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“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
 
 
 
 
 
 
 
 

XXVl. I lived with visions for my company – Elizabeth Barrett Browning

from Sonnets from the Portuguese

XXVl. I lived with visions for my company

I lived with visions for my company
Instead of men and women, years ago,
And found them gentle mates, nor thought to know
A sweeter music than they played to me.
But soon their trailing purple was not free
Of this world’s dust, their lutes did silent grow,
And I myself grew faint and blind below
Their vanishing eyes. Then THOU didst come–to be,
Belovèd, what they seemed. Their shining fronts,
Their songs, their splendours (better, yet the same,
As river-water hallowed into fonts),
Met in thee, and from out thee overcame
My soul with satisfaction of all wants
Because God’s gifts put man’s best dreams to shame.

Elizabeth Barrett Browning

_____________________

compare Joyce Kilmer‘s

“Poems are made by fools like me,
But only God can make a tree.”

from Kilmer‘s Trees“, where Elizabeth Barrett Browning
in her poem has of course a much more Romantic view
of things nearly a century earlier, and where the source
of her telling light is rather the much more human
Robert Browning

a fair match, I first wondered, Browning or a tree

then thought, what do I now mean, a good one
and two respective centuries later, by God, the
genesis of all this inscrutable incontrovertible
horn of bounteous and wondrous plenty

I am of course still wondering, despite even the
Sisyphean exponentiality of those wonders

in the end I believe a tree is no less the equal
of a Robert Browning, as proof of the divine

about the divine itself however I’ll reserve
judgment, though my own personal experience
of miracles has made me believe in at least the
ineffably miraculous, the immanence ever of a
mystical, multidimensional order – “There are
more things in heaven and earth, Horatio, /
Than are dreamt of in your philosophy.”

maybe therefore of the divine

but this could easily be just ultimately empty
semantics

so presently I cede

interesting that the question was even popping
up however, finally, after centuries of obligatory
Christian, and obfuscating, dogma, a personal
quest, rather than adherence by ecclesiastical
ordinance, for a proof of God

Richard

the importance of believing in your dreams‏

                                                                                                                                                 today on the Internet I was looking for something
completely different when I inadvertently fell upon
this, for a movie I’ve never been able to abide
Shirley MacLaine won her only Oscar, having missed
out on her other way more wonderful performances,
Irma la Douce“, “The Apartment“, her unforgettable  
Some Came Running“, where she makes easy
mincemeat out of both already established celebrities
Frank Sinatra and Dean Martin, for instance  

here in her acceptance speech she reminds us how                                       integral our reality can be to our dreams 
 
                                                                                                                                              Richard

 

XXV. A heavy heart, Belovèd, have I borne – Elizabeth Barrett Browning‏

from Sonnets from the Portuguese

XXV. A heavy heart, Belovèd, have I borne

A heavy heart, Belovèd, have I borne
From year to year until I saw thy face,
And sorrow after sorrow took the place
Of all those natural joys as lightly worn
As the stringed pearls, each lifted in its turn
By a beating heart at dance-time. Hopes apace
Were changed to long despairs, till God’s own grace
Could scarcely lift above the world forlorn
My heavy heart. Then thou didst bid me bring
And let it drop adown thy calmly great
Deep being! Fast it sinketh, as a thing
Which its own nature doth precipitate,
While thine doth close above it, mediating
Betwixt the stars and the unaccomplished fate.

Elizabeth Barrett Browning

__________________

despite a rigorous rhyme scheme and a mostly
strict iambic pentameter here, which is to say
each verse is given five, or penta, metres, or
beats, where iambic means that the accent is
on the second syllable of each of those five
individual metres, ta-da, ta-da, ta-da times
five, should your Greek be understandably
amiss, Elizabeth still manages to skew the
pace of the piece again in this instance,
turning her poetry, as always, into a more
direct and purposeful prose

just try to follow the sentence metrically as
in a more traditional poem, or song, you’ll
block her headlong and unfettered propulsion

alteration of the beat is not much different
from what composers were doing then with
music, the early eighteen-hundreds, not much
different indeed at all, and which they did for
the very same particular reason, greater
authenticity, the truth part of the iconic
imperatives of beauty and truth

incidentally, where Elizabeth was trying to
invigorate poetry by giving it the apparent
immediacy of prose you might’ve noted
that in my own flurry of literary tidbits,
however ever so humble, I’ve been quite
consciously peppering prose rather with
the elements of poetry, for better or for
worse, but in my mind to reflect a less,
dare I say, prosaic, more inherently
enchanting, vision of the world

Richard

“Elegy Written in a Country Churchyard” – Thomas Gray

                                            for Wills (and June)

 
when a friend told of her sister’s sudden death only
a day after they’d laughed over the phone together
I could only think of words for her of condolence,
but which could never reach the depth of compassion
I intended in so grievous a fall 
 
