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Tag: Moses

this is a love poem

from the lip of Diamond Head we’d be able
to see right down to Jevon’s pier, Greg said,
in a moment that seemed to him inspired
when he grasped it right out of the corner
of the room right in front of me, as I sat 
there on the bed pondering options
 
a trip around Oahu, our first and only other
choice, would’ve been expensive, even
excessive, and I’d already been around the
island before, which rendered moot the idea
that he’d offered with great gallantry, that for
me it would be a novelty, something I’d never
done, to add texture to our mission
 
instead of Rome at the last minute that trip
had seemed too impracticable, presenting
too many daunting obstacles  
 
I’d asked for an alternative, and right there,
again like an inspiration, he said Hawaii,
this time across from me on my sofa
 
 
Hawaii had seemed completely improbable
to me, and somewhat disrespectful at first,
but then Greg spoke of Jevon’s pier, Jevon,
his nephew, had died ten years earlier,
tragically, and way too young, and his
parents had scattered his ashes there,
a place Jevon loved, and to which his
folks returned every fall to winter
 
the death of Jevon had been Greg’s first
experience of death, its impact had not
receded, like love the experience of
death is indelible, and, of course,
transformative
 
 
Jevon’s mother had demurred at the
idea of superimposing even her own
parents’ ashes, when Greg inquired,
needing a form of absolution for what
he would have be a solemn act, over
the place where she’d thrust to heaven
her only son’s
 
her husband seems to have borne the
burden much more stoically, eschewing,
apparently, the need for metaphor
and rituals 
 
to Greg and I, the would-be pilgrims, her
wishes, their wishes, would be paramount
 
and any consecration cannot be blurred
by imprecision, or slight 
 
 
the first day we went to Jevon’s pier, at the
far end of Waikiki, beneath Diamond Head,
where the beach front becomes more
residential, Greg found the very spot where
he’d sat, cried, remembered with his sister
 
and the two of us facing east dipped our
feet in the ocean that spread to the distant
blue horizon, and beyond there to what we
could no longer imagine 
 
but we imagined nevertheless, and believed, 
that Jevon was there 
 
Greg had brought a couple of white
symbolic feathers, one for each of us,
to cast upon the waves in commemoration,
we read poems, we watched the feathers
drift to where we could no longer spot
them, the froth of lazy waves lapped at
our toes like kisses, I thought, from, of
course, God
    
 
Diamond Head might seem ovious now,
but there it wasn’t, though the elements
might’ve seemed to be all crying out for 
it 
 
Greg heard
 
I thought the idea resplendent
 
from Diamond Head these ashes, his
grandparents’, would look upon Jevon’s 
pier, like elders forever watching over
their child, Jevon would play, swim,
cavort, under their watchful gaze
forever and ever      
 
 
 
Diamond Head is apparently the remains
of an extinct volcano that created the
island of at least Oahu, other volcanos, I
suppose, created the several surrounding
others, the mouth of the crater is now a
tourist attraction, the front lip, the one
facing Honolulu and its beach, Waikiki,
is the highest part of the mountain, we
would be climbing there, reaching the
base by bus, then walking all the way
back
 
I am not wont to climb mountains, though
Greg averred that when he lived there he’d
climbed it several times, though we were
both much younger then
 
 
he sprang up the rocks like a billy goat, I
puffed, paused a lot, and panted, but would
not have not continued the trek though my
life depended on it, there are some things I
will not not
 
 
some showers softened our journey up,
like kisses again, I thought, a respite from
the teeming sun, and here and there a
playful and welcome and soothing breeze 
 
the tip was astounding, with a view of the
entire island, and the entire blue Pacific
lying before us 
 
 
any place of consecration must be sacred,
unhurried, private if not unpeopled, and
reasonably quiet, though thunder and
lightning, natural occurrences, don’t
count    
 
there’d been showers, nothing at all
threatening, and Greg had needed time
to unseal both urns, small decorative
pots that had sat patient on his mantel,
lit by candlelight, until this journey
 
I’d staked out a position at the very
edge of the mountain, a railing kept
us from straying dangerously too far 
 
I poured his mother’s ashes into his
cupped hands when he asked, held
on to the warm still, though empty
now, urn, he closed his hands upon 
this dust with the trust that this was
indeed his mother 
 
noises about, people too close for
undisturbed comfort, held his palms
shut, savouring, I thought, opportunely,
her remaining parts, but discreetly, for
it had to be done, letting drift some of
their powder through fingers that
sensed surely their embedded
memories   
 
then all was gone  
 
 
he’d had to smash his father’s urn to
get it open, it cracked into two parts
like a broken egg, some ash had fallen
to the ground, he dusted it up, picked
some up that could be returned to the
broken vessel  
 
I thought, it is all dust, it will all go
nevertheless to the earth
 
I held the broken bits while Greg prepared
his father’s ashes
 
 
but I couldn’t any longer properly see, the
shower had become no longer kisses but
drops that confounded my glasses, a mist
clouding further what I could see, God was
speaking to Moses on the mountain 
 
