…and a new song cycle emerged.
…and a new song cycle emerged.
It’s been a good year in books. This time around I tried to read more recent works, by the living writers, and a bit more in French. Here are the books that stand out (the mehs and the good-enoughs I’m leaving out), in order of appearance:
Elizabeth McCracken, Thunderstruck and Other Stories (a remarkable feat: stories of loss, death, lack and failure written in sentences packed with wit and verve)
Oscar Wilde, The Decay in Lying: An Observation (the olden goldie on life imitating art–rather than the other way round–is available online in its entirety)
Christine Angot, La Petite Foule (moving through a crowd of characters–perhaps types?–living in today’s Paris. Some are given chapter-length space and a ‘story’, others a Lydia Davis-esque sketch. Fun and good gossip.)
Jim Crace, Being Dead. (Unique. A novel that starts with the death of the two protagonists.)
Lydia Goehr, The Imaginary Museum of Musical Works (a classic for a reason)
Susan Lanser, The Sexuality of History (will become a classic. Interview with Dr L. here)
Elena Ferrante, The Lost Daughter (still my favourite Ferrante. I’ve read 1 and 2 of the Neapolitan Series, and had enough of it for now)
Mathias Enard, Zone (something of a modern mercenary, a man working for the darkest recess of the French secret service recollecting his life and the last twenty years of wars in Europe, Middle East and Northern Africa while on a slow train ride to Rome)
E.M. Forster, Howards End (finally read it. Now think about it almost daily. Only connect! That was the whole of her sermon. Only connect the prose and the passion, and both will be exalted, and human love will be seen at its height. Live in fragments no longer. Only connect, and the beast and the monk, robbed of the isolation that is life to either, will die.)
Maggie Nelson, The Argonauts (What is the post-biological family? How to love? How to mother? A memoir)
J. M. Coetzee, Elizabeth Costello (Told in the form of essays and conference presentations by a world renown (fictitious) writer Elizabeth Costello, who recurs in Coetzee’s novels–in the more straightforwardly narrative Slow Man for ex, one of my favourites from last year. Unlike anything else.)
Virginie Despentes, Mordre au travers (Short stories. Brutal, in the best possible way.)
Virginie Despentes, Vernon Subutex I (This is Despentes doing the full-blown social novel for the very first time, and how. It’s set in Paris’s ‘creative classes’ circles, covering the powerful and the margins and the ecosystem in between. A joy.)
Keith Ridgway, Animals (Extraordinary. No description can do it justice. A line from it has been my Twitter bio for most of this year.)
Lidia Yuknavitch, The Small Backs of Children (Believe the hype. The last chapter in particular locks it as a work of dark, dark brilliance.)
Virginie Despentes, Vernon Subutex II (In the second volume, the ragtag precariat seems to be forming itself as a group connected by a growing solidarity? Could this be a French Indignados novel? We will tune in for Vol III.)
Laurent Binet, La septième function du language. (Well, I liked this one so much that I had to interview the author and tell the Angloworld about it. Here’s our conversation.)
Hugo Wilcken, Reflection (Another one that defies categorization. Loving somebody, even if they’re not part of your life any longer, also means counting on their gaze upon your life. What if that central person dies? And your life starts dissolving without the reliance on that remote gaze? A gorgeous, devastating work under the guise of a noir thriller set in 1940s NYC.)
Miranda July, The First Bad Man (Seriously, get this one. If I start describing it, I’ll spoil its many wild turns. Exploring what it means to love and what it means to mother in the age of neoliberalism, unfettered personal choice, and the ongoing redefinition of gender.)
Misha Glouberman, Sheila Heti, The Chairs are Where the People Go. (This is a delight: full of wit, sensibleness and Torontoniana.)
Zadie Smith, N-W (finally read it. Did not regret it.)
Rachel Cusk, Outline (we dip into the consciousness of a handful of characters who cross paths during a summer writing course in Athens. Like in VW’s The Waves, they’re not distinguished by degrees of intelligence–it’s one of those consciousness-is-one novels–but by experience and the account each gives of her/himself. While the speakers are articulate about their many failures and self-deceptions, the writer too is candid on the deception that is narration and the failure that is the novel-writing.)