I looked for an appropriate poem in my recall of
those that had profoundly touched me to do with
bereavement
 
came first to my memory despite the very nearly half
century since I’d read it, “tolling” still despite those
many intervening years 
 
it is no wonder I remembered, it is upon reading it
again the most beautiful poem I’ve ever come upon 
 
 
it isn’t a short poem, 128 lines
 
but give yourself a private moment  just to ponder,
assimilate, it’s searing wisdom 
 
 
 
Richard
 
 
 
 

“Pictures at an Exhibition” – Modest Mussorgsky‏

 
You are definately (sic) now in Chopin mode!“, a friend
writes, much as the culture itself would’ve found
itself after a surfeit of Chopin, giving way to of
course newer inventions in art  
 
if there is an overview that would present the
fundamental outline of what was occuring at
the time it is that the heart was giving way to
the mind, late Romanticism still throbbed with
stirring passions, but a more exploratory
psychological perspective would begin to  
dominate, spurred on by a more analytical
approach to everything, even the arts
themselves to the arts themselves, science
had been unearthing revelations, painters
analyzed paint, writers parsed writing, 
composers deconstructed musical composition
 
all investigated potentiality and purpose within
the area of their field to discover if it still had
relevance, and if so, how and why
 
the first step in moving away from emotion in
music was through an attempt at notational
description, to have music become evocative 
of a scene rather than of sentiment through
orchestrations of sound, an intellectual appeal
to the more probing cerebellum rather than to 
the more facile and evident strings of a rhythmic,
ardently and compellingly pulsing, but primal 
and therefore unreasoning, heart
 
which could also easily become self-indulgent,
only the very best, Chopin, Elizabeth Barrett 
Browning, avoid it, let me add here the never
ever maudlin, always enchanting, Walt Disney,
who cuts mighty, mighty close to the saccharine
in his post-Second-World-War epoch, as do as
skilfully also indeed the other two in theirs
 
it’s all in the rubato, I think, where musical magic
is allowed to turn into pandering kitsch
 
 
here’s Modest Mussorgsky describing Pictures
at an Exhibition, each movement a particular
pictorial work, separated by the return of the
original theme, the “Promenade”, representative
of the amble forward, curatorial and monocled, 
I think, to the next considered instalment 
 
here’s the same thing again in a neat transcription
for guitar 
 
 
Richard
 
 
 

XXlV. Let the world’s sharpness, like a clasping knife – Elizabeth Barrett Browning

notice: the following, I suspect, is for poetry lovers
only, others will likely want to roll their eyes
at my idiosyncratic choices and preoccupations
and delete what I perceive nevertheless and
mean always to be priceless gifts

such is my eccentricity

Richard

psst: one person’s gift however could be another’s
burden, admittedly, meat be their even poison

_________________

from Sonnets from the Portuguese

XXlV. Let the world’s sharpness, like a clasping knife

Let the world’s sharpness like a clasping knife
Shut in upon itself and do no harm
In this close hand of Love, now soft and warm,
And let us hear no sound of human strife
After the click of the shutting. Life to life –
I lean upon thee, Dear, without alarm,
And feel as safe as guarded by a charm
Against the stab of worldlings, who if rife
Are weak to injure. Very whitely still
The lilies of our lives may reassure
Their blossoms from their roots, accessible
Alone to heavenly dews that drop not fewer;
Growing straight, out of man’s reach, on the hill.
God only, who made us rich, can make us poor.

Elizabeth Barrett Browning

_____________________

it had been pointed out in my poetry class at
university, where our supposed greater maturity
would allow us now to peruse somewhat more
prurient texts, that the compass in John Donne‘s
Valediction was, well, prurient, however, to my
mind, at the very least then, eccentric

much like Elizabeth Barrett Browning‘s “clasping
knife”
in her XXlVth sonnet here

all that to our much more jaded XXlst-Century
amusement, we are never ever now so circuitous,
coy, nor were any of us even back in my
mid-XXth-Century teens, D.H. Lawrence had
already irreversibly made courtship graphic,
for better, as in any contract, or for worse

and the beat goes on

Richard

psst:

A Valediction Forbidding Mourning

As virtuous men pass mildly away,
And whisper to their souls to go,
Whilst some of their sad friends do say,
“Now his breath goes,” and some say, “No.”

So let us melt, and make no noise,
No tear-floods, nor sigh-tempests move ;
‘Twere profanation of our joys
To tell the laity our love.

Moving of th’ earth brings harms and fears ;
Men reckon what it did, and meant ;
But trepidation of the spheres,
Though greater far, is innocent.

Dull sublunary lovers’ love
—Whose soul is sense—cannot admit
Of absence, ’cause it doth remove
The thing which elemented it.

But we by a love so much refined,
That ourselves know not what it is,
Inter-assurèd of the mind,
Care less, eyes, lips and hands to miss.

Our two souls therefore, which are one,
Though I must go, endure not yet
A breach, but an expansion,
Like gold to aery thinness beat.

If they be two, they are two so
As stiff twin compasses are two ;
Thy soul, the fix’d foot, makes no show
To move, but doth, if th’ other do.

