Culture – Page 3 – Into the Woods

Music soothes the skittish cat

Lily listens to Herbert Blomstedt conduct Richard Strauss’ “Metamorphoses.”

The television doesn’t always terrify my cat, Lily. It depends on what’s on. Long ago I started using headphones when I watch television, to accommodate Lily. Loud blockbuster movies scare the living daylights out of her. But she likes music. Last week, after we watched the weekly Saturday live stream from the Berlin Philharmonic with the speakers on, I accidentally changed channels to — you guessed it — a loud blockbuster movie. She had been lying beside me, and she shredded me as the speakers suddenly exploded and she jumped and ran.

Even with the speakers off, she knows what gunfights and explosions look like, and she’ll run and hide. But if she sees an orchestra, then she comes and lies down, and it’s safe to turn the speakers on.

Richard Strauss’ “Metamorphoses” is very agreeable to a sleepy cat. Written in 1945, the piece is an outpouring of Strauss’ grief over the destruction of Germany. According to Wikipedia, a few days after finishing the piece Strauss wrote in his diary:

“The most terrible period of human history is at an end, the twelve year reign of bestiality, ignorance and anti-culture under the greatest criminals, during which Germany’s 2,000 years of cultural evolution met its doom.”

Germany recovered, though Strauss was too old to witness that recovery. He died in 1949.

Blomstedt is 96 years old and very feeble. He was assisted on and off the stage by the concertmaster, Vineta Sareika-Völkner. The house was packed for what probably was one of the last occasions to hear Blomstedt conduct. This was the Berlin Philharmonic’s live stream on September 23, 2023.

Blomstedt conducts Beethoven’s “Eroica” symphony.

The Name of the Rose

1986

While scouring for watchables, I recently came across the 1986 film version of The Name of the Rose, on Netflix. It’s truly a classic film and always worth watching again. Back in the 1990s, I read Umberto Eco’s novel on which the film is based. The novel, too, is worth reading again, now that I think about it.

It left me thinking about Umberto Eco and how scholars can be extraordinarily good novelists, even when their academic field is very narrow. Eco’s thesis for his degree in philosophy was on the aesthetics of Thomas Aquinas. Horrors! As an unrepentant heathen, it is hard for me to imagine a mind uglier than that of Thomas Aquinas (except maybe Augustine of Hippo). But Umberto Eco’s mind was a mind ahead of its time. (Consider, for example, his 1995 essay on fascism.)

I don’t recall that Eco’s novel was as rich in dark humor as the 1986 film with Sean Connery and Christian Slater. There are only three people in the film whom we can easily bear to look at — Connery, Slater, and the peasant girl. Otherwise the film is hilariously cast as a pageant of ghastly old men — all monks. And, as with Thomas Aquinas, the monks’ minds are as ugly as their appearances. The abbot’s hairstyle, for example, is like that of Thomas Acquinas in a portrait by Benozzo Gozzoli.

Whatever Eco thought of the church, The Name of the Rose is a story about the ridiculousness of theologies. The church itself is the main villain. The year is 1327, and part of the plot is that theologians from Rome are arriving at the isolated abbey to settle, by debate, a burning theological question: Did Christ own, or did he not own, the clothes he wore? The structure of Eco’s story is entirely classic. The wicked get punished, the good prevail. The peasants not only save the peasant girl from being burned at the stake by the inquisition, they also give the grand inquisitor a horrible and much-deserved death. Much of the dark humor is Christian Slater’s constant terror, not only that he’ll be the next to be murdered, but also the terror of being surrounded by ugly minds — a terror not unknown to sane and decent Americans during the Trump era. In fact, this film would be a good starting point for a serious essay on what I call ugliness of mind.

There was a new film version of The Name of the Rose in 2019 which was, at least for a while, available on Sundance TV. But, as far as I can tell, that 2019 version is not available for streaming in the U.S., nor are DVD versions available that will play on American DVD devices. I hope that will change. I’d really like to see the 2019 version.

2019

Orchestras hate it, too

Jörg Widmann thrashes to try to help the orchestra detect a beat.

Why would anyone pay up to $90 a seat to listen to someone beat on the back, the sides, and the neck of a violin, tunelessly sawing and scraping the poor thing when not beating it?

Lots of people won’t, which is why there were so many empty seats in the house for yesterday’s concert by the Berlin Philharmonic. (The concerts are live-streamed to online subscribers in the hinterlands such as me.) Those who did buy tickets at least knew that, if they could survive a violin concerto (plus some silly but virtuoso solo noodlings on the clarinet) newly composed by Jörg Widmann, then after intermission and a few drinks they’d be compensated with a Mendelssohn symphony.

