http://peterbengtson.com/Peter Bengtson2020-04-25T00:06:55+02:00Peter Bengtson is a composer, organist, and programmer.Peterpeter@peterbengtson.comhttp://peterbengtson.com/Jekyllhttp://peterbengtson.com/organ/torsten-nilsson-100-years/Torsten Nilsson 100 years2020-04-16T00:00:00+02:00Peterpeter@peterbengtson.comhttp://peterbengtson.com/The Swedish composer, organist and choirmaster Torsten Nilsson (1920-1999) would have celebrated his 100th birthday this year.<p><img src="http://peterbengtson.com/images/torstennilsson.jpg" alt="" style="float: right; margin-left: 1em;" width="200px" /></p>
<p>On account of this occasion, Frivox Ljudbiten and Pär Fridberg are releasing two videos featuring Peter Bengtson performing two of Torsten Nilsson’s central works, “Crucifigatur” and “Magnificat”.</p>
<p>The links below contain the videos, programme notes, notes on interpretation, and also a personal portrait of Torsten Nilsson written by Peter Bengtson.</p>
<ul>
<li>Crucifigatur
[<a href="/videos/torsten-nilsson/nox-angustiae/crucifigatur-2020-sv/">Svenska</a>]
[<a href="/videos/torsten-nilsson/nox-angustiae/crucifigatur-2020-en/">English</a>]</li>
<li>Magnificat
[<a href="/videos/torsten-nilsson/magnificat-sv/">Svenska</a>]
[<a href="/videos/torsten-nilsson/magnificat-en/">English</a>]</li>
</ul>
<!-- ![](http://peterbengtson.com/images/torstennilsson.jpg) -->
2020-04-16T00:00:00+02:00http://peterbengtson.com/programming/all-five-aws-certs/Fully Certified2018-04-11T00:00:00+02:00Peterpeter@peterbengtson.comhttp://peterbengtson.com/I just took my fifth AWS certification.<p style="text-align: center;"><img src="http://peterbengtson.com/images/5certs.png" alt="" width="800" /></p>
<p>Goal reached: Last week I passed the AWS
Certified Solutions Architect Professional certification.
This means I now have all five AWS certifications:</p>
<ul>
<li>AWS Certified Solutions Architect – Professional</li>
<li>AWS Certified DevOps Engineer – Professional</li>
<li>AWS Certified Solutions Architect – Associate</li>
<li>AWS Certified Developer – Associate</li>
<li>AWS Certified SysOps – Associate</li>
</ul>
<p>After six years of working daily in the AWS cloud, it’s a nice confirmation that
my practical skills are well-rounded, and a signal to clients and employers of
my long-term commitment to working with cloud architecture.</p>
<p>Next step: exploring yet more of the vast flora of technologies used in the
industry today – a process which never ends.</p>
<p>Many thanks to Ryan Kroonenburg at <a href="https://acloud.guru/" target="_blank">A Cloud Guru</a>,
and also to Linux Academy, for their support and excellent study material.
You guys are the best.</p>
2018-04-11T00:00:00+02:00http://peterbengtson.com/organ/viernes-fifth/Louis Vierne's Fifth Symphony Released2017-08-18T00:00:00+02:00Peterpeter@peterbengtson.comhttp://peterbengtson.com/Forty minutes of hyperchromaticism<iframe src="http://player.vimeo.com/video/230180373" width="640" height="360" frameborder="0" webkitallowfullscreen="" mozallowfullscreen="" allowfullscreen=""></iframe>
<ul>
</ul>
<ol>
<li>Grave (00:00)</li>
<li>Allegro molto marcato (06:55)</li>
<li>Tempo di scherzo ma non troppo vivo (14:22)</li>
<li>Larghetto (18:40)</li>
<li>Final: Allegro moderato (28:34)</li>
</ol>
<p>“Les années folles”, the Crazy Years, is a French term for the 1920s. And
nowhere were those years crazier than in Paris, where everyone and everything
converged to make the French capital the undisputed centre of the artistic
world.</p>
<p>Louis Vierne, who was the organist at Notre Dame, wrote his Fifth Symphony in
1923-24. At around 40 minutes, it’s his longest symphony. It’s also his most
tragic and Wagnerian one; its subject is the human condition. It’s difficult not
to see his own life, which was beset by innumerable difficulties and sorrows,
reflected in the Tristan-like psychological progression of the Fifth.</p>
