A Defense of Classical Literature

Posted on October 6, 2022 by leslie

Vaishali, Pillar of Ashoka, credit wikipedia

A Defense of Classical Literature

By Darrell Sutton

Past centuries saw the creation of various literary treasures whose worth cannot be gauged by modern standards because what has been handed down possesses unique qualities. Forms of spelling, stylistic idiosyncrasies and provenance all contribute to a text’s general reception. Accordingly, titular divisions developed and became important to writers and readers. Those distinctions are still important for historians today. It is for this reason we encounter such contrived divisions like Golden Age Latin, Silver Age Latin etc. Prehistorians whose expertise concerns pre-written material have been unable to provide exact dates for any number of events because the resources available for determining their place in time can provide only unconfirmable dates that fall within the specific limits prescribed by them.

Literary sources offer some things that are concrete and supply literate persons with more realia than one’s imagination can supply. Ancient books are access points into antiquity, which are unique gateways established for learning about heroic men and women, exotic customs, and esoteric characters whose habits may have been either prudish, licentious, or somewhere in between. So the benefits of acquiring a rudimentary knowledge of historical texts and their translations are many. There is an undeniable truth: orally transmitted tales from times of yore were invaluable to collectors of legends in any age. Religious convictions pervaded ancient societies. They were absurd to some; obscure to others. The thesis that ‘Rome had no myths’ was itself a myth. But it was one popularized by the noted scholar, Kurt Latte (1891-1964), who in writing about a peculiarity of the Italian conception of God, stated ‘für diese unspekulativen phantasielosen menschen… keine mythilbildende phantasie schlingt ihre ranken um die götter’/for these unspeculative people lacking imagination no mythical fantasy coils its tendrils around the gods [Archiv für Religionswissenschaft 24 (1926), 244-58]. Studies in the histories of religion, and the unearthing of thousands of inscriptions, have proved him and several of his peers to have been in error. Therefore, scholars of classical texts, although sometimes misjudging the extant facts and data, find that philological reinterpretation of those same literary sources, in time, will bring readers nearer to the truth. Continue reading →

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Endnotes, October 2022

Posted on October 4, 2022 by leslie

Alma Mahler in 1909, credit Wikipedia

Endnotes, October 2022

In this edition: Mahler’s Fifth Symphony from the Czech Philharmonic, Elgar, choral music from Severnside, reviewed by Stuart  Millson

Sometimes described as a “journey from darkness to brilliant light”, the Symphony No. 5 by Gustav Mahler (1901-02) is one of the composer’s most closely-argued works. A portentous, but nervous trumpet fanfare opens the first movement, leading the listener into an expansive orchestral landscape, yet along clear, direct lines throughout. No significant diversions, no meandering, just taut – sometimes perilous, sometimes radiant – spans of writing that carry you to a glorious, perhaps Brucknerian as much as Mahlerian, finale.

In this new CD from the Pentatone label, the Czech Philharmonic under Mahler expert Semyon Bychkov, provide a remarkable view of the “Middle-European” orchestral sound: a sharp, rasping edge to trumpets and brass, and a precise sound to strings, never the deep richness to be found in some orchestras, but nevertheless with a brightness and depth that is needed for the moods of Mahler. For those who know their Mahler recordings, the new CD puts one immediately in mind of a Deutsche Grammophon version of some considerable vintage; the reading by the Bavarian Radio Symphony Orchestra, conducted by the great Rafael Kubelik (which can still be obtained via the following catalogue number, 429 519-2). Kubelik’s Bavarians give, what to this reviewer, is the near-definitive interpretation of the Fifth – at least in terms of tempo and “outlook”, not to mention the thrilling playing of Munich’s and southern Germany’s outstanding radio orchestra. Now, we have a perfect match, in the form of Bychkov’s realisation of the score – where the Czech Philharmonic achieves a truly satisfying blend of forward-motion, but never sacrificing Mahler’s shattering ability to dwell on profound emotions.

