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Category: poetry

un-still lifes‏

 
  Fairy tale. Garden of Eden. - Martiros Saryan
 
                                           Fairy tale. Garden of Eden (1904)

                                                           Martiros Saryan    
   
                                                               __________
                                                                                                                                                                                                                                         
 
animals are also poems, just by even standing
there
 
 
well, mammals, I meant, and, of course, birds 
 
 
Richard
 
psst: sometimes I think that the Fall from the Garden
           of Eden is not behind us but before us, we are
           the cancer, we are the terror, we have eaten
           irresponsibly from the Tree of Knowledge, not
           for better but for, too often it would appear,
           unfortunately, worse
 
 
 
 
 
 
 
 

“The Carnival of the Animals” – Saint-Saëns/Nash/Disney

in the same spirit of “music as literature” as in
Liszt’s Années de pèlerinage“, or Mussorgsky‘s
Pictures at an Exhibition especially, Camille
Saint-Saëns, composed his Le carnaval des
through an anthropomorphised menagerie 
where the description is impressionistic rather
than narrative, which is to say more painterly
 
he composes in patches of musical textures
instead of melodic and linear paragraphs,
incompatible with the original association
of music as melody, or song, one’s response
would become thereby more intellectual
than emotional, one does not swoon, or
even sway, in other words, as marvel at the
synesthetic imagination, which lets you see
sounds and hear pictures
 
you’ll hear here, or “hear, hear”, the turtles
doing their determined interpretation of the 
can-can, at an improbable crawl, in playful
reference to Offenbach‘s “Galop infernal”,
mad gallop, from his Orpheus in the  
Underworld, other such instances of 
compositional salutations follow, not at
all an unusual practice among composers,
great and small 
 
you’ll be enchanted by the shimmering
ethereality of the aquarium, by the grace
and majesty of the now mythic swan,
among other zoological bedazzlements, 
in 14 movements, in therefore essentially
a symphony, a piece for orchestra with
several movements
 
here they are        
I.      Introduction et marche royale du Lion
               (Introduction and Royal March of the Lion)
II.     Poules et Coqs 
               (Hens and Cocks)
III.    Hémiones (animaux véloces) 
               (Wild Asses)
IV.   Tortues
                (Tortoises)
V.     L’Éléphant 
                (The Elephant)
VI.    Kangourous 
                (Kangaroos)
VII.   Aquarium
VIII.  Personnages à longues oreilles
                (Personages with Long Ears)
IX.    Le coucou au fond des bois 
                (The Cuckoo in the Depths of the Woods)
X.     Volière
                (Aviary)
XI.    Pianistes
                (Pianists)
XII.   Fossiles
                (Fossils)
XIII.  Le Cygne
                (The Swan)
XIV.  Finale
 
 
you’ll want to read the poems that Ogden 
Nash later wrote about them, his very own
Carnival of the Animals“, that now often
accompany the piece, a mistake, I find, for
exposing two entirely idiosyncratic and 
incompatible sensibilities opposite each
other, thereby taking away from each 
 
but Walt Disney has, and you will too have,
a great deal of fun nevertheless with both
of them, though they’re somewhat in his
version abridged, no swan 
 
 
Richard
 
 
 
 

“Song of the South”‏ – Walt Disney

it’s been over fifty years since I’ve seen this movie,
never thought I’d see it again but now for the magic
of the Internet, the boundless trove of irreducible
treasures, like those in Ali-Baba’s caves, or the
attics of our ancestors, stowed away, open again
to our poetic or otherwise imaginations, at our
very fingertips
 
I remembered this movie to be wonderful, moving,
but not much else, except for the Zip-A-Dee-Doo-
Dah” theme, which is unforgettable, and a single
plot twist it would be unchivalrous to divulge 
 
it has apparently been controversial, and is
presently banned, it would appear, in cinemas,
but it would be to my mind as racially insensitive
as “Huckleberry Finn”, “Tom Sawyer’, or even
“Gone with the Wind” have been, when they
were patently giving voice rather to a shocking
human cultural, and political, abomination, 
however awkwardly, that is still powerfully,
shamefully, even manifestly, resonant
 
this is not a universal, note, condition, every
season for any culture has its bugbears, its
demons and monsters, and woe to the
unfortunate and inadvertent victim 
 
 
in perhaps his most wonderful movie, and there
were quite a few, Song of the South“, Walt Disney 
lets us know that we’re all in this together, and
that kindness meets kindness in everyone, when
you open your heart 
 
and that the reverse is horrible 
 
 
Walt Disney is of course one of the great cultural
influences of the 20th Century, dismissed among
the titans as merely for kids
 
Walt Disney will be for an entire generation the
place where we learned our moral ABCs, much
more than in the dire Bible
 
as such he’s no less significant an artist, not at
all less significant, than Monet, Picasso, for
instance, Beethoven, Shakespeare, in shaping
our present moral and aesthetic world 
 
 
you’ll need some Kleenex 
 
 
you can also sing along 
 
 
Richard 
 
psst: filmed, I’m sure, right here in beautiful Stanley
         Park behind my place in Vancouver, even the
         animated portions    
 
 
 

“Années de pèlerinage” – Franz Liszt

                                                                                                                                                      Franz Liszt (1811 – 1886)

    Années de pèlerinage 

         Première année: Suisse (published in 1855)

