Recessional

The Great War; a Cavalry officer negotiates a mined road

 Recessional

Lo, all our pomp of yesterday 
Is one with Nineveh and Tyre!
                                         (Kipling)

For Stuart Millson, loss and decline inform Elgar’s music

The biographer Jerrold Northrop Moore remarks that if Elgar had died in his early thirties, his name today would only live on in specialist books about English music – his few, mainly choral works being given the occasional outing at provincial festivals. Elgar was 39 when his Norse saga, King Olaf, was written for a festival in North Staffordshire. His masterpiece, the Enigma Variations, championed by the great Wagnerian Hans Richter, would come three years later, in 1899.

Fortunately, Elgar lived a long life, drawing inspiration from many sources: the lanes and hills of Worcestershire, Herefordshire – and, in his Introduction & Allegro for strings, the coast of West Wales – and thirteen years later, the woodland and local legends of Sussex, in the Piano Quintet. Continue reading

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Third Parties in Canada

Color Field, Mark Rothko, No 61 (Rust and Blue), 1953

Third Parties in Canada

Seasonal fare for anoraks, courtesy of MARK WEGIERSKI

“Third parties” are an endlessly fascinating topic of study. The notion arises in polities characterized by “first-past-the-post” voting systems, where there are usually only two major parties. Polities characterized by proportional representation (PR) voting systems tend to have a multiplicity of parties. Particular popular attention – although scant electoral support — is given to “third parties” in the U.S. – where the “two-party” system is so strongly entrenched. Since the 1850s, with the rise of the Republican Party, there have been two main parties in the U.S. – although both of them have undergone tremendous permutations. Since that time, there has never been  a “third party” in U.S. politics which achieved the electoral breakthroughs that a considerable number of “third parties” have been able to do in Canada. Indeed, these “third parties” are sometimes not easily categorized as conventionally conservative or liberal. For example, the candidacies of both Ralph Nader (Green Party), and Pat Buchanan (Reform Party) in the 2000 U.S. Presidential election, had elements that were neither conventionally conservative, nor conventionally liberal. “Third parties” often amount to a salutary “shaking-up” of the political system – actually making it more truly populist. Continue reading

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No Secular Heavens Here

The Three Fates

No Secular Heavens Here

Manilius’ Astronomica and the Poetics of 4. 1-11, by Darrell Sutton

Lucretius (99BC-55BC) penned an atheistic poem entitled De Rerum Natura (DRN). Its Latin text contains poetry of a high order. In the world of DRN, natural solutions seem more acceptable than any scheme of divine causation. Manilius’ Astronomica is a rival text to the DRN and may have been composed in order to offer a stylistic answer to the dilemma ancient Romans faced about human autonomy. Such as it is, Manilius’ poem is a focus of growing investigation. Students are drawn to it for a variety of reasons. Its poetry preserves evidence of common Graeco-Roman trends in the conception of celestial objects during the first century of the Common Era. Indeed, the text consists of several statements with eastern origins.

This essay is arranged in three sections. First, there is a brief conspectus of the context in which the poem was written and of what is known of Manilius. Second, a few comments are supplied on select verses regarding Manilius’ belief about the divine descent of wisdom and its dissemination through the display of celestial bodies. And third, a thorough study of the poetics of the text at 4.1-11. Continue reading

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Bitter and Twisted

 

Dimitri Platanias as Rigoletto

Bitter and Twisted

Rigoletto, opera in three acts, music by Giuseppe Verdi, libretto by Francesco Maria Piave, after Victor Hugo’s Le Roi s’amuse, director David McVicar, orchestra conducted by Alexander Joel, Royal Opera, 14th December 2017, reviewed by LESLIE JONES

Giuseppe Verdi, like several other composers, passionately admired Shakespeare. As Susan Rutherford notes in the official programme (‘Attempting New Things’), in 1849, he drew up a list of plays that he thought could be made into operas. It included King Lear, Hamlet, The Tempest but also Victor Hugo’s verse drama Le Roi s’amuse. In the event, only the last idea came to fruition.