The enormous funeral march that is the first movement keeps its dignity, but does not stall or wallow. The next movement is one of supreme agitation, and early violence, yet Bychkov brilliantly conjures at the end glimpses of radiance and heaven; keeping a thrilling tension to the orchestral sound. The Austrian country-dance atmosphere of the landler-dominated scherzo has a pleasing sense of sunshine gleaming through trees and over Alpine peaks (Mahler composed the Fifth during productive summer months); and the famous Adagietto (Editorial note: supposedly a portrait of Alma Mahler) floats and sighs through moonlit glades and dreams. The last movement – an affirmation of the composer’s ability to build musical power, through sequences that all seem to be climaxes of sound in their own right – take us to the overwhelming final minutes; the Czech Philharmonic sound captured in all its volume and detail. The “inner sounds” of the score – the sinews and strains, the details of woodwind, the hues of the immense string ensemble – this is Mahler’s Fifth at its finest.

In complete contrast, on the ever-questing Somm label, comes choral music from Elgar’s beloved world of Worcestershire and the Severn. Entitled ‘The Reeds by Severnside” (Elgar, as a boy, could often be found by the river, trying to translate into music the sound of the reeds), Somm has assembled a rare sequence of church music by a composer who always remembered his roots – as a local organist, a wanderer, walker and bicycle-rider through the lanes of his home county. Performed by the Chapel Choir of the Royal Hospital, Chelsea, under William Vann (with Joshua Ryan, organ), the new CD offers such gems as the Angelus, O hearken Thou (Op. 64), the Queen Alexandra Memorial Ode. The better-known, Give unto the Lord, (Op. 74) – Elgar at his most typically Victorian, ‘Sunday best’ and earnest – also appears, but most eye- or ear-catching is a Credo on themes from Beethoven’s symphonies; choral variations on passages from the Eroica and the Fifth, in which the music of Bonn’s great master manages to sound completely English. A strange feeling, and a fine recording, William Vann keeping a sense of Elgar’s provincial church tradition: noble, yet intimate – a thought that after the recital, one could emerge from listening or worship into the fresh English air.

Stuart Millson is the Classical Music Editor of The Quarterly Review

Recording details: Mahler, Symphony No. 5, Czech Philharmonic/Bychkov, Pentatone – PTC5187021.

The Reeds by Severnside, choral works by Elgar, Somm label, SOMMCD278.

 

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Fade to Grey: Aida Review

Posted on October 3, 2022 by leslie

Fade to Grey: Aida Review

Khedieval Opera House, Cairo, credit Wikipedia

Aida, an opera in four acts, music by Giuseppe Verdi, libretto by Antonio Ghislanzoni, conductor Sir Antonio Pappano, director Robert Carsen, Royal Opera, 30th September 2022, reviewed by Leslie Jones

For unrepentant ‘Remainer’ Stephen Pritchard, this “impressively radical new production” of Aida is “…a howl of protest against nationalism”. Set in a concrete bunker in a totalitarian state, it is “an Aida for the 21st century, with many pertinent things to say about oppression, and nationalism”. “We could be in Beijing, Pyongyang, Moscow,” he avers (see Bachtrack, 26 September). He evidently forgot to mention Trump’s America, that other bête noire of the liberal intelligentsia. Director Robert Carsen, in similar vein, considers Aida “a cri-de-coeur against war”. It “makes us question nationalism”, he concludes –  cue pointed comments about “Russia’s most recent invasion of Ukraine”. Director of Opera, Oliver Mears and Music Director Antonio Pappano are no less convinced that this new production “moves the action decisively away from pyramids and elephants (sic) towards a contemporary…and distressingly timely way to tell the story”. The awkward fact that Verdi was himself an Italian patriot is overlooked, although as Professor Roger Parker points out, “‘Va pensiero, from the Chorus of the Slaves in Nabucco, only attained “patriotic status” after Italian unification in the early 1860’s (see ‘’Va pensiero’: Biography of a Chorus’, Nabucco, Official Programme, December 2021).

Continue reading →

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Criss Cross

Posted on September 21, 2022 by leslie

Criss Cross

La Princesse de Trébizonde, Jacques Offenbach, libretto by Étienne Tréfeu & Charles-Louis-Étienne Nuitter, English narration adapted by Jeremy Sams, sung in French, London Philharmonic Orchestra conducted by Paul Daniel, Southbank Centre’s Queen Elizabeth Hall, Friday 16th September 2022, reviewed by Leslie Jones

In ‘Go North, Young Man’, (QR, June 29th 2022), we commented that a concert performance of Wagner’s Parsifal “hardly constituted ‘the total integration of music and drama’ (gesamtkunstwerk) proposed by the composer”. However, given the exorbitant cost of staging opera, with scenery, costumes and chorus etc this pared down type of production seems here to stay. Witness this concert performance of La Princesse de Trébizonde, at Southbank Centre.

