I forget where, but I once read an convincing account from a medical person that explained that new sources revealed that Schumann's symptoms were consistent with the development of syphilis. Also what killed Nietzsche. It was an extremely common problem, but was hushed up after the deaths of these cultural heroes, leading to decades of fruitless speculation about alternative explanations for their sudden decline into insanity in the prime of life.
This is rather peculiar. I'm not sure what it's good for, but I'm sure some avant-garde German composer has already figured it out.
Nicolas Godin, Half of the great French duo Air brings us this Beatles-esque arrangement of the alto aria from Bach's Cantata No. 54, 'Widersteh' Doch der Sünde'. Video = Lutheran surf-zombies.
I repeat, Lutheran surf-zombies.
And now for something completely different!
This is a golden age of classical music concerts on the web. You can download hundreds of full-length videos of orchestral concerts on Youtube. I usually use aTube Catcher or a website to save them.
The only problem is that the sound is usually encoded at MP3 128Kbps. This is not really satisfactory. Does anyone know if there's a way to improve the sound? Some sort of advanced options box that can be checked? I have a hard time believing that someone would upload a classical music concert in high-definition video, but encode the audio at well-below the current industry standard.
Any help will be gratefully accepted!
Berlin, Nollendorfplatz. Everyone who enters this nondescript building to go to the dentist is reminded that the house in which Wilhelm Furtwängler was born once stood here.
Over the weekend there was a heatwave, so I decided to decamp to the cellar of my apartment building, where it's always a nice cool 20°. I sat in a folding fishing chair, played this quartet from Morton Feldman through my earphones, and worked. I noticed a line of water droplets on the bottom of a pipe about 2 meters in front of me. Every minute or so one of the droplets would fall to the floor. Plook. Plook.
And then it hit me: somebody should put on a concert of Morton Feldman in a cave. The gradual, natural processes of deposition and accretion, the geologic time scale, the chill, slightly unnerving sense of calm -- what could be a better arena?
Feldman is popular in Germany, not least because he spent an 18-month DAAD fellowship in Berlin in the early 1970s. There are many talented German performers of Feldman's music, and of course Germany has some pretty nice caves.
This unfathomable and, entirely out-of-character, incident and Stefan’s arrest stemmed directly from Stefan himself being the victim of a crime upon him. We have identified the person who stole items from Stefan and are working to develop what else was done, including involuntarily drugging Stefan with powerful agents.
Investigation revealed that an as yet unknown person left Stefan’s hotel room with his Ipad, wallet, including cash, credit cards and identification and began using Stefan’s credit cards around New York City, successfully and unsuccessfully, on items that Stefan would unquestionably never have sought to purchase. We have obtained a photo of this person and are working with the police to identify and locate the perpetrator of this horrendous crime.
The upside is that Stefan seems to have aggressive lawyers. Issuing a statement like this during a pending investigation is not something to be done lightly, since (1) it ensures the case stays in the headlines; and (2) if later events cast doubt on it, that could be problematic at trial. Therefore, we can be pretty sure the lawyers are sure of the facts detailed in this statement, which do tend to back up Stefan's story.
As to point number 2, the statement is interesting for what it leaves out, including (1) the gender and background of the suspect; (2) how the suspect got into Stefan's hotel room; and (3) exactly how the drugs were 'involuntarily' administered to Stefan. The statement leaves open the possibility that Stefan invited this person into his hotel room. And it also seems to indicate that whoever he let in -- if he indeed let anyone in -- was stupid, desperate, or high enough to try using someone else's credit card right after stealing it. Not the sort of behavior one associates with guests at a luxury boutique hotel.
Stefan is innocent until proven guilty and may well end up actually being shown to be innocent of any crime, but I have a strong feeling we're going to learn some rather pungent details about his private life.
A British postgraduate musicology student loads up the arquebus with a gigantic clot of academic jargon and unloads on Wolfgang:
Within the boundaries of Saidean Orientalism, a work is deemed more ‘Orientalist’ if it purports to be authentic. Mozart’s Die Entführung aus dem Serail makes few, if any, claims to authenticity, most significantly because in theatre the boundary between what is ‘real’ and what is ‘imagined’, what is literal or ironic, is difficult to define. In a sense, the onus of ideological responsibility is shifted from the work itself onto the audience, and the way in which they perceive it. Moreover, in the blurring between Self and Other, Die Entführung does not provide a clearly Oriental identity, against which the Westerner may posit their notion of Self. The work is clearly of Orientalism, as Said states of Aida, since there are allusions to the East within a discourse of power, political or otherwise, yet this could be said of so many disparate works that it is an ultimately useless conclusion.
The negative stereotypes of the East in Die Entführung clearly portray it in a way which would reinforce the West’s perception of its own superiority. However, in order to satisfy Said’s contextual conception of an Orientalist work there must be a hegemonic discourse which favours Western Imperialism, a clearly defined Other, to enable a codification of the Self as its converse, and an attempt to provide an ‘authentic’ depiction of the East. The political tensions between Vienna and the Ottoman Empire, however, mean that Die Entführung is less an ‘assumption to power’ than a reaction to the current threat of an equal, albeit temporarily sedated, enemy. Self and Other were too similar in real life, and overlap too much in the opera, to facilitate a clear distinction. Far from attempting a quasi-ethnographic authenticity, in his reliance on stereotypes and musical convention, Mozart makes no such claim and, owing to the theatrical and often comic nature of the work, it would be foolish to take all its implications at face value. The absence of an internal ideological consistency means that the opera, as a self-contained unit, cannot be interpreted as uniformly Orientalist in a Saidean sense. Moreover, as with any artwork which is sent into the public domain, the multiplicity of possible interpretations by audiences existing in different times, places and cultures, force one to admit that, even if a work were deemed Orientalist according to Said’s doctrines, this could never be a permanently unequivocal designation.
As one outrageous Internet wag put it after quoting this piece, 'I think that means: yes, it’s still okay to enjoy this opera.'