For Verdi, Rigoletto was his finest work. He regarded Hugo’s characterisation of Triboulet, the prototype of Rigoletto, as “one of the greatest creations that the theatre in any country or period could boast”. As in ancient Greek tragedy, Rigoletto is the play thing of the gods and by virtue of his character defects, instrumental in his own undoing. For as he himself acknowledges, there are divergent sides to his personality. Once at home, the cynical, world weary court jester gives way to the doting, over-protective father (of Gilda, played here by the technically gifted soprano Sofia Fomina). He considers the “vile, cursed race of courtiers” responsible for his moral failings and for his goading of Count Monterone, which elicits the latter’s fateful curse. Continue reading

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In House

Cliveden 

In House

The English Country House: from the Archives of Country Life, Rizzoli, 2017, ISBN 978-0-8478-3057-2, £50, reviewed by Angela-Ellis Jones

‘The English country house is an extraordinary phenomenon that lies at the very heart of England’s history and cultural life’. So begins a magnificent tome which showcases  sixty-two houses which have featured in Country Life since the 1980s, when it started printing photographs in colour. The architectural styles span seven centuries, from the mediaeval Stokesay Castle to the newly built, Lutyens-inspired Corfe Farm. Many are still private homes, often inhabited by descendants of the families that built them. The houses show a wide geographical spread – almost all counties boast at least one entry in the book. The variety of England’s vernacular architecture is a testament to the remarkable diversity of its geology. Continue reading

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Rattle and Hun

Wassily Kandinsky, Romantic Landscape

Rattle and Hun

Sir Simon Rattle, Berlin Philharmonic, Staatsoper, Unter Den Linden, Berlin, December 2017: Stravinsky, Petrushka, Rachmaninov, Symphony No. 3 in A minor. Staatskapelle Berlin, conducted by François-Xavier Roth, Konzerthauss, Berlin. Reviewed by TONY COOPER

Sergei Rachmaninov wrote his Third Symphony in 1936, whilst living in Switzerland where he had a home located just outside of Hertenstein, near Lake Lucerne. Named Villa Senar, it was the composer’s summer residence for most of the 1930s. He died in 1943, after emigrating to the United States and, apparently, wishing to be buried at Senar. But the Second World War thwarted his wishes.

Rachmaninov’s three symphonies reflect different phases in his creative development. The First (written in 1895) conjures up a stormy combination of contemporary trends in Russian symphonic music, whilst the Second (1907) reflects the opulence of the music of Tchaikovsky. The Third Symphony, first heard in Britain in November 1937 with the London Philharmonic under Sir Thomas Beecham, saw the light of day a year earlier with Leopold Stokowski and the Philadelphia Orchestra. Critical opinion was divided. Public opinion proved negative but the composer remained convinced of its worth. Continue reading

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M.L. West, Cementing a Legacy

J M W Turner, Ulysses Deriding Polyphemus

M.L.West, Cementing a Legacy

M.L. West, ed., Homerus Odyssea, Berlin/Boston, Walter de Gruyter, 2017, Pp. LXII, 519

One hundred and fifty years ago, German academics were strides ahead of their non-Teutonic, classicist peers. Since then, a text-critical revolution has occurred: a select few men and women adapted and improved German classical implements for the betterment of classical studies as a whole. The distribution of good judgment in the editing of ancient Greek and Latin texts has now has been equalized, and to good effect

This edition of “Homer’s” Odyssey supersedes P. von der Mühll, Homeri Odyssea (Teubner, 1984), and is the culmination of five decades of academic study of Greek epic by West. The critical text exhibits all the scientific principles set forth in previous editions of Greek texts edited by him. Scholarly debts are repaid by him to several competent scholars (XXV). By June of 2015 the book was in effect finished (XXVI). Dr. Stephanie West, a distinguished classicist in her own right, tells readers that M.L. West (1937-2015), her husband, died before he could put the finishing touches to the final pages (XXVI). So the task fell to her. She is to be commended for her efforts. Continue reading