Opera Rara is on a mission “to restore, record, perform and promote the lost operatic heritage of the 19th and early 20th centuries” (Concert Programme p14). But this begs the question – why do certain operas get lost in the first place? Wagner, for one, considered most contemporary opera as “childish”. He would doubtless have regarded this ‘lost’ work by Offenbach, with its convoluted plot and contrived happy ending, as an example. Continue reading →

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Rules for Everyone

Posted on September 19, 2022 by leslie

Rules for Everyone

By Bill Hartley

Old turnkey

Most of our larger cities still have what used to be called a local prison. Usually they date from the nineteenth century and are monuments to Victorian civic pride. Like other public buildings of that period they were meant to impress. Leeds Prison for example, is said to have taken its inspiration from Windsor Castle, though the soot blackened facade doesn’t quite match the original.

By 1877, all prisons were under the control of commissioners, whose governance was exercised by standing orders of immense detail, running to over 1000 paragraphs (plus appendices). The 1925 edition is a masterpiece of bureaucratic micromanagement, taking in every aspect of institutional life, both for prisoners and staff. Back then the prison officer was required to work a 96 hour fortnight, presumably calculated in this way to allow maximum flexibility when detailing for duty. Augmenting pay, a variety of allowances were available for various additional tasks. Perhaps the most peculiar being five shillings for assisting at an autopsy. Interestingly the usual age for retirement was 55 with no-one permitted to remain beyond the age of 60. Today’s prison staff may view this with some envy, since their union has been waging a so far unsuccessful ‘Sixty Eight Is Too Late’ campaign, against the raising of the retirement age.

Allowances followed a strict hierarchy based on rank. On transfer, for example, a governor was allowed a maximum weight of furniture of eight tons whereas at the bottom end of the scale an officer was permitted only two. Some strange additions and omissions are to be found. ‘The removal expenses of sons of officers will not be paid after they have attained the age of 18 unless such sons have become dependant on their parents by reason of mental or physical disability’. Daughters don’t seem to have been considered at all. Perhaps, because ‘in no case will the expenses of more than one domestic servant be allowed without the previous sanction of the commissioners’ and ‘The railway warrant or fare for a servant will be third class’. Surprisingly, there was no mention of which ranks might be bringing a servant with them on transfer. Married officers were required to live in quarters and even here regulations intruded. Permission to have guests ‘for a short period’ was allowed, after submitting a request in writing to the governor. Continue reading →

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Thy Kingdom Come

Posted on September 18, 2022 by leslie

Thy Kingdom Come

On the 14th September, six days after the death of Her Majesty Queen Elizabeth ll, Stuart Millson, Classical Music Editor of The Quarterly Review, was present at The Mall

On Thursday 8th September, during the course of the afternoon’s broadcasting on news channels, presenters appeared in dark suits and black ties. Meanwhile, at the House of Commons, notes were passed across the despatch boxes – alarm and concern appearing on the faces of politicians of all parties. Reports had stated that HM The Queen, 96 years old and suffering from “mobility problems”, was now “under medical supervision” at Balmoral, the Royal residence in the heart of Scotland, to which all members of her family were now travelling, post-haste. By early evening, 6.30pm, BBC News showed the Union Flag of the United Kingdom being lowered at the Buckingham Palace flagpole – a scene transmitted with no commentary or explanation. Then, the programme’s presenter Huw Edwards, made the announcement that Elizabeth ll had died peacefully that afternoon (although this fact was only later released) – his words being followed by the playing of the National Anthem. Via television and radio, and news alerts to millions of mobile phones, the long, second Elizabethan Age came to its end: the Queen’s first Prime Minister, Winston Churchill, was born in 1874: the 15th and last Prime Minister of her reign, Liz Truss, in 1974.