Patricia Highsmith, Carol (Mrs. Robichek, a side character. The East-European old lady who works in the hell that is that department store full-time, not seasonally like the narrator. Mrs. Robichek, who has always been poor, and will always be poor. Who invites the narrator over for a meagre dinner after work. Mrs Robichek–not Carol and not Terese–is what’s been haunting me.)
May 2016 be good to the readers, dear reader.
I can’t get over how good this CD is. I stumbled on it via Stephanie Paulet‘s (inactive) Twitter account, found it on Rdio in its entirety and haven’t been able to leave the computer since.
It’s a selection of late seventeenth-century sonatas for violin and organ from the Habsburg and German lands. The only composer (remotely) known to most of us will be Biber.
Paulet is Insula Orchestra‘s Concertmaster and I’ve only ever heard her play within the orchestra and orchestral solos, never in duos or a chamber ensemble. Elisabeth Geiger is at the organ.
Two YT clips that’ll give you an idea.
The 21C’s Cinq à sept concert yesterday turned out to be an extraordinary event. Let’s see if I can say something coherent about the two personal highlights, the world premiere of Jordan Nobles’ work titled π, and Carla Huhtanen and Marion Newman performing parts of Saariaho’s Grammar of Dreams.
Commissioned by the RCM specifically for this festival, π was performed by an ensemble consisting of violin (Aysel Taghi-Zada), cello (Amahl Arulanandam), vibes (Dave Burns), flute (Tim Crouch) and piano (Adam Sherkin), plus a soprano (Carla Huhtanen). The composer said a few introductory words on how the work came about and how he—basically, randomly–got interested in using the numbers of the π as the blueprint for the composition. This was just enough to send me on a research spree on my own after I made it back home.
So let’s break it down. Stay with me, it’s worth it.
π – 3.1415(et endless cetera) is a math constant. You’ll remember this from elementary school: the circumference of a circle equals its diameter times π, that is, its diameter times 3.14. It’s an irrational number that just goes on and that computers now can specify to millions of digits, if you’re into that sort of thing. For practical, earthly purposes, the engineers and what-nots limit the number to a couple of digits past the decimal point.
But Nobles didn’t; he went some way into the number and thought, hmm, what if I took a scale—let’s say D minor harmonic (my source on what scale precisely it was is Carla Huhtanen via Twitter! Thanks Carla):
image source: BasicMusicTheory.com
…and give each of the notes one of the numbers appearing in the π. So the start note would get 1, its second would get 2, its third 3 and so on. Since the octave obvs consists of eight notes, the note that gets number 9 is the next one up. 0 is a pause.
But how far into the π to go? In Nobles’ words: I needed to stop somewhere, but where? He discovered a spot in π that has several nines bunched up together, and decided that would be it.
Upon consulting sites like One Million Digits of Pi (yes, such websites exist), it’s easy to track down where Nobles decided to end the piece:
And there you have it: the entire score.
Although the five instruments and the singer play/sing simultaneously, the notes that each performs are of different length. Only one of them actually reaches 999999 – the piano, which plays on at a good clip while others take their (own) time. The cello gets the longest notes and therefore the shortest score. Musicians are positioned around the audience and the soprano walks the circumference of the room while singing her part. As the piano approaches the end, each of the instrumentalists starts leaving the music by pronouncing in whisper the number instead of playing the note. One whispered number followed by a few notes at the instrument is followed by two whispered numbers, and so on, but without any regularity, completely unpredictably. By the time the pianist gets to play and say 999999, everybody else has stopped playing but a smattering of whispers of 9 join it from the ghosts-formerly-known-as-instruments from around the room.
But here comes the crux of the matter. None of these fun and games would matter one iota if musically the piece didn’t turn out to be the most devastating work I’ve heard in a long time. It comes at you in ripples of heart-breaking melancholy that you only gradually acknowledge as such—you find yourself sad, then sadder, than closer to tears, then struggling not to sob, and not really knowing why. I tried to analyze later why I was crushed by it to such a degree. It could be the playing out of the finite vs. the infinite: the work marks off a limited segment of (to our view) the infinite row; what happens during that segment of time happens by chance but non-negotiably, there is no controlling it or improving it; then each of the finitudes peters out. The 999999 is like a life flat-lining—the beep of no vital signs.