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ENDNOTES, 6th December 2017

Olga Spessiva in Swan Lake costume, 1934, photographer Sydney Fox Studio

ENDNOTES, 6th December 2017

In this edition: Ronald Corp conducts Parry, Elgar & Vaughan Williams; A Wind in the Willows fantasy, narrated by Simon Callow; Tchaikovsky’s Nutcracker from Bergen, reviewed by STUART MILLSON. Echoes of Mozart, reviewed by LESLIE JONES

The Quarterly Review caught up with conductor and composer Ronald Corp just a few days before his end-of-year concert with the London Chorus and New London Orchestra. Busily rehearsing at London’s Cadogan Hall – especially the large-scale and seldom-performed Vaughan Williams’ Hodie (1953-54) – we asked the maestro about his latest championing of rare English music: “I am delighted to be performing this late work by Vaughan Williams, his 16-part Christmas choral-orchestral piece, because it’s very much a symposium – his own symposium – of his lifetime of composition. Hodie (‘Today’ – [Christ is born]) contains many ideas and themes – some of them pastoral, some reminiscent of The Pilgrim’s Progress, some from the symphonies. There are wonderful sections for the three soloists, a tenor, soprano, baritone [Mark Wilde, Julien Van Mellaerts and Augusta Hebbert] with the choir – and children’s choir – evoking the mysteries of the Christmas story.” Continue reading

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Oakeshott’s World View, Part 3

Michael Oakeshott

Oakeshott’s World View, Part 3

Noel O’Sullivan (ed), The Place of Michael Oakeshott in Contemporary Western and Non-western Thought, Imprint Academic, 2017; £19.95; pbk; 197 pages, reviewed in three parts by ALLAN POND

[This collection includes some of the papers given at the 2015 conference of the Michael Oakeshott Association held at Hull University plus some papers not presented to the conference but on the same theme of the conference which also lends its title to the book.]

Whence Oakeshott’s growing appeal? Clearly he speaks ‘to our condition’. Yet there are many thinkers who don’t speak ‘to our condition’ (such as Filmer, Bossuet, Albert the Great) who are studied and whose writings are still available to us, the first two at least in modern paperback editions; and there are writers who try to speak to us but do so in such technical or obscure language that they have little broad appeal. Continue reading

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Mad Days in Münster

Jan van Leiden tauft ein Mädchen

Mad Days in Münster

Le prophète, Grand Opera in 5 acts composed by Giacomo Meyerbeer, Deutsche Oper, Berlin, November 26th, 2017, directed by Olivier Py, conducted by Enrique Mazzola, reviewed by TONY COOPER

Le prophète forms part of a project that has seen new productions at Deutsche Oper Berlin of Les Huguenots (2012) and Vasco da Gama (L’Africaine) (2015) while a concertante version of Meyerbeer’s opéra comique, Dinorah, formally entitled Le pardon de Ploërmel, was staged in 2014.

It charts the rise and fall of the rebellious Protestant Anabaptists who tried to establish a communal sectarian government in the Westphalian city of Münster during the Reformation. The city, in fact, came under their direct rule from February 1534 – when the city-hall was seized and Bernhard Knipperdolling installed as mayor – until its fall in June 1535. It was Melchior Hoffman who initiated adult baptism in Strasbourg in 1530, and his line of eschatological Anabaptism helped lay the foundations for the dramatic events in Münster, one of the bloodiest chapters in the history of the Reformation.

Meyerbeer’s opera Le prophète captured this slice of history convincingly and was  frequently performed on the world’s leading opera stages. But, sadly, it fell completely out of favour in the early part of the 20th century and only slowly recovered its status with revivals at Zürich Opera in 1962 and Deutsche Oper Berlin in 1966 (both featuring Sandra Warfield and James McCracken in the leading roles). A revival at The Met in 1977 starred Marilyn Horne as Fidès. Vienna State Opera also brought it to the stage in 1998 in a production directed by Hans Neuenfels with Plácido Domingo and Agnes Baltsa. Happily, over the past few years, Le prophète is finding its feet once more in European houses. Continue reading

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