Acres of newsprint and hours of broadcast time, online comment and expert constitutional discussion of Her Majesty’s 70-year-reign, have since followed. One common assessment is that “in an age of change, the Queen remained constant” – followed by another, that the late monarch “devoted her life to duty”, in endless Royal tours; the presiding-over and patronage of numerous charities; the hosting of countless foreign leaders and fellow-monarchs; and as the guiding light of the Established Church and the Armed Forces. Continue reading →

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Amor Fati, Madama Butterfly

Posted on September 14, 2022 by leslie

Winston Churchill and Maria Callas, credit Wikipedia

Amor Fati

Madama Butterfly, Japanese tragedy in three acts, Royal Opera 12th September 2022, music composed by Giacomo Puccini, libretto by Giuseppe Giacosa and Luigi Illica, conductor Nicola Luisotti, reviewed by Leslie Jones

In The Origin of the Family, Private Property and the State (1884), Friedrich Engels considers how sexual relationships might best be regulated “after the impending effacement of capitalist production”. He anticipates that women will no longer be obliged to “surrender” to any man “out of any other consideration than that of real love”. Cio-Cio-San (soprano Maria Agresta) is in no such privileged position. After her father killed himself by order of the Mikado, the women of her family had to become geishas to survive. Lieutenant Pinkerton (tenor Joshua Guerrero) is set to marry her “Japanese style for 999 years”. A house and servants are included in the marriage contract, which can be terminated at any time. Indeed, Pinkerton drinks a toast to the ‘real’ American wife he expects to one day have, after a ‘proper’ wedding. But although a cynic and misogynist, he is not without redeeming features.

Reportedly, this revival of Directors Moshe Leiser and Patrice Caurier’s twenty year old production was given the go ahead only on condition that it was made “more authentic in its representation of Japan” (see Oliver Mears, Director of Opera & Antonio Pappano, Music Director of Royal Opera, Official Programme, p 21). This apparently involved some input from Japanese practitioners and academics. As Michael Church remarked in the Independent, 15th June 2022, the revival director was required to find a slant “which doesn’t offend those who regard the opera as an expression of racist stereotyping”. Yet messrs Mears and Pappano, somewhat inconsistently, consider Madama Butterfly  “ahead of its time” and “a savage indictment of the evils of imperialism”. Continue reading →

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Endnotes, September 2022

Posted on August 29, 2022 by leslie

Camelot, Gustave Doré’s illustration for Tennyson’s Idylls of the King

Endnotes, September 2022

In this edition: the Celtic musical world of Arnold Bax, by Stuart Millson

In 1917, the nature- and myth-worshipping English composer Arnold Bax travelled to the northerly Cornish coast, to the “castle-crowned cliffs of Tintagel”, for a holiday (romantic, in both senses of the term) with his mistress and fellow-musician, Harriet Cohen. From this visit was born one of the most striking tone-poems in the history of the English musical renaissance: a work of about a quarter-of-an-hour in length, which contains some of the most powerful passages ever penned by a composer of this period and style.

Bax was born in the London suburb of Streatham, a place far removed from the sunshine and shadow of Eire and Kernow (the Celtic name for Cornwall). But after discovering and absorbing Irish literature and folklore, he claimed that: “The Celt within me stood revealed.” The Arthurian site of Tintagel was a major point of fascination for this Celtic-like wanderer of the imagination; Bax linking his own passionate affair with Harriet to the legends of King Mark and Tristan and Isolde. And so, on “a sunny, but not windless summer’s day”, he envisaged in musical form the sea-drift of the Atlantic lulling the onlooker into a reverie of ancient, mythical times. The heady, yet tightly-argued symphonic poem, Tintagel, came into being: a brilliantly-condensed, high-romantic musical drama; a piece that evokes high-tides, remote seabird-sounds and the clash of arms of ancient British warriors. The piece was recently performed at the Proms by the Sinfonia of London, conducted by John Wilson – a musician known, principally, for his immaculate staging of Hollywood musicals, but now forging a reputation as a champion of early-20th-century British works. Continue reading →

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Varieties of Canadian Conservatism

Posted on August 22, 2022 by leslie

Varieties of Canadian Conservatism

By Mark Wegierski

The divisive leadership contest in the federal Conservative Party of Canada will soon be resolved. The leading candidates are Pierre Polievre, seen as tending towards populism, and Jean Charest, considered a centrist. The social conservative candidate is Leslyn Lewis. There is currently a debate in Canada as to what “conservatism” means. This article endeavors to transcend the sterile “centrism vs. populism” discourse within the Conservative Party.

