for the opposable thumb of our species
Lajkó Félix & Volosi (Fonó Budai Zeneház, 2019)
and that the musician’s birthdate (born 1974, Hungarian in Serbia, former Yugoslavia) was as late as it was because it would have been touch and go if, born earlier, he would ever have reached our ears across iron curtains, oceans and deafening propaganda: on his violin and the zither with his companions and alone.
Here he is playing with string musicians,Volosi, who, like him, play the spectrum from classical to rock.
Untitled (Dancer), c.1922, matte opaque paint with gold and silver metallic paints over graphite on board; Emilio Amero, 1901-1976, Mexican.
Philadelphia Museum of Art
to have people in concert halls today stamping their feet, overwhelmed.
And saying that Paganini has (been) returned to us.
Is this every marvelous thing about the wisdom body: sensual; in concord with others and alone;
adaptable, dancing, stopping, hopeful, persistent, penitential, promising even if melancholic also;
in a dark time?