Mozart: The last three Symphonies

No-one really knows the full motivation or reason why Mozart composed what were to be his last three symphonies, or whether he heard any of them performed. What is certain is that in his last three symphonies, Mozart expanded the canvas of the relatively new genre of the symphony in both duration and emotional scope, establishing the composer's right to express personal feelings, thus paving the way for the Romantic symphony of the nineteenth century.

There’s a tendency which has developed over the centuries, to mythologise Mozart as a near Christ-like figure. His being misunderstood by society, the poverty of his last years, and early death at an age close to Christ's, along with music sounding as if from another-world, heavenly or trance-like, which is heard occasionally in his music, are factors also contributing towards a ‘deification’; Mozart however, was an all-too-human figure, he possessed what would  today be considered a coarse, and even scatological sense of humour; he enjoyed playing billiards, skittles, dancing and drinking, and at one time or another he kept as pets, a canary, a starling and a dog, along with a horse for recreational riding. It is now considered likely that Mozart's unique experience of travelling and touring extensively throughout Europe as a child and teenager, enduring the rigours and inconveniences of travel, along with exposure to various viruses and illnesses so prevalent throughout 18th century Europe, may have contributed to his early death.

Mozart’s surviving correspondence reveals an engaging personality. There is however, a huge difference in his view of life in the ten year period spanning the years from 1778 to 1788. In a letter to his cousin dated 1778 when aged 21 he humorously signs off  a letter to his cousin thus-

Adieu little coz. I am, I was, I should be, I have been, I had been, oh, if I only were, oh, that I were, would God I were; I could be, I shall be, if I were to be, oh, that I might be, I would have been, oh, that I had been, would God I had been - what? A dried cod ! Adieu ma chere Cousine, whither away ? I am your faithful cousin,
Wolfgang Amade Mozart
Mannheim, 28th February, 1778

In stark contrast, ten years later, aged 31, in one of a series of desperate begging letters to fellow Mason, Michael Puchberg, Mozart wrote-

I am obliged to tell you frankly that I cannot possibly pay back so soon the sum you lent me......My circumstances are such that I must absolutely get money... I am sorry enough to be in this situation, but that is the very reason why I want a fairly substantial sum for a fairly lengthy period, as I can then prevent its recurrence......I have done more work in ten days than in two months at any other lodgings, and were I not visited so frequently by black thoughts (which I must forcibly banish) .......  27th June, 1788

Mozart’s last three symphonies were written in a seven week period of white-heat creativity during the summer of 1788, after he and his family moved out of central Vienna to the suburb of Alsergrund. They've been described by musicologist Ralph Hill thus -

The first is, we may say, lyrical, the second dramatic, the third ceremonial. But they vary not only in character: they do so also in mood. The first has a kind of autumnal but not melancholy mellowness; the second is tragic and idyllic by turns, and somehow the latter atmosphere poignantly intensifies the former; the third utters festive sounds but at the same time gives evidence of an intense concentration of thought, the kind of foresight and hindsight that distinguishes a great mathematician or chess player.

Symphony no. 39 in E flat major (K.543) was added to Mozart’s personal catalogue, on June 26th 1788. Its solemn adagio opening movement has been likened to music accompanying a Masonic ceremony. According to Ralph Hill, ‘one secret of Mozart’s greatness... is his ability to accommodate a great many emotional or dramatic contrasts within a single tempo.’

The finale of the 39th symphony is rhythmically vigorous and startling in its sudden changes of key.

Mozart’s 40th symphony in g minor  (K. 550) was completed according to the composer’s personal catalogue on July 25th 1788. Its opening movement is probably the most well-known of all Mozart’s symphonies, partly from a kitsch pop arrangement made by Waldo de los Rios in 1971. But in fact, an uneasy calm pervades the  g minor symphony. An attentive hearing reveals there's scarcely a happy moment in any of its four movements. An under-current of quiet desperation, resignation, anxiety and even despair pervades it, making it fitting mood music for our own age.