All of the members of the Conservative Party signed up before June 3, 2022 (of whom there are close to 700,000) will get to vote on a mailed-in ranked ballot. However, the vote is filtered through a system in which every riding counts as a 100 points, regardless of its numbers of members. In cases where there are less than a hundred members, each vote counts as a point. This voting system is thought to increase Jean Charest’s chances of winning the leadership.

Whereas the various right-wing factions in Canada have comparatively little influence, in contrast “ultra-moderates” or “centrists” or “Red Tories” have exerted a profound influence on the Conservative Party. Admittedly, the term “Red Tory” can have an elevated meaning, as in the thought of the Canadian traditionalist philosopher George Parkin Grant (1918-1988), which constituted a “social conservatism of the Left”. But it can also be used to describe opportunist Conservative Party activists, who had earlier inveighed against the supposed “bigotry” of the Reform Party. Continue reading →

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Paul’s Epistle to the Romans, Part V

Posted on August 18, 2022 by leslie

Eleusinian Mysteries, Demeter Enthroned, Varresse Painter, credit Wikipedia

Paul’s Epistle to the Romans, Part V

By Darrell Sutton

Sects that employ predestinarian systems (theological determinism) must adopt rigorous forms of textual analysis and interpretation to shore up their ideological frameworks. Romans, chapter eleven, which adresses the foreordination of human destinies, tends to inspire longer and detailed explorations. Scholars seem to enjoy the entanglements they encounter in its theological presentation. The notions included are not novel or unusual – e.g., Heracles disregarded his sufferings and his disdain for Deianira once he learned that he was doomed to die by the premeditated will of the gods; but when Pauline (or Judaic) statements on ‘fate’ and ‘foresight’ are presented to modern minds, normally they are off-putting, and without question would not have been favorably received among ancient Greeks and Romans within the Mediterranean basin who appreciated Eleusinian mysteries, exotic Orphic ideas or the cult of Cybele.

In ancient Italy, speakers of Latin regularly paid homage to the gods and goddesses they believed properly served their best interests. These factors are delineated fully in that “Augustan epic” composed by Virgil. The Aeneid tells the tale of Rome’s sacred origins. Virgil’s poem honored Homer’s legacy, and the deities portrayed in his verse were well known on street corners in Rome, indeed more or less throughout the Roman Republic. The mention of divine beings in early Roman writings permeated speeches and public documents, much like Christian themes were trumpeted later and openly in England during the Victorian era.

In matters of moral excellence, cultivated Roman writers acknowledged their debt to Hellas, nonetheless they believed their present ethos was equal to, or superior to, all former cultures and existing societies. Cicero said as much when declaiming the uniqueness of his people: he spoke of the Romans’ solemnity, steadiness, greatness of mind, faith, virtue etc.,  in ‘quae enim tanta gravitas, quae tanta constantia, magnitude animi, probitas, fides, quae tam excellens in omni genere virtus in ullis fuit?’ – Cic. Tusc. Disp. i.2.

For these reasons, Roman citizens would have had little use for an eastern god that could not safeguard its devotees from neighboring aggressors, permitting them to be made subject to the imperium of Rome. The passages below from Paul’s epistle to Roman believers, in either Greek or Latin idiom, represent classic Judeo-Christian conceptions formally expressed, and literary ideas that were advertised to spur debate. They are worthy of reflection, and benefit readers whose desire is to grasp how first century Christians, both Jewish and non-Jewish, conceptualised their God and their relation to their spiritual kin: Israel, the people nominally created by Jehovah.

Paul’s expressions in the Latin Vulgate are clear and compact. In forceful idiom and verbiage, chapter eleven offers a summary of what Paul has stated in previous chapters regarding Israel’s status ‘coram deo’, before God. These thirty-six verses bring to an end my abiding endeavor to translate anew chapters 1-11 of Paul’s interesting epistle to the Romans.