<p>Jean Huré wrote the following in 1925 when Vierne’s Fifth Symphony was
published:</p>
<blockquote>
<p>And so, I came to Vierne’s Fifth Symphony. I had some concern, I admit. Was the
composer going to repeat himself? I dared not wish it. In effect, it seemed
impossible that he could remain faithful to his remarkably personal instrumental
“style”, and at the same time find undiscovered means of expression.</p>
<p>I read through the work carefully. Vierne has achieved what seemed to me the
impossible. In addition to which he has created an unexpected style. He has
deliberately abandoned that freshness of inspiration, that charm and tenderness
that made his previous symphonies so attractive. There is now—except in the
Final—a gripping harshness, bitterness, and severity.</p>
<p>Vierne portrays the conflict between two very different themes. One diatonic
descending by thirds, the other chromatic and anguished.</p>
<p>The first movement is like a tormented, painful prelude. Chromaticism dominates,
incessant, obsessive, implacable, and incoherent. It is all solidly constructed.</p>
<p>The second movement presents the development of the two themes, transformed,
inverted, and distorted. It is mysterious and almost a fantasy, like an unwanted
recurring nightmarish dance driven by a terrifying wind.</p>
<p>The Scherzo, also entirely chromatic, is a fiercely ironical, pitiless, satanic,
and fantastic, caricature of earlier scherzos by the same composer.</p>
<p>There is nothing soothing about the Larghetto. No sooner does a little
gentleness and serenity seem to bring some calm, than a contradiction arises:
the random intrusion of the chromatic element that brings back the anguish of a
soul in distress. Only in the last three measures does little hope appear.</p>
<p>Then, as in so many of Beethoven’s works, the Final suddenly bursts forth,
unbridled, joyous, wild, and larger than life. This time the diatonic theme
triumphs within the structure of this find of instrumental writing. (If I
encourage every musician to read through this work, I think it wise to warn the
unsure, and those who do not practice technique daily, not to attempt to play
this Final. It is tremendously difficult). In vain—and it was necessary for the
unity of the work—the chromatic theme tries to make its way into this festive
sound. It is snatched at, disguised, swept along in a circle, transformed, and
forced to laugh, this time without bitterness. It is the victory of joy over
pain.</p>
</blockquote>
<p>The <a href="http://ruffatti.com/ru/specs/uppsala.html" target="_blank">organ</a>
is the
<a href="http://ruffatti.com/ru/specs/uppsala.html" target="_blank">four-manual Ruffatti organ</a> in
<a href="https://www.wikiwand.com/en/Uppsala_Cathedral" target="_blank">Uppsala Cathedral, Sweden</a>.</p>
<p>Assistant: Patrick Lindblom.
Sound and video recording and editing: Pär Fridberg.</p>
2017-08-18T00:00:00+02:00http://peterbengtson.com/organ/milonga-del-angel/Milonga del ángel2017-07-01T00:00:00+02:00Peterpeter@peterbengtson.comhttp://peterbengtson.com/A slow, sensuous tango with Death<p>This is my own transcription of one of Astor Piazzolla’s most beautiful pieces,
and also one of his most tragic ones, <a href="https://www.wikiwand.com/en/Milonga_Del_Angel" target="_blank"><em>Milonga del ángel</em></a>,
The Angel’s Milonga.</p>
<p>Piazzolla wrote this slow tango in 1965, for his own Tango Nuevo jazz quintet
of accordéon, violin, electric guitar, piano, and acoustic bass.
It’s the second of his three Angel pieces.</p>
<p>The <a href="http://ruffatti.com/ru/specs/uppsala.html" target="_blank">organ</a>
is the
<a href="http://ruffatti.com/ru/specs/uppsala.html" target="_blank">four-manual Ruffatti organ</a> in
<a href="https://www.wikiwand.com/en/Uppsala_Cathedral" target="_blank">Uppsala Cathedral, Sweden</a>.</p>
<p>Assistant: Patrick Lindblom.
