure 2019:
In 30 days, Montreux Jazz Festival venues will open their doors for 16 days of emotions.
Open-Air-Konzert und zusätzliche Karten
EIN AUSSERGEWÖHNLICHES SETTING FÜR EINE AUSSERGEWÖHNLICHE SHOW
Die Abschiedstournee von Elton John ist eine der seltenen Gelegenheiten, die es auf keinen Fall zu verpassen gilt. Für seinen einzigen Auftritt 2019 in der Schweiz möchte Elton John seinen Fans eine exklusives Konzerterlebnis bieten. Anstelle der beiden Konzerte, die ursprünglich im Auditorium Stravinski stattfinden sollten, wird er über 15.000 Festivalbesucherinnen und -besuchern eine aussergewöhnliche Open-Air-Performance schenken.
Das Montreux Jazz Festival, AEG Presents und Marshall Arts präsentieren:
Sir Elton John
«Farewell Yellow Brick Road»
Samstag, den 29. Juni 2019 um 20 Uhr im Stade de la Saussaz in Montreux.
Dieser Auftritt ersetzt die zwei Konzerte, die ursprünglich am 29. und 30. Juni 2019 im Auditorium Stravinski stattfinden sollten. Die Karten für die beiden Konzerte behalten ihre Gültigkeit für den Auftritt im Stade de la Saussaz.
Zusätzliche Karten sind am 20. März ab 12 Uhr unter www.montreuxjazzfestival.com und an den üblichen Verkaufsstellen erhältlich.
Der Auftritt findet in einem Stadion statt, mit Blick auf die Stadt Montreux inmitten von See und Bergen. Sir Elton John lädt zu einer atemberaubenden musikalischen und visuellen Reise, die eine 50-jährige Karriere mit unzähligen Hits und eine ebenso lange Zusammenarbeit mit dem Songwriter Bernie Taupin Revue passieren lässt.
EINZIGARTIGE HERAUSFORDERUNG
Dieses Grossereignis ist nicht nur Elton Johns erster Auftritt auf dem Festival, sondern vor allen Dingen auch das erste Open-Air-Konzert dieser Grösse in einem Stadion in Montreux. Als Sir Elton John diesen aussergewöhnlichen Vorschlag machte, setzte das Festivalteam – vertraut mit künstlerischen Herausforderungen aller Art und erprobt durch die besonderen Konzerte, die seine Geschichte geprägt haben – sofort alles daran, diesen Vorschlag umzusetzen.
Photo: Christof Graf