And though it in the centre sit,
Yet, when the other far doth roam,
It leans, and hearkens after it,
And grows erect, as that comes home.

Such wilt thou be to me, who must,
Like th’ other foot, obliquely run ;
Thy firmness makes my circle just,
And makes me end where I begun.

John Donne

the Chopin Scherzi‏

 
“scherzo” is Italian for “joke”, it’s also a specific
musical mode, quick and delightful, usually
the third movement in a larger piece – sonata,
symphony, concerto – as a contrast to the
preceding adagio, or slower, more melancholic
tonal statement  
 
once again Chopin extracts the mode from the
larger composition, where it had sat as a merely
supportive entity, thereby giving it its own
distinction, having achieved the transcendental
ability to turn secondary material into resplendent
and incontrovertible gold   
 
 
to tell the truth I don’t much get the humour
either, what joke do these scherzi tell, though
I intuit a kind of slapstick, initial grunts for
instance, like engines gunning, before
undertaking a more ethereal flight in the 
second scherzo, the stardust that suddenly falls
on the more languid, forlorn notes, in the third
– contrasts that are, were, subversive surely
then, idiosyncratic, potentially aesthetically
controversial
 
or, is this music, people might’ve wondered 
 
except that Chopin invariably enchants, doubtless
did also then  
 
and turned the rules, as artist do, upside down  
 
maybe that’s the joke, and Chopin was already
onto it 
 
music, he meant, is in the eye of the beholder,
there is no explicit, dare I say Platonic, or
absolute, standard, music is fraught with 
merely imagination, rules do not apply 
 
perhaps his enduring fame rests on our own
complicity with this message, our lives are
the expression of the vividness, indeed
stardust, of, to a sublime degree, our dreams
 
aspiration, in other words, is destiny     
 
who’d a thunk it
 
 
Richard 
 
 
 
 

XXlll. Is it indeed so? If I lay here dead – Elizabeth Barrett Browning

from Sonnets from the Portuguese

XXlll. Is it indeed so? If I lay here dead

Is it indeed so? If I lay here dead,
Wouldst thou miss any life in losing mine?
And would the sun for thee more coldly shine
Because of grave-damps falling round my head?
I marvelled, my Belovèd, when I read
Thy thought so in the letter. I am thine–
But . . . so much to thee? Can I pour thy wine
While my hands tremble? Then my soul, instead
Of dreams of death, resumes life’s lower range.
Then, love me, Love! Look on me–breathe on me!
As brighter ladies do not count it strange,
For love, to give up acres and degree,
I yield the grave for thy sake, and exchange
My near sweet view of Heaven, for earth with thee!

Elizabeth Barrett Browning

_____________________

it is nearly a commonplace that to be profoundly
loved keeps one in fact alive, it is also so in my
own experience, though the expression of it may
often seem, paradoxically, subservient and
fawning

and a great spiritual burden, I would think,
for the anchor, who would be told, in reversed
circumstances, that to be abandoned would be
to have been left, ignominiously, to die

but Elizabeth chooses not to survive, but to
not die, there is a difference, enough to make
a jewel of this poem

Richard

a Chopin Fantasia‏, opus 61

 
to be specific, opus 61, you’ll more easily notice 
already the more abstract peregrinations of his
disciple, Debussyand even the first stirrings of
improvisation incidentally, which is to say the
free-wheeling of idiosyncratic jazz, the very 
inversion of Classical order, personal expression
was trumping even ecclesiastical dictates, those 
very earlier immutable fundamentals of the long
unimpeachable Ten Commandments  
 
Oh Moses, Moses you stubborn, splendid, adorable 
fool, as Anne Baxter, Nefertiri, pagan, therefore 
insidious seductress, would admonish in the film
pronouncementsa film which of course fashioned 
the Biblical iconography of my entire generation,
a veritable Divine Comedy” for our still recent
enough times, nothing has come up to displace it
meanwhile, though a progressively alternative
cultural morality seems steadily to harken
 
was Moses then a fool, a Prometheus in Christian
clothing 
 
time alone tells, and time is an inveterately
temperamental arbiter
 
 
it would appear now that faith equals
unconditional conformity, when I thought
that faith could not, by definition, be
constrained, faith had been meticulously
a considered personal conviction, an
individual emancipation rather than a
conformist, and nefarious ultimately, it
would appear, code 
 
I count on thoughtful efflorescence then,
and a garden of societal consideration, 
a pantheistic and cooperative accord
 
not excluding, let it be noted, the indeed
worthiest, by thoughtful process, of those
very Ten Commandments 
 
without my own children, for instance, I
still recommend honouring one’s parents,
this will bring, I knowlegeably warrant, 
untold benefits, indeed grace, peace and
profound satisfaction, plenary solace to
the very reaches of each our indeterminate
soul
 
take it right here from an appropriately  
distinctive Chopin, unparalleled poet to
the panoply of possible gods   
 
 
Richard