Sound and video recording and editing: Pär Fridberg.</p>
<p>(And yes, I’m playing in a kilt.)</p>
<iframe class="mejs-player" width="640" height="360" src="https://www.youtube.com/embed/aplpzRLMXZM" frameborder="0" allowfullscreen="">
</iframe>
<p>For the highest quality, use Vimeo:</p>
<iframe src="http://player.vimeo.com/video/227811587" width="640" height="360" frameborder="0" webkitallowfullscreen="" mozallowfullscreen="" allowfullscreen=""></iframe>
2017-07-01T00:00:00+02:00http://peterbengtson.com/programming/aws-certification/I got certified today!2017-03-07T00:00:00+01:00Peterpeter@peterbengtson.comhttp://peterbengtson.com/No, I didn't officially get declared insane. Today I passed the AWS Solution Architect Associate certification.<p style="text-align: center;"><img src="http://peterbengtson.com/images/aws-certified-solutions-architect-associate.png" alt="" width="300" /></p>
<p>After working every day in the cloud since 2012, I thought it might be a good idea to
get certification for the kind of work I’ve already been doing, in particular what I’ve
learnt from creating my
open-source framework <a href="http://wiki.oceanframework.net/" target="_blank">Ocean</a>.
Even more so since I’ve recently joined <a href="http://www.diabol.se" target="_blank">Diabol AB</a>.</p>
<p>My end goal is to take two Professional AWS certifications: Solution Architect Professional,
and DevOps Professional. Those two are considered difficult,
the AWS Solution Architect Professional in particular. Both require extensive preparation.</p>
<p>For this reason I’m taking all three Associate certifications. Some of them are prerequisites
for taking the Professional certifications, and since their contents overlap to a large
extent it makes sense to study them together. If all goes well, I’ll do all three in March.</p>
<p>After that, I need to concentrate on CloudFormation, which I will need to know inside out,
Docker, and a few other technologies and services, before I go for the DevOps professional.
I don’t know exactly when I’ll sit for that. And finally, after some further preparation,
the AWS Solution Architect Professional.</p>
<p>AWS is extremely hot right now —
according to Ryan Kroonenburg from <a href="https://acloud.guru/" target="_blank">A Cloud Guru</a>,
it is estimated there is a skills shortage of approx 1.7 million certified AWS professionals
worldwide. And the AWS Solution Architect Professional is top of the line.</p>
<p>And, by the way, if you’re thinking of doing any form of AWS training,
don’t miss <a href="https://acloud.guru/" target="_blank">A Cloud Guru</a>.
I can really recommend them. They also have iPhone and Android examination training apps.</p>
2017-03-07T00:00:00+01:00http://peterbengtson.com/organ/the-atheist-organist/The Atheist Organist2017-02-26T00:00:00+01:00Peterpeter@peterbengtson.comhttp://peterbengtson.com/Can non-believers really understand and interpret religious music?<p>When I say I’m an organist, the first reaction invariably is “where?”, the assumption
being that I’m a church organist. I’m not. I don’t hold an organist’s position anywhere.</p>
<p>The next assumption is that I’m religious. I’m not. I’m very much an atheist.</p>
<p>To me, the idea that playing the organ somehow implies adherence to a particular
philosophy or religion is every bit as absurd as it would be to assume all oboe players
to be Buddhists, or all tuba players to be vegans.
Or, if you will, that the best jazz musicians must be black.</p>
<h2 id="an-existential-instrument">An Existential Instrument</h2>
<p>Charles-Marie Widor said that with the organ you have to embrace the grandiose. He also said
that this is due to one single property of the organ: that it can sustain notes indefinitely.
It’s this property that lets the organ evoke power and brutality so convincingly, but also what
gives it great, almost hypnotic subtlety and nuance.</p>
<p>To me, the pipe organ is an existential instrument, which I think is the real reason it was
adopted by various churches. As an atheist, I regard religion as just another expression of
humankind’s quest for existential meaning. Thus the use of the organ in religion is just a
subset of what the instrument is capable of expressing.</p>
<p>I’m specifically interested in the existential aspect of the organ. Thus I’m drawn to music
which explores the human psyche. In organ literature, this above all means symphonic organ music.
Personally I prefer the French organ literature made possible by the instruments of the great
organ builder Aristide Cavaillé-Coll: Louis Vierne, Maurice Duruflé, Jehan Alain,
Olivier Messiaen and others.</p>
<p>I’ve also played a lot of contemporary, modernist and expressionist organ music, and for the
same reasons: it’s progressive music that pushes the boundaries of expression whilst
exploring the deeper levels of the human psyche.</p>
<h2 id="but-surely-you-love-bach">But surely you love Bach?</h2>
<p>I’m sorry to disappoint you but no, I don’t.</p>
<p>To me, Bach doesn’t represent the pinnacle of composition for the organ, and he’s certainly
not “the composer who describes the human condition in the most perfect way.”
That’s Christian, conservative propaganda for the sentimental. Nothing else.