The truth is, orchestras hate new music as much as audiences do. Some years ago, an old friend of mine was in the San Francisco Symphony (he’s now in the Metropolitan Opera Orchestra), and he used to complain mightily about having to play new music. Orchestras have to play it, though, for political reasons. Else orchestras would be accused of playing only “museum music” and failing to support living composers.

It may be apocryphal, because I read it years ago and can’t verify the story anywhere on line today. But I believe the story was about the American composer Aaron Copland, who was in the audience for some new music — maybe Arnold Schönberg or something. Copland noticed that the man sitting next to him was fidgeting and squirming. At intermission, Copland said to the man something like, “What’s the matter? You don’t like it? Sit up and take it like a man!”

Copland, bless him, wrote quite listenable music, not least because he unapologetically borrowed from the late Romanticists rather than resorting to mere noise to rebel against them.

By the way, the soloist for Widmann’s violin concerto was his wife. And Widmann himself conducted. No further comment.

I believe the Berlin Philharmonic has a very successful business model, so no doubt they’re well aware of what sells tickets and what doesn’t. Looking over their schedule for the 2023-2024 season, it seems to me that they clear the decks of the new music early in the season (September). And then, come October, November, and December, when the people of Berlin are much more in a concertgoing mood, the programs change — Mozart piano concertos! Mahler symphonies! Mozart’s 40th! Brahms’ 4th! Beethoven’s 4th! A Beethoven piano concerto! Wagner overtures!

If there are valid political reasons why orchestras have to play new music, fine. But nobody should have to pretend to like it — except maybe the composer’s wife, if even she does.

Carolin Widmann

Not a book for the squeamish

Goodbye, Eastern Europe: An Intimate History of a Divided Land. Jacob Mikanowski. Pantheon, July 2023. 378 pages.

If some perverse god created the earth, then it’s almost as though that perverse god reserved Eastern Europe as a place dedicated to the relentless refinement of human misery. The book describes how life there has never been fair, not any time in recorded history, and not in the present, either.

First I should mention why the title includes the word “Goodbye.” This is explained early in the book and in the jacket copy. No one wants to be from Eastern Europe anymore. The people there would prefer other identities: “Ask anyone today, and they might tell you that Estonia is in the Baltics or Scandinavia, that Slovakia is in Central Europe, and that Croatia is in the eastern Adriatic or the Balkans. In fact, Eastern Europe is a place that barely exists at all, except in cultural memory.”

We know even less about the pre-Roman history of Eastern Europe than we do about Western Europe. But we do know that when the Roman religion made its way into Eastern Europe, it was just as brutally violent, including genocides, as it was in the west. Not only did the brutality come from Rome, though. The arrival of religion in Eastern Europe was a triple whammy — the western church out of Rome, the eastern church out of Constantinople, and Islam out of whatever hell it came from, each as horrible as the other. After the Christians came, Eastern Europe was used as a source of slaves, who were sent overland in chains to slave markets in the Mediterranean. At times, Jews were welcomed in some places and were temporarily safe, but for the Jews safety was always temporary. The Roma (the gypsies) rarely had it easy either. Though the agricultural potentials of Eastern Europe were and are enormous, famine and starvation were all too often a way of life, as was war. I think it is fair to say that states and cultures were almost always poorly rooted and precarious, because there was rarely the kind of stability that could be found in Germany, Britain, or Scandinavia. The five maps at the front of the book show how national boundaries have changed since 1648. Every change came with turmoil.

During World War II, westerners learned a great deal more about what life in Eastern Europe was like, starting with Czechoslovakia and Poland. But everyone suffered, from Bulgaria in the south to Lithuania in the north. And then there’s Russia. The west looked away from Eastern Europe after World War II ended, but the human suffering wasn’t over, especially for surviving Jews who wanted to return home from hiding (often in the forests) but found that their homes and properties now had new owners who refused to give it back. Jews continued to die.

Russia’s war on Ukraine has made Eastern Europe visible again to western eyes, but reporting on the war is shallow. Westerners still know very little about what life is like for the people of Ukraine, Georgia, Romania, Belarus, Lithuania, and even Poland. Part of the story is about corruption and what corruption does to those who are exploited by it. My guess would be that the young people of Eastern Europe, as long as they are not deceived by the propaganda pumped out by corrupt states, know vastly more now than was formerly possible, because of the Internet. I can’t help but wonder how long they will put up with it. However the war on Ukraine ends, my guess is that after that war we will see more mass uprisings in Eastern Europe demanding democracy, as we have seen in Belarus after the stolen election there in 2020. Georgia also is a hot spot. As for us Americans, perhaps our interest in Eastern Europe would be greater if we were able to recognize that what the corrupt anti-democratic right wants for Eastern Europe is exactly what they want for us here.