Greg cast his fist in the direction of the gust,
opened his palm, and let the rush of charged
particles furl into a darker knot, like swallows
during murmuration, then dispel like a vision 
into the indiscriminate other
    
 
later he cast the urns to a similar fate, and
a little plaster angel with a picture of his
mom on the back, the date, and probably
something endearing 
 
 
as we scuttled down the mountain jauntily,
cleansed, a mission faithfully and reverently
accomplished, the sun returned
 
on the way back I even looked for shade
 
 
Richard
 
psst: you might’ve wondered, how was I there,
        I am a friend, he’d asked 
 
 
 
 
 

Beethoven Strinq Quartet no 14, opus 131‏

if Beethoven had written merely one transcendental
work we would still have been beholden, but that he
wrote neither two, nor three, but several immutable
pieces is extraordinary, super-, apparently, human,
though, of course, manifestly not, unless you want
to bring Jesus into the picture as such a dual being,
then we’ll talk, but Beethoven is a staunchly secular
voice, devoid of the spiritual considerations of a
Bach, for instance, Beethoven speaks for humanity,
its longings, consternations, aspirations, its essence,
no longer the discredited primacy of the Cross and
Its imperial derivatives, Human Rights have trumped
God

what Beethoven maintains however is the reverence,
his later pieces – you’ve heard the Hammerklavier“,
already, the 32nd piano sonata – are manifestly
spiritual experiences, as opposed to religious

the 14th String Quartet will do the same

if the Hammerklavier is akin to Moses delivering
his peremptory tablets, the 14th String Quartet is
the Sermon on the Mount, in the history of music
they have so great an impact

briefly, as briefly as I can, I’ll say a few introductory
words, then let your soul and the music do the rest,
see what happens to your karma

there are seven movements in the 14th, uninterrupted,
no pauses between the movements, though each is
easily identifiable, tempo therefore becomes incidental
instead of Classically ordered, the first movement, for
instance, is an adagio, a Classically improbable spot

the sections therefore play much as chapters in a
novel, advancing according to the logic and emotions
of the moment, always, as in all of Beethoven, moving
inexorably forward despite the intricacies of the, not at
all predictable, plot, as had been the case in the more
regimented Classical model, Beethoven takes you,
instead of around the corner, into the clouds, into a
spiritualized heaven, a place of profound existential
introspection

try listening to the 14th String Quartet attentively
without thinking about your soul, its existence,
its mission, in the very face of its ineradicable,
and fateful, actuality, the human conundrum,
Beethoven lets us know we’re not alone

some mountaintop Sermon indeed, watch what
happens to your sensibility, your very sacred
self, or maybe I should say, listen

may your path be decked meanwhile with laurels,
and your days be blessed with grace, be it ever
so merely, maybe, human

who knows

sincerely

Richard

psst: if you’ll allow me to pursue my series of
similarities you’ll imagine piano sonata
no 32
as Beethoven’s “Last Supper”,
this one in particular five luminous stars

“Sergeant York”

to my dismay when I turned to Sergeant York
thinking it’d be a short and hopefully sweet 
movie, clocking in at only one hour fourteen,
I’d read, according to the bottom time bar, I’d
only got the first part of the movie I found out, 
where he grows up in the Ozarks, or somewhere
like it, or is it like them, a stretch of film I found
essentially corny, but for Gary Cooper, who is 
consistently impeccable as a principled hillbilly,
and entirely worth watching 
 
but I only turned to the second part cause
change of setting, I thought, might hold more
promise, and indeed it did
 
it is however a lesson in how America developed 
its devotion to guns, it seems an early actual
textbook declaration of it, shot through with the
sounds of celestial strings, you’ll note, when the
commander expounds on its philosophical basis,
with instead of a Bible in hand a book called “The
History of the United States”, for maximum moral
suasion  
 
Sergeant York needs to accommodate his pacifist
stance, as delivered by the Bible and his Lord,
to the new paradigm of patriotism, national
defence, which calls of course for killing, in a
rousing call to arms his superior speaks of the
new ideal of freedom, which is worth, in his
impassioned dialectical exposition, dying for, 
in contrast to the traditional, more fraternal,
less annihilating, Word of God 
 
he is given 10 days leave to sort out his objections,
which may as well have been forty days and forty
nights, with next to no food and water on even a
very mountain, much like Moses on Mount Sinai,
to receive his spiritual enlightenment, trumpets
blow, lightning crashes, Biblical parallels rebound 
like echoing thunder
 
 
the movie came out in ’41, I suspect it was made
in view of marching America into the Second World
War, they didn’t commit to Europe until ’42
 
 
the battle scenes are worthy of Saving Private Ryan” 
 
Sergeant York bumps up against New York, like
the Beverly Hillbillies later hit Los Angeles 
 
Gary Cooper doesn’t miss a single beat on his
way to his fully earned Oscar
 
 
Alvin C. York, the actual war hero, had insisted,
incidentally, that no one but Gary Cooper should
play his part, had had it written specifically and 
incontrovertibly in his contract, Alvin must’ve
known something
 
since Gary Cooper is no longer around to play
my part I’d now let no one other than Joseph  
 