Outline

11: 1-6             Paul, a type of Israel, and the remnant according to the election of grace

11: 7-10           Israeli disinterest in God’s electing grace

11: 11-14         God’s redemptive project unites Jews and non-Jews [in Christ]

11: 15-25         Reconciling gentiles to God despite Jewish unbelief

11:26-32         Israel, God’s beloved, finds mercy in their unbelief

11: 33-36        Paul utters praises to God

Chapter eleven

1 I ask, as well, has God now thrown away his people? Absolutely not. Indeed I, too, am an Israelite of the seed of Abraham, of the tribe of Benjamin. 2 God has not rejected his people whom he knew previously [foresaw]. Do you not know what scripture says of Elijah? just how he besought God [with objections] against Israel? 3‘Lord, they murdered your prophets, they displaced your altars. I too am left alone, and they indeed pursue my life.’ 4 But what does God say in response to him? ‘I retained for myself seven thousand me who did not bend their knees before Baal.’ 5 There is a saved remnant at this time, all the same, conforming to the determination of grace. 6 And if by grace, [it is] not of works now. Otherwise, grace is not grace.

7 What then? Whatever thing Israel wanted was not obtained. But the election followed on; truly the others were blinded. 8 Exactly as it was written, ‘God gave them a spirit of slumber, eyes so that they cannot see, ears so that they cannot hear, down to this present day.’ 9 And David declares, ‘May their table be made a snare, and a deception, a cause of offense, and a retribution to them.’ 10 ‘May their eyes become dim, that they cannot see and always bend their back’ [or, stoop].

11 So I ask, ‘did they stagger that they might fall down?’ Absolutely not. But [on account of] that fault, salvation is [intended] for the gentiles, to provoke them to be jealous. 12 What if their fault are the riches of the world and the decline of them the riches of the gentiles, how much greater their abundance? 13 For I declare to you gentiles in so far as I am an apostle of the gentiles, I will regard-with-reverence my ministry [efforts]: 14 if, somehow, I might provoke my flesh to be envious and may save a number of them.

15 Even if the dismissal of them is the world’s reconciliation, oh what an acquisition without life from the dead! 16 If the portion is holy, the lump as well. And if the root is holy, the branches too. 17 And if some of the branches are broken, but you, being a wild olive tree, were joined to them, sharing too in the root and fullness of the olive tree, 18 do not boast against the root. And if you boast, [remember,] you are not  sustaining the root, but the root, [supports] you.

19 Will you say then, the branches are broken off that I should be inserted? 20 Good. They are separated by unbelief. You indeed stand by faith. Do not relish the exalted but be reverent. 21 For if God did not spare the native branches, no, not by chance will he spare you. 22 Perceive then the goodness and severity of God. To those who in fact were cut off, severity; but to you also, God’s goodness. If you will be persistent in excellence; otherwise, you too will be cast away. 23 And them too, if they persist not in unbelief will be implanted. For God is able to graft them in again.

24 If you were cut out of an olive tree, [one] wild by nature, and against nature grafted into a good olive tree, how much more these, which are according to nature inserted into their own olive tree? 25 For I do not wish you to be ignorant brothers of this mystery, that you not be firmly set in your own wisdom seeing that blindness touched Israel in part, while the fullness of non-Jews do enter. 26 And as you see, all Israel will be saved: just as it is written,

‘Out of Zion will come one who takes control [who] will remove irreverence from Jacob. 27 And this covenant from me [is] for them when I will take away their sins’.

28 Certainly concerning the Gospel [they are] unfriendly on account of you; but regarding election, ‘precious’ because of the Father. 29 Namely, God’s gifts and callings are without repentance. 30 I mean, just as you did not believe God at one time, now however, you were shown compassion through their unbelief. 31 And as has been stated, they also have not believed now [in] the mercy that is yours, that they should find mercy. 32 Truly God shut them all up in unbelief that he might be compassionate to them all.

33 O the extent of the riches and wisdom of God! How incomprehensible are his judgements and his unsearchable ways! 34 For who has understood the mind of the Lord? Or who was his advisor? 35 Or who first gave [anything] to him?, then it will be restored to him.  36 Seeing that  all things are by him and through him and for him, forever praise him! Amen.

Classicist Darrell Sutton is a regular contributor to QR

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