Bach suits conservative people to a tee since he, like them, is a proponent for status quo.</p>
<p>Bach’s universe is entirely static. It’s a strictly hierarchical world with an all-seeing,
unforgiving deity at the top. Under him priests, ministers, kings and emperors mediate the
heavenly dictator’s will to the unwashed masses, who are expected to spend their lives in
subjugation and fear.</p>
<p>Bach does nothing to question or change the order of things. Instead he writes a
gazillion cantatas and chorale preludes, most of them with titles like <em>Ach Lieber Gott,
Sei Doch Nicht Bös’</em>
(<a href="https://www.youtube.com/watch?v=eKG6bxLnifM" target="_blank">“Oh Dear God, Please Don’t Be Angry”</a>).
Bach thus has contributed to helping keep people in their place since the 1700s.</p>
<p>I want no part of that.</p>
<p>I’ll take Freudian, gloomy chromaticism or nihilistic tone clusters over
the hierarchical, static <em>Weltanschauung</em> of J S Bach any day.
The strictness of his musical structures may be admirable at times, sure.
But then, so are some of the buildings built in the 30s for propagandistic reasons.
In our times, we need to be more careful than ever with such things.</p>
<h2 id="interpreting-religious-music">Interpreting Religious Music</h2>
<p>Can non-believers really understand and interpret religious music?
Yes, absolutely, and just as well and with just as much depth as religious people.</p>
<p>For instance, when I play Messiaen, I interpret exactly the same things as a religious
person does: Messiaen’s existential thoughts and ideas, his psychological longing for
meaning, his projections, his joy, his despair, his inventiveness, his personal ideas about
reality. It doesn’t matter if these ideas are dogma or not; if they
are expertly expressed in the score, anyone with enough empathy and understanding of
the human condition can interpret them.</p>
<p>The interpreter, atheist or believer, interprets Messiaen as he expresses himself through
his music, consciously or unconsciously.
There is no special gift or understanding conferred by religion, no part of existence
or of art to which the religious have exclusive access.</p>
<p>We’re all human. We all function similarly.
Religion is just a subset of human thought about how the world is organised.
I refuse to be bound by that subset, and I absolutely reject any suggestion that
non-religious people can’t interpret religious music as well as religious people do.</p>
<p>If you don’t agree with me, then I suggest you take a minute to think about jazz
and skin colour. It’s really the same kind of discussion.</p>
2017-02-26T00:00:00+01:00http://peterbengtson.com/composition/the-maids/quotations-in-the-maids/Quotations in The Maids2017-02-18T00:00:00+01:00Peterpeter@peterbengtson.comhttp://peterbengtson.com/Contrary to what some commentators have assumed, there's only one single quotation in the score of <em>The Maids</em>.<p>The quote is very brief, but it’s important: when Madame sings <em>Such is love, Solange</em>,
I quote four bars from Bernard Herrmann’s music to Hitchcock’s <em>Vertigo</em> from 1958.</p>
<p>The quotation is from the <em>Love Scene</em> in <em>Vertigo</em>, where Judy finally emerges from
the bathroom as Madeleine, reborn against her will to satisfy the glamoured and
necrophiliac desires of Scotty.
The superimposition, in <em>Vertigo</em> as well as in <em>The Maids</em> is deeply ironic:
<em>Love? Really? Is this really love? Is love even possible?</em></p>
<p>You can hear the four bars in their original at 7:54 to 8:04 — a mere 10 seconds
— in this clip:</p>
<iframe class="mejs-player" width="640" height="360" src="https://www.youtube.com/embed/QAGSdAxZlw0" frameborder="0" allowfullscreen="">
</iframe>
<p>That four-chord progression appears in many places in <em>Vertigo</em>, but this is
where it’s most poignant. And most deceitful (more about that below).</p>
<p>Apart from this, there are no quotations whatsoever in the score.
Those commentators who have suggested there are quotations from scores from
1930s film scores have missed the point entirely.
You’re not hearing references to film music; you’re hearing parodies of
Schönberg and Strauss – composers who <em>inspired</em> film music composers.</p>
<p>Forget about <em>Gone with the Wind</em> and <em>Wuthering Heights</em> — film
music worked in a completely different way back in the 30s.