Often named the Great g minor symphony in order to distinguish it from an earlier g minor symphony composed some fifteen years earlier in 1773 (K. 183) when Mozart was just 17 years old, the so-called, "little g minor" symphony, uniquely scored for four horns, is also full of tension and syncopated rhythms. It was influenced by the proto-Romantic German literary and music movement of Sturm und Drang (Storm and Stress) in which individual subjectivity and extremes of emotion are given free expression.

Mozart's 40th symphony in g minor, in contrast to his more conventional and cheerful music, packs a powerful emotional punch. Its minuet contains barely suppressed anger against the pomposity of the upper-classes to whom he was obliged to serve for much of his life. Here, the aristocracy appear full of self-importance as they approach the dance-floor when the invitation to the dance is announced.




Mozart’s 41st symphony (K 551) bears the nickname of The Jupiter, and is the most jovial and light-hearted of all three symphonies. An air of comic opera pervades its opening movement, while its technically brilliant final movement is described by Ralph Hill thus-

‘the ear catches everything going, so lucid and well-aired is the score, and it all flows by in a stream of beautiful music that will satisfy even those who have no notion of the incredible skill that went into its making...the attentive listener will come across..tunes combining in canon with themselves or fitting against their own inversions, entries overlapping closely in fourfold imitation..Mozart’s perfect sense of proportion and timing knows exactly when to cease showing off those dizzy contrapuntal feats, and not the least wonderful proportions of this movement are those where the music suddenly smooths itself out into a plain statement, as if nothing out of the way had happened at all.’

The Jupiter's gorgeous andante is a quintessential example of Mozartean serenity.





Discussion of key signatures in Mozart’s music, along with his artistic relationship to keys, has been a perennial debate amongst musicologists. According to Wolfgang Hildesheimer for example -

If we hear Mozart’s keys as conscious choices, not as the spontaneous expression of the composer’s momentary frame of mind, we by no means imply that we are not also experiencing the minor keys as “gloomy”, or “tragic,” or sometimes even “despairing.” Our feeling is not limited to the minor itself, but overflows and spreads, often intensified, into a major key within the minor, especially E-flat major within G minor.

Yet Hildesheimer also concedes, 'Mozart's musical thinking eludes us. He puzzles us most in those places where the music is serious, even when the material would not seem to warrant it.'

It was in 2009 while in Amsterdam that the Austrian conductor Nikolaus Harnoncourt (1929 - March 6th 2016) announced - "I have just discovered that the last three Mozart symphonies are an instrumental oratorio." Harnoncourt reasoned that because the 39th Symphony is the only one with a slow introduction, the 40th opens gently, while the 41st symphony is the only one with a full-blown finale, and that because thematic connections can be detected across all three symphonies, Mozart’s last three symphonies are in fact an inter-related triptych. Although Nikolaus Harnoncourt’s proposal that all three symphonies are a related and inter-connected triptych is without precedent, there's nonetheless also a possibility that Mozart may have taken as a model for his triptych, an example from the symphonies of the so-called 'Father of the symphony’, Joseph Haydn (1732-1809).

It was Haydn's good fortune to be invited in 1761 as Vice-Kappelmeister and placed in charge of most of the Esterházy musical establishment at Schloss Esterházy in Eisenstadt, and later on at Esterháza, a grand new palace built in the Hungarian marshes. At the very beginning of his residency at Esterhaza Joseph Haydn wrote three symphonies, numbered as 6, 7 and 8, which soon acquired the nicknames of 'Le Matin’, ‘Le Midi’ and 'Le Soir’ because they were considered to depict the progression of a day.

There's a possibility that these three early Haydn symphonies were known to Mozart. We will never know for certain whether or not this is true: but given the fact that the two composers, who became close friends, had a mutual respect, influenced each other and studied each other's compositions carefully, its just possible that these three early Haydn symphonies may have known of, or at least heard of through Haydn himself recollecting the beginning of his long service to the Esterhazy court to Mozart.

One can only speculate as to what was the inspiration for Mozart's much larger in scope, emotionally contrasted, and enigmatic symphonic triptych of 1788.

Favourite Books

Mozart : His character, his work  Alfred Einstein 1946
The Grove Mozart : Stanley Sadie 1980
Mozart : Wolfgang Hildesheimer  1977
Letters of Wolfgang Amadeus Mozart ed. Hans Mersmann 1972

Also consulted-

The Symphony Ralph Hill Pelican London 1949

Favourite Recordings

Jeffrey Tate - ENO
Carlo Maria Giulini - New Philharmonic Orchestra 1965
John Eliot Gardiner -  English Baroque Soloists

See also - Mozart in Paris

Symphonies of Joseph Haydn

In Memorium Francis Michael Faulkner (1936-1996)

The Golden Cockerel

Discoursing once more on Russian music, this time focusing on Rimsky-Korsakov's The Golden Cockerel  (previously Swan Lake and The Firebird) and Russian classical music in general.

Nikolai Rimsky-Korsakov (1844-1908) the composer of The Golden Cockerel (1907) was one of the 'Mighty Five', also known as 'The Mighty Handful' (Russian: Могучая кучка, Moguchaya kuchka) a group of amateur composers who aspired to create a music which was distinctly Russian. Utilizing folk-song and emphasising the 'asiatic' and oriental aspects of Russia's vast Empire, along with developing a highly original orchestral style and coloration, the 'Mighty Five' endeavoured to create music equal and antithetical to the Western Viennese tradition of music-making. However, in reality the 'Mighty Five' were only four of any significance, for music critic Cesar Cui never wrote any music which was Russian in either style or melody.

Although only amateurs, the four remaining composers of the 'Mighty Five' together created characteristic Russian music in subject-matter, melody, rhythm and orchestral colour. One fanciful way to contrast the styles and artistic temperament of these four Russian composers is to loosely juxtapose them to another group of equally ground-breaking composers, the British 'Fab Four' of 1960's pop music, the Beatles.

The highly-original genius of 'rebel' group member Modest Mussorgsky (1839-1881) was the composer of the epic national opera Boris Godunov with its sharp observations upon the relationship between church and State in Russia, and the hallucinatory nightmare tone-poem Night on a Bare Mountain. Mussorgsky also had a hedonistic streak of self-destructive bravado in him, resulting in his premature death from alcoholism aged just 42.  He's not unlike a kind of 'John Lennon' figure in his revolutionary ideals and love of the people to the Russian Nationalist composers.

Like Mussorgsky, Nikolai Rimsky-Korsakov was also self-taught. Over decades of industrious study he created his own unique sound and orchestral palette, which, combined with his ability to integrate folk-song from Russia's many regions into his music, resulted in his appointment as a professor at the prestigious Russian Conservatoire and becoming a leading figure of Russian music, particularly after Tchaikovsky's death in 1893. As a mainstream composer, especially in the popularity of his operas, many of which were regularly performed from the 1890's onwards, and long outliving Mussorgsky and Borodin, Rimsky-Korsakov roughly equates as the 'Paul' of the Russian 'Fab Four'.

The quieter, often overlooked, but no less talented, if not the most productive member of the Russian 'Fab Four', was the chemistry professor, Alexander Borodin (1833-1887). Borodin's tone-poem In the Steppes of Central Asia aurally depicts the geographical vastness of Russia's Imperial Empire, while his opera Prince Igor with its famous Polovtsian Dances, harks back to the splendour of Russia's early history. Borodin may be considered as the 'George' of the Russian Fab Four.

The group's mentor Balakirev, himself an original composer as his oriental tone-poems Islamey and Tamara demonstrate, performed the role of impresario not unlike Brian Epstein in his influence upon the group's image and ambitions. Cesar Cui (1835-1918 )  fulfills the role of  'Ringo' in this analogy.

Although he wrote over 15 operas, Rimsky-Korsakov is nowadays only known by many today for the miniaturist tone-poem, The Flight of the Bumble-Bee, however, a closer familiarity with his music reveals that during  a white-heat of creativity, he composed three great orchestral masterpieces - the suite Capriccio Espagnol, a dazzling pastiche of Spanish melodies, the gorgeous in 'Neo-oriental' orchestral colour, Scheherazade, an orchestral showcase and one of the most frequently recorded works in the classical music repertoire, and the stirring Russian Festival Easter Overture based upon the Slavic liturgy of the Orthodox Church. Miraculously, all three of these works for large-scale orchestra date from the single year span of 1887-1888.

Because Rimsky-Korsakov out-lived the tragically short lives of Mussorgsky and Borodin, he often took it upon himself to edit and complete his compatriot composers' unfinished works. It was not until an original manuscript of Mussorgsky's  tone-poem Night on a bare Mountain was discovered in the 1970's that the full extent of Rimsky-Korsakov's academic styled 'tidying-up' became known. Such are the differences between Mussorgsky's original, rough and vigorous aural depiction of a Witches Sabbath, to those of Rimsky-Korsakov's much better-known 'tidied' version, that the Dutch musicologist Francis Maes declared -

'Rimsky-Korsakov considered the work impossible in the form which Mussorgsky had written it. Rimsky-Korsakov's own version, therefore, cannot be fitted into the category of redactions and orchestrations; it is. rather, a radical composition, loosely based on the same thematic material but wholly different in structure, orchestral colouring, and expression, so much so, in fact, that Mussorgsky can no longer be considered its author.' [1]

Rimsky-Korsakov was paradoxically both a progressive and a conservative composer. His early style was based upon his mentor Balakirev, as well as Hector Berlioz, and Franz Liszt while in his latter development he was heavily influenced by Wagner and Debussy. Considered as directly influencing two generations of Russian composers, in particular Stravinsky, as well as non-Russian composers, Maurice Ravel, Claude Debussy, Paul Dukas and Ottorino Respighi, among others.

In his opera The Golden Cockerel Nikolai Rimsky-Korsakov returned to a political theme. Transforming a poem by Pushkin, which in turn was based upon a tale by the American author Washington Irving, Rimsky-Korsakov's fairy-tale opera is in fact a thinly-disguised political statement which is highly critical of Russia's devastating military defeat in the Russo-Japanese war of 1904, its also a scathing attack upon Russian Imperialism and even ridicules on a personal level, the last of the Romanov's Tsar Nicholas II. Rimsky-Korsakov never lived to hear his opera performed. The stress caused from its being banned most probably exasperated his medical condition of angina.

Musically, Le Coq d'Or ( as it's frequently known  from its first production in Paris 1914) features some of Rimsky's most developed and radical tonal language. The combination of full orchestra, chorus and soloists including a colorata soprano, results in a musical palette awash with oriental-coloured scales and melodies, often to gorgeous effect and exemplary of Rimsky-Korsakov's so-called Neo-Oriental style, which he first conjured in his Antar symphony, and famously in his large-scale, Arabian-themed orchestral suite, Scheherazade (1888).

In the prologue to the first of three acts of Le Coq d'Or, an astrologer appears announcing a disclaimer- although the following fairy-tale happened far away, a long time ago, such tales can be instructive, he informs the audience. Whether with this disclaimer Rimsky-Korsakov hoped to outwit the Imperial Censors isn't known. A few years earlier his support for students during the 1905 revolution, had resulted in a temporary suspension of his professorship from the conservatoire and a ban on the performance of his works. However the very name of the fairy-tale's Tsar Dodon is a deliberate word-play upon the name of the extinct dodo bird and throughout the opera Rimsky-Korsakov ridicules Tsar Nicholas II personally through the character of Tsar Dodon.  

In the Introduction and Bridal Procession to the orchestral suite of  Le coq d'Or Rimsky-Korsakov employs the startling compositional device of a rapid change of key and mood; the opening alarm-call of the cockerel, announced by trumpet is swiftly followed by a brooding theme upon cellos, to depict the lugubrious mood of King Dodon in his palace. The Introduction quotes all the major themes and motifs of the opera, much of which is in Rimsky-Korsakov's highly-evocative 'neo-oriental' style, it also includes musical passages conjuring a dreamy fairy-tale world along with some exciting syncopated rhythms.

Nikolai Rimsky-Korsakov's support for students during the 1905 Russian revolution resulted in his being suspended from his teaching position at the Conservatoire and a ban on the