This book, in spite of the light it sheds on that part of the world, really only serves to remind me how little I know.

From the book. Click here for high-resolution version.

Scapegoats 2, Republicans 0

The political death wish of the Republican Party is mind-boggling. Why do they go on fighting battles that they’ve already lost and that accelerate their slide toward permanent minority status and the contempt of history? — at least, in civilized places as opposed to places such as Florida, Texas, and Tennessee.

Banning books, and threatening librarians with prison sentences, can only backfire, given time. According to the Washington Post, at least seven states have passed laws that impose criminal penalties for books that Republicans deem obscene. Arkansas threatens librarians with prison sentences of six years, Oklahoma ten.

Don’t Republicans know about the internet? Young people have always found ways of finding out about things that adults don’t want them to know. Because of the internet it’s easier today than ever. Schoolchildren in Florida no doubt know that there are some subjects that their teachers aren’t allowed to talk about. The kids will work twice as hard to educate themselves on such subjects. They’ll also learn another lesson — that Republicans are hateful and contemptible. Florida’s law originally applied only to grades K-3, but earlier this year the state board of education expanded the ban to include grades 4-12.

One of the frequently banned books is Casey McCuiston’s Red, White, and Royal Blue. The book was a New York Times Bestseller. According to Wikipedia, translations have been published in Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica, Czech Republic, Dominican Republic, Ecuador, El Salvador, Finland, Germany, Guatemala, Honduras, Hungary, Mexico, Nicaragua, Panama, Paraguay, Peru, Poland, Portugal, Serbia, Sweden, Puerto Rico, Romania, Russia, Spain, Israel, and Uruguay.

Republicans might as well stand in front of a speeding train and wave a crucifix. Publishers must love it when a book is banned. For many books, a ban creates a sharp increase in sales.

A movie version of Red, White, and Royal Blue was released this weekend by Amazon Prime Video. The film is more serious than it appears to be in the trailers. There is an immigrant element (Mexico) as well as the gay element. Texas gets the middle finger. Only just now did I realize that “Royal Blue” is a double entendre, as one of the characters sets out to make Texas not just a blue state, but a royal blue state.

The cast includes Stephen Fry and Uma Thurman. Thurman was born in Boston, but she does a pretty good Texas accent.

The sound track is clearly meant for people younger than I am. That’s as it should be. But upon hearing a few lines of Rodgers and Hammerstein’s “If I Loved You,” (1945), sung by a voice and in a style that just doesn’t work for someone my age, I had to pause the video and go listen to a proper performance. I’ve included a link to a video below, from Royal Albert Hall.

Young people have another internet hit to stream right now, the second season of “Heartstoppers,” on Netflix.

The devil now polls 58 percent in America

But which one is the devil?

“The Devil presenting St Augustin with the Book of Vices,” Michael Pacher, 1435-1498

There probably is a way to do the math, but my back-of-a-napkin estimate is that, at the current rate, the Enlightenment will have arrived in America in about 942 more years.

The Washington Post has an article today with this headline: “As organized religion falters, the devil falls on hard times.” It seems that the devil’s numbers have dropped. According to the article, a Gallup poll found that 58 percent of Americans now believe in the devil, down from 68 percent in 2001. The devil polls 20 points higher among Republicans at 78 percent, which is the percentage of the vote that Donald Trump got in my county in 2020.

Things like this make me realize what a naïf I am for thinking that people ought to know better than to spray glyphosate in their gardens, or to drink bleach, or to believe what they hear on television.

I think I need to go pour myself some Scotch and listen to some Beatles.

Vigil

After watching all nine seasons of “Masterpiece Endeavour,” I found myself in a serious state of Endeavour withdrawal and was desperate for something just as good to watch next. I considered the 1980s series “Inspector Morse,” but it seemed a little too dated (though I love the red Jaguar). I checked Shaun Evans’ filmography and found that his most recent role was in “Vigil,” which was broadcast on BBC One in 2021. As far as I could tell, the only way to watch “Vigil” in the U.S. is to subscribe to NBC’s Peacock streaming service. So that’s what I did, at $4.99 a month.

A bonus in “Vigil” is that the lead character is played by Suranne Jones, of “Gentleman Jack.” Another bonus in “Vigil” is that it’s set in Scotland, though it mostly takes place inside a Royal Navy submarine, the HMS Vigil.

I’ve only watched one episode so far (of six in the first season). There will be a second season, which probably will be broadcast in the U.K. next year.