                1 Chapelle de Guillaume Tell
                2 Au lac de Wallenstadt
                3 Pastorale
                4 Au bord d’une source
                5 Orage
                6 Vallée d’Obermann
                7 Églogue
                8 Le mal du pays
                9 Les cloches de Genève

 
                                    Alfred Brendel, pianoforte
 
 
          Deuxième année – Italie (published in 1858)
 
                   1 Sposalizio
                   2 Il Pensieroso
                   3 Canzonetta del Salvator Rosa 
                   4 Sonetto 47 del Petrarca
                   5 Sonetto 104 del Petrarca
                   6 Sonetto 123 del Petrarca
                   7 Après une lecture du Dante. Fantasia quasi una Sonata
 
 
                                           Lazar Berman, piano

 

         Troisième année  (published in 1883)
 
                1 Angélus! Prière aux anges gardiens
                2 Aux cyprès de la Villa d’Este I 
                3 Aux cyprès de la Villa d’Este II
                4 Les jeux d’eaux à la Villa d’Este
                5 Sunt lacrymae rerum
                6 Marche funèbre
                7 Sursum corda

 
                                            Lazar Berman, piano
 

                                      ___________________________
 
 
 
music as literature

  

Richard
 
 
 
 
 
 
 
 

ll. But only three in all God’s universe – Elizabeth Barrett Browning

from Sonnets from the Portuguese

ll. But only three in all God’s universe

But only three in all God’s universe
Have heard this word thou hast said,—Himself, beside
Thee speaking, and me listening! and replied
One of us . . . that was God, . . . and laid the curse
So darkly on my eyelids, as to amerce
My sight from seeing thee,—that if I had died,
The deathweights, placed there, would have signified
Less absolute exclusion. ‘Nay’ is worse
From God than from all others, O my friend!
Men could not part us with their worldly jars,
Nor the seas change us, nor the tempests bend;
Our hands would touch for all the mountain-bars:
And, heaven being rolled between us at the end,
We should but vow the faster for the stars.

Elizabeth Barrett Browning

_________________

it took me a week to sort out the obscurities in this
poem, God, she says, put me through so much physical
stress that I, so challenged, could have let myself not
know you – “laid the curse/ So darkly on my eyelids,
as to amerce/My sight from seeing thee” – that
would’ve been existentially, – “had I died” – more
absolute and stark and egregiously black than what
I’ve learned through our conjunction of the bliss and
eternity of such a love, invincible, propelled inexorably
– by the intensity of our shared devotion, despite even
“worldly jars”, worldly distempers, “seas”, “tempests”,
[m]ountain-bars” – that much “faster for the stars”

these obscurities are what steered me away from
poetry when I was younger until a more direct and
less ambiguous parlance emerged

but Elizabeth Barrett Browning has always remained
despite some literary difficulties poignant enough
for me and indeed emotionally reverberant that
she has steadfastly endured, she is too honest
and raw and of course articulate to not be warmly
remembered

Richard

Brahms Piano Concerto no 2 in B flat major, opus 83‏

though I’d no intention of presenting a piano concerto
quite yet I’d been trolling Celibidaches on the Internet,
after marvelling at his wondrous Boléro”, and couldn’t
hold back this gem I found of his, Brahms’ Piano 
 
same venue, same Münchner Philharmoniker, same
starched ceremonial ruffles, I thought, same even age
of the conductor, to the very minute, it appeared, in 
his unchanged eye and perspective, wise, serene,
omnipotent, perhaps the very same concert as in the
illustrious Ravel, I said to myself, though later couldn’t
especially recognize individual instrumentalists
 
Daniel Barenboim, who conducted earlier the speedy
“Boléro”, wears another hat here, he’s the pianist, but
in this incarnation he is transcendental, carried aloft,
I think, notably, by the Olympian Celibidache, who
cedes his fire and glory to the younger Barenboim
throughout, who supremely is up for the challenge,
a ready and rearing Apollo, taking on the treacherous
musical task, defying obstreperous planets, perilous
astrological constellations in nefarious conjunctions, 
stray or fleeting stars, to foster safely home to its
final hearth his solar chariot, in a towering sunset,
finale of apocalyptic proportions, each purveyor
casting unutterable light, god and mere immortal, 
from his own particular perch, upon our beholden
world
  
Celibidache, as would Zeus, cedes serenely to his 
younger avatar his bow, his deserved adulation,
safe in his own unquestionable omnipotence
 
 
this concerto has four movements incidentally, greater
length always suggests more gravitas, more substance 
 
is it warranted
 
you be the judge 
 
 
Richard
 
psst: in another mythological context, note the hand of
         Celibidache resting on air, intermittently fluttering,
         at the beginning of the slowest movement, the
         andante, the third, the hand of God ministering, 
         according to Michelangelo, in the “Creation of 
         Adam”, should you not yet be convinced of the 
         maestro’s august and unequivocal stature
   
 

Stefan Lochner

    Stefan Lochner 007.jpg

                                   Stefan Lochner

 

                                      (1400-1452)

 

                       “Madonna in the Rose Bower”                            

                                                                     

                                                                    __________

 

                                    for Christmas

 

                           I wish you faith in angels    

 

                                                    

                                          Richard    

                                                                                                                                           

 

                                     ________________________