I don’t even like those old-fashioned scores very much,
and I’m certainly not trying to evoke that world, nor the world of cinema.</p>
<p>No, my reference is to the modern, acerbic, anguished, and deeply pragmatic world of
Bernard Herrmann and to the European expressionism that inspired him, as we encounter
it in <em>Elektra</em>, <em>Erwartung</em>, <em>Lulu</em>, etc.</p>
<p>Even though there are references and even pastiche, there are no quotes;
I composed all those late-romantic and expressionist outbursts because the drama
needed them.
They are artefacts, stereotypes, archetypes — fake ready-mades if you will —
needed by the two maids as ammunition for their game.</p>
<p>There are even deeper layers to the dissemblance. Bernard Herrmann instructed his string
players to play <em>without vibrato</em> in most of his scores; he wanted to break away
from the typical romantic string sound of his predecessors in film.
He needed a much more modern sound, and a modern, quicker kind of dramatic pacing.</p>
<p>In the <em>Love Scene</em>, however, he prescribes full vibrato á la <em>Tristan und Isolde</em>.
And he does this to underline the fakeness and duplicity of the situation.
The strings may soar and sing — but their song is full of lies.</p>
<p>More about Bernard Herrmann:</p>
<iframe class="mejs-player" width="640" height="360" src="https://www.youtube.com/embed/Q6kv9gVBWDo" frameborder="0" allowfullscreen="">
</iframe>
<h2 id="the-overture">The Overture</h2>
<p>There is, however, one reference which few have discovered. It’s in the Overture,
which in its first draft version was completely atonal in the modernist style of
the following scene. I soon realised I had to get the attention of the audience
in a much powerful and immediate way, and thus I had to resort to hyper-emotional
tonality right from the start.</p>
<p>The Overture is written in extended tonality throughout, in the style of
the early Schönberg of <em>Verklärte Nacht</em> and <em>Gurrelieder</em>:</p>
<iframe class="mejs-player" width="640" height="360" src="https://www.youtube.com/embed/UWMWN-6RMBA" frameborder="0" allowfullscreen="">
</iframe>
<p>The violin solo, which soon is subsumed into the chromatic, writhing mass of the
orchestra, is a reference to the main theme of <em>The French Lieutenant’s Woman</em>
by British composer Carl Davis.</p>
<p>I had admired Davis’ string writing in <em>The French Lieutenant’s
Woman</em> for a long time. It’s technically very accomplished, it’s highly Schönbergian,
and, moreover, the mixture of longing and hysteria is reminiscent of <em>The Maids</em>.</p>
<iframe class="mejs-player" width="640" height="360" src="https://www.youtube.com/embed/TTbezxyh4iE" frameborder="0" allowfullscreen="">
</iframe>
<p>Thus, the plaintive attack of his violin motif is alluded to, briefly and in disguised
form, by the solo violin at the beginning of my Overture, though the texture in my
score soon takes a much more expressionistic path.</p>
2017-02-18T00:00:00+01:00http://peterbengtson.com/programming/ocean-dynamo-on-aws/My ocean-dynamo gem listed on AWS2017-02-17T00:00:00+01:00Peterpeter@peterbengtson.comhttp://peterbengtson.com/Today I found that Amazon lists my ocean-dynamo gem among their recommended Ruby tools for interfacing to AWS DynamoDB.<p>The blog post is by Dave Lang, the product manager of Amazon DynamoDB.
It appears on AWS Chief Evangelist Jeff Barr’s blog.
<a href="https://aws.amazon.com/blogs/aws/amazon-dynamodb-libraries-mappers-and-mock-implementations-galore/" target="_blank">You can read it here</a>.</p>
<p>The <code class="highlighter-rouge">ocean-dynamo</code> gem is a Ruby gem which is a massively scalable
Amazon DynamoDB near drop-in replacement for ActiveRecord.
<code class="highlighter-rouge">ocean-dynamo</code> is fully usable as an ActiveModel and can be used by
Rails controllers. Thanks to its structural similarity to ActiveRecord,
<code class="highlighter-rouge">ocean-dynamo</code> works with FactoryGirl.</p>
<p>It’s also still the only Ruby DynamoDB mapper that implements the one-to-many
relation by using indexes as they are supposed to be used. This is required in
order to give unlimited scalability.</p>
<p><code class="highlighter-rouge">ocean-dynamo</code> uses only primary indices to retrieve related table items and
collections, which means it will scale without limits.</p>
<p><code class="highlighter-rouge">ocean-dynamo</code> is available from <a href="https://rubygems.org/gems/ocean-dynamo" target="_blank">RubyGems</a>.