It could be also that we’re operating in the D minor scale. Nobles mentioned in the intro that he used a “tone row” and I concluded, completely baselessly, that it must be the twelve-tone row and that the notes used are the first 9 notes of the twelve-tone. Talk about finding music in the totally random, out of any and all keys, I thought! But it wasn’t twelve-tone; it was the scale known for its melancholy pedigree. However, its notes are used aleatorically. Does this not make it all fairly atonal, then? Probably doesn’t matter a whole lot. (Dear Jordan Nobles, if you ever read this: I was the incoherent individual who tried to tell you, before running away, that she was gutted by this “twelve tone” piece. You know that people can’t count when they’re overly emotional, right?)
At any rate. This concert will be one for the annals. I expect to be talking about it to people for years.
Also thanks to Carla Huhtanen and Marion Newman’s take on Saariaho fragments. Awful of me to put such a magic performance in the last short paragraph. What Saariaho did with Sylvia Plath’s poems is she used the actual words, but distilled them, or merged them, or extracted the syllables and put them through the wringer of extended vocal techniques and in that way brought to light that side of the life of words, the one not straightforwardly semantic and consciously understood. (The semiotic, Kristeva would say?) The soprano and the mezzo rocked this score consisting of nothing but challenges—and idiosyncratic markings. Here’s the photo of the score that Marion Newman posted on Twitter after the concert:
(With a special contribution by another singer, soprano Virginia Hatfield: “Gotta love the ‘sensual’ high B”.)
Why didn’t anyone think of this before? I Capuleti e i Montecchi as a lesbian love story crossing two Southern Italian crime families.
A Landestheater Niederbayern production.
I just returned from Stratford, went to see this play by Michel Marc Bouchard — only three more performances left before they close the almost-sold-out run. Highly recommended. Jenny Young is to be added to the Best of En Travesti, opera or spoken theatre, no question.
More info, booking and more photos HERE.
Photo captions & credits as above, Claire Lautier (left) as Countess Ebba Sparre and Jenny Young as Christina. Photos by Cylla von Tiedemann.
Spent a divine hour following and taking part in this multi-stream Twitter conversation with the young globe-trotting conductor Holly Mathieson, who is among many other things, a Marin Alsop’s mentee.
Just a few highlights…
But better read the whole fascinating Storify HERE
Also, OH EM GEE, THESE PICTURES
I am forever grateful to Michelle Edgerley for suggesting Holly for this #AskAConductor. Big kiss, Michelle.
HEL-LO WORLD. PLEASE MAKE THIS HAPPEN.
Three of my films have music sung by Janet Baker. She was my favorite singer for a very long time. In Christina Klages there’s the Bach cantata, in Sisters there’s Dido’s Lament from Purcell’s Dido and Aeneas, and in Die bleierne Zeit I put Handel’s cantata “Lucrezia.” I’ve always loved Baker’s singing. For the first film, I couldn’t get the rights… but I happened to meet Alfred Brendel at a dinner, he was friend of a friend, and I told him, “I would like so much to include this song in the film, but the reproduction rights are too expensive,” and so on… He said, “write a letter to Janet Baker and I will give it to her.” So I did, and she wrote me back a wonderful letter in long hand, beginning with “I am so honoured that you would like to include the song…” I made a copy of that letter, and sent it to the publisher and got the permission. I used this letter for the second and the third film as well. There are still two arias of hers that I wanted to put in my films. One is by Monteverdi, Ottavia’s “Addio, Roma.” The other one is a song by Mahler, this perhaps I’ll put in my next film if I get the rights. (In my many moves I seem to have lost the letter!) It’s one of the Rückert Lieder, “Ich bin der Welt abhanden gekommen”—“I am lost to the world.” Baker has the most wonderful piano. I was a singer myself and I know that to produce a wonderful piano you need great strength. And she has it. [sighs]
Read my interview with von Trotta on The Believer online.
I spent the day at the Iris Murdoch Archives at Kingston University, going through some of the books she owned, reading marginalia, the Sartre notebook, and the Raymond Queneau letters (a very fun collection, half in French, half in English, playfully vast in topics of intellectual interest and emotional range too). What I primarily went to see, however, were her letters to Philippa Foot.
Edited on April 3, 2012
I shared some quotes from the letters here but I was later asked by the Archives to take them down as they “breach copyright”. Contact me privately should you wish to read them – they are fantastic. I find the request peculiar – especially the archivist’s “not a single sentence to be quoted” request — as various British media have already quoted extensively from many of these letters, but there you have it. I can only shrug my shoulders.