If you’re looking for Faroese texts I would contact the University of the Faroe Islands:

http://setur.fo/en/language_litterature/office

Also, here’s a review of Rocky Shores:

http://www.stephenmorrissey.ca/articles_reviews/SM_Two_Sides.html

Lynette
kdnk radio
http://www.kdnk.org streamng worldwide
I am playing parts of Mothertongue today

To Nico: that’s probably why you like Murakami so much; he’s all shudders, what with that cheeky little wind up bird that you never see

Favorite shudder moment: conclusion of “Endless Parade” by the shudderific Harrison Birtwistle: the way the piece keeps going after its finished……:)

Some of my shuddery things:

Standing in the deep stacks of a vast library, realizing I am surrounded by infinite words in infinite books that I will never read, both those already written and those that will be written in the billions of years that follow my death, in human languages as well as the languages of all other beings that have existed and will someday exist. At that moment the library becomes a pocket universe, connected to this other universe of words; it is as though I can feel the stacks around me shuddering under their weight.

“Seeing is Believing” is now one of my favorite works for violin.

For me the ultimate “don’t actually know” composer is Beethoven. With Bach to be sure I feel that the finite part directs and draws the soul to the infinite whole, but with Beethoven it’s as though one can no longer tell finite and infinite apart, which is why this music is such a rush. When I listen to someone like Michelangeli play the first piano concerto I have no idea whether I’m in the midst of a musical statement of, on the one hand, the spirit of revolutionary humanity (the side of Beethoven that admired Napoleon) or, on the other, a divinity that comprehends history in its totality: and if anything the ambiguity is only increased in works such as the later piano sonatas and string quartets; is the subjectivity in them divine or human? the more one listens to this music the clearer it becomes that neither one nor the other will work as an answer, and that therefore it must be “both”, which is indeed a heady mix. But then it’s exactly the same condition of not knowing when you’re in the divine realm or the human, of finding the the divine and the human somehow identified, that one finds in Goethe’s Faust or for that matter the Logic of Hegel, who aimed to explicate in a single philosophical argument both the structure of finite or human thinking as it is prior to experience and the thoughts of God before the creation of the world and finite spirit. For Hegel, these two are the same.

It was a wild historical moment. Not I think entirely unlike the one we’re in now. Is the suffering of the match girl in David Lang’s magnificent Little Match Girl Passion human or divine? What exactly does it mean for her suffering to be elevated “to a higher plane” (as the composer puts it)?

Which leads me to one last question. Does anyone know an easy way to get hold of a score of Lang’s Passion?

Frank O’Hara
“Sleeping on the Wing”

I don’t suppose that these comments about Leibniz shed much light on what you’re saying (though perhaps they might be of use to those trying to get a handle on what Leibniz is about), but I thought I’d mention it because 18th century German culture is shot full of the “Iceberg Tipp” view of things (it’s what makes German idealism possible, really) and I do think you’re entirely right to find it in Bach, especially perhaps in the many cantatas in which the primary focus is the soul yearning for death and union with God, as if to say “I’m just the tip, there’s more”.