Documentation can be found <a href="http://www.rubydoc.info/gems/ocean-dynamo" target="_blank">here</a>.</p>
<p>As of now it implements <code class="highlighter-rouge">:has_many</code> and <code class="highlighter-rouge">:belongs_to</code> fully;
this is the most used and most critical relation in practice.
The <code class="highlighter-rouge">:has_and_belongs_to_many</code> relation will follow.
There’s also direct access to primary and secondary indices and iterators
available for use until more higher-level relations are added.</p>
<p>I’ll work on the <code class="highlighter-rouge">ocean-dynamo</code> gem whenever I have time; I’m
with an exciting consultancy firm now, so I don’t have much time to
work on other things than AWS certifications at the moment.
But <code class="highlighter-rouge">ocean-dynamo</code> is very much alive; the future milestones
are all in the README.</p>
<p>And it’s an open-source project, so contributions are welcome. :)
Everything you need to know is in the README. I’ve already
received a couple of pull requests — many thanks to those
who have contributed!</p>
2017-02-17T00:00:00+01:00http://peterbengtson.com/organ/recording-viernes-fifth-symphony/Recording Vierne's Fifth Symphony2017-02-16T00:00:00+01:00Peterpeter@peterbengtson.comhttp://peterbengtson.com/In June, I'll be recording Louis Vierne's Fifth organ Symphony on video in Uppsala Cathedral.<p>I played a concert in Uppsala Cathedral a couple of years ago. The programme
contained only two large works: Olivier Messiaen’s <em>Messe de la Pentecôte</em>
(27 minutes) and Louis Vierne’s <em>Fifth Symphony</em> (45 minutes).
As an encore I played Astor Piazzolla’s <em>Milonga del Ángel</em> in my own transcription.</p>
<p>Despite the sweltering August heat, the concert was a rare peak experience for me,
one I shall never forget. I have probably never played better and was surprised to
receive a standing ovation. This was also the last time my mother heard me play;
she would be dead from cancer in March the following year.</p>
<p>The fifth Vierne Symphony is his most Wagnerian and most desolate and depressive
symphony. It also offers deep insight in the human condition
as it progresses from resignation and gloom via defiance, ridicule and nostalgia
to arrive at the in-spite-of-everything exuberance of the finale.</p>
<p>Andrew Canning, Assistant Organist and Director of Music of Uppsala Cathedral and
one of the leading concert organists of his generation (he’ll be recording all six
of Vierne’s symphonies for BIS this year), has kindly and generously given me
the opportunity to return to Uppsala Cathedral for a recording session.</p>
<p>As Vierne’s Fifth is conspicuously absent on YouTube, probably due to its length
and difficulty, I thought I’d go the extra mile and record it on video.</p>
<p>Thus the excellent Pär Fridberg, himself a proficient organist and experienced
recording engineer, has agreed to do the recording using four HD cameras and
professional sound equipment. I’ll be playing the Ruffatti organ.
(We’ll also be recording the Piazzolla.)</p>
<p>The recording is scheduled to take place mid June. The results will be
published on YouTube and Vimeo. And I just <em>might</em> be playing in a kilt. ;)
Stay tuned!</p>
<hr />
<p>The following picture is from the rehearsal before the concert:</p>
<p><img src="http://peterbengtson.com/images/uppsala_rehearsal.jpg" alt="" /></p>
2017-02-16T00:00:00+01:00http://peterbengtson.com/composition/the-maids/playbill-cate-blanchett/Cate Blanchett and I2017-02-16T00:00:00+01:00Peterpeter@peterbengtson.comhttp://peterbengtson.com/<em>The Maids</em> mentioned in a Playbill interview with Cate Blanchett.<p>Redoing my website is a truly weird experience.
Re-examining things, there’s so much I’ve simply forgotten, or never seen.</p>
<p>Like this article in Playbill, where <em><a href="/composition/the-maids/">The Maids</a></em>
is mentioned in an interview with Cate Blanchett.</p>
<p>It’s a nice thing to be part of the history of Genet’s <em>Les Bonnes</em>. :)</p>
<p><a href="http://www.playbill.com/article/cate-blanchett-slips-into-couture-and-carnage-of-jean-genets-murderous-maids-com-326597" target="_blank">Click here to open the article.</a></p>
<hr />
<p><img src="http://peterbengtson.com/images/playbill-cate-blanchett.png" alt="" /></p>
<hr />
2017-02-16T00:00:00+01:00