 
         “Sergeant York”, part 1
 
 
 
enjoy
 
 
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

 

   
 
 
 
 
 
 
 

a couple of Mozart sonatas

if a symphony is a concerto without a soloist, a sonata
is a concerto without an orchestra, the soloist plays
alone, must deliver the same enchantment 
 
there are nevertheless always therefore the prerequisite
several movements, otherwise no sonata
 
 
the sonata, as we know it, originated in the mid-18th
century with more or less Mozart, earlier the term
applied to other structural notions in music
 
to still my consternation they were often not continuous,
movements were performed indiscriminately among other
eclectic acts in an evening of diverse entertainments, it
was Beethoven who put a decisive stop to that, though
the fame and popularity of Haydn and a few other
contemporaries, Clementi, Salieri, as well of course as
himself Mozart, had probably settled the matter for all
practical purposes somewhat earlier
 
Beethoven among his other theoretical principles codified
that, indeed wrote the book on it, like Moses delivering
the commandments, except that Beethoven presented
horizons in his mythology, miraculous and infinite,
instead of castigation and luxurious sin
 
his understanding of music, still now unsurpassed, is
demonstrable in his works through all the musical
innovations that have since, through all the very ages,
transpired, down to even his bagatelles, musical trifles,
which I’ll approach later, if you’ll stick around
    
 
but it starts essentially with Mozart 
 
Mitsuko Uchida, who is unsurpassed in Mozart, plays
Ludwig von Köchel, who catalogued finally, in 1862,
nearly a hundred years after Mozart’s death, in 1791,
the complete works of the master, other works have
been intermittently added since so that several
revised editions have dutifully followed, lettered a, b,
c according to the revision, the last Köchel number is 
626 
 
 
Mozart’s music is sprightly, effervescent, magical, but
not especially intellectually challenging, I think of toy
soldiers and candy cane, innocence and a child’s delight
in the infinite possibilities of creation, Creation  
 
 
Alfred Brendel  who stands shoulder to shoulder with
the iconic Glenn Gould when it comes to Beethoven,
 
of 18 piano sonatas, the D major K.576 above, was
his last 
 
 
Brendel is too commanding to play authentic Mozart,
though his technique is irreproachable, admirable,
spotless, wonderful 
 
he is Beethoven playing Mozart however, an uneven
fit 
 
comparing the two interpretations is instructive, Brendel
will dazzle, inevitably, but Uchida will make you fly
 
don’t believe me, count on it 
 
 
Richard 
 
 
 
 

Beethoven’s Symphony no 6, in F major, opus 68, “Pastoral”‏

symphonies are not my preferred musical form, they are
generally too broad, grand, impersonal, they are nevertheless
the other most impactful order of presentation among musical
instruments, along with the concerto
 
a symphony is a concerto without a soloist, or it might be more
appropriate to say that a concerto is a symphony accommodating
a soloist, or soloists, in either case the musical elements remain
the same, you don’t have a symphony without movements   
 
a symphony is also of course another name for that very orchestra,
just to confuse you
 
 
despite my indifference to that particular form of entertainment 
some symphonies are nevertheless still for me impressive, some
even meaningful, poignant, several of Beethoven’s, most of the
works of the transcendental Bruckner, Brahms’ magnificent Fourth,
most others you can keep, as far as I’m concerned, I need a firm
anchoring principle, not the amorphous peregrinations of an
unbridled, often cacophonous crowd 
 
 
those that I love however have touched me deeply, Beethoven’s 
Sixth for instance, wherein through its second movement a loved
one spoke to me unmistakably from heaven, there and then made
me believe in an afterlife and angels, I remember the day clearly
and cherish still that powerful metaphysical moment  
 
 
in the “Pastoral” Beethoven apotheosizes nature, the movements
themselves, of which there are an unconventional five, are named
after rural settings, like paintings
 
     
I imagine Beethoven channeling the idyllic Classical Fragonard, or
prefiguring the bucolic and more Romantic Constable, Beethoven
straddles triumphally both epochs 
 
you will hear the birds sing, the rippling of the brook, it is as fresh
as ever springtime, as profound and expansive as itself time
 
Beethoven here speaks as clearly as actual language, and thereby
suggests that music is indeed itself an expressive tongue, earlier
it had been, though moving and undeniably evocative, essentially
an entertainment, a courtly device, though often enough sublime,
see Haydn, Mozart
 
Beethoven is not courtly, he is bold, assured, and mighty, of a new
breed of colonizers of the new and exhilarating democracy, the
French Revolution had just happened and their aristocracy was
dead and gone, indeed guillotined, a new day had dawned for
the common people, the idea of human rights
 
Beethoven spoke to these as a prophet, Moses at a secular Mount,
declaring the ideals of the Age of Reason, of which we still carry
the torch, to the multitudes and to their ensuing spawn
 
 
Klemperer at first seemed slow to me, nearly tired, but little by
little established a mesmerizing solemnity
 
by the end of the piece I’d again been touched by heaven 
 
 
Richard