It was amusing reading some of the snarky reviews of “Vigil,” including this one in the Telegraph: “A TV drama so bad it could be Russian propaganda.”

I’m easy, I guess. With Shaun Evans, Suranne Jones, and all those beautiful Scottish accents, how could I not like it?

Speaking of accents: In “Endeavour,” Shaun Evans uses an accent appropriate to his background as a former Oxford student. Evans is from Liverpool, though, and his native accent is a Liverpool accent. There are television interviews in which you can hear his native accent. I have read that he was reluctant for his fans to hear his Liverpool accent, for fear that it would break the spell. And speaking of Liverpool, the northwest of England is one of the not-too-many parts of England I haven’t visited. It sounds like a fascinating city, and I think I just might go there on my next visit.

The Oxford Murders

Elijah Wood and John Hurt, set in Oxford in 1993

While beating through the bush for something to watch, I came across “The Oxford Murders,” on Hulu. The film was made in 2008. It’s set in Oxford in 1993. A mystery with Elijah Wood, John Hurt, and an Oxford setting? Of course I was going to watch that.

But it’s yet another example of the fringiness of my taste and why you should be skeptical of anything I like. I would have given “The Oxford Murders” at least a 95, but Rotten Tomatoes gave it a 17/33!

I read through some of the Rotten Tomatoes reviews. Apparently many people took the film seriously and thought that the film was trying to be smart. I didn’t see it that way at all. Rather, it was a parody, making fun of people who are smart or who think they’re smart. Much of the humor was based on that. I think that John Hurt also saw it as a parody, and that that would explain his over-the-top performance as an Oxford professor — always declaiming, and usually a bit too loud. Maybe those reviewers haven’t read Sherlock Holmes, as John Hurt clearly has? Elijah Wood was amazing.

I have an Oxford fetish, and this film didn’t disappoint. It’s all there — the pubs, the dining halls, the lecture halls, the library, the bicycles, the Oxford accents, the snark.

It’s a shame that it was only an hour and 50 minutes. I’d watch six seasons of this.

A strange book about fairies

Source: eBay

The Fairy-Faith in Celtic Countries. W.Y. Evans Wentz, Oxford University Press, 1911.

Gutenberg.org edition

The English historian Ronald Hutton has persuasively argued that there is no continuous history of paganism in the British Isles. Rather, during the 19th Century there was a revival of, and a romanticization of, interest in Celtic paganism. This book, published in 1911, is almost certainly a product of that romanticization and revival. Yet, despite the apparent credulity of its author, W.Y. Evans Wentz, there is much in this book that is genuine, in that Wentz’s interviews were with old folks who were describing actual folk memories as opposed to any new material made up by 19th Century romanticizers.

My biggest surprise with this book is that it is superbly written. The first few chapters are lyrical, picturesque descriptions of the places where Wentz traveled to do his interviews — Ireland, Scotland, Cornwall, Wales, Brittany, and the Isle of Man.

First editions of this book are rare and very expensive. At present, two first editions are listed on eBay, one at $750 and the other at $999.95. Because the book has been in the public domain for quite some time, there are many reprints for which the text, I assume, was taken from Gutenberg.org.

Wentz, though he obviously was very intelligent and wrote beautifully, must have been quite a poseur. One of the photos of Wentz on Wikipedia shows him dressed in an elaborate Tibetan costume. It seems there wasn’t any form of mysticism that he wasn’t into, including Theosophy. Yet I think Wentz’s book about fairies contains real scholarship with his snapshot of folk beliefs — folk beliefs that I suspect actually were continuous and accounts of which he captured from about 1907 to 1910. Wentz’s papers are at Stanford University and Oxford University.

Only for the woke

I was greatly amused a few weeks ago to read that right-wingers were having fits because Chick-fil-A, a company that struts its “Christian” right-wingery, was market-testing a cauliflower sandwich. I had never been to a Chick-fil-A for two good reasons: I don’t want to patronize a company that struts its right-wingery, and I haven’t eaten chicken for years.

But today, while on a grocery run to Trader Joe’s and Whole Foods in Winston-Salem, I felt a bit peckish, and I happened to be near a Chick-fil-A. So why not try out the cauliflower sandwich and have a bit of fun thumbing my nose at the deplorables? It seems the test sandwich is available only in Denver, Charleston, and Greensboro/Winston-Salem. Those three places are places that vote blue.

Surprise, surprise. It tasted just like fast food, though fortunately it didn’t taste like chicken. If the cauliflower sandwich is still on their menu a year or two from now, perhaps I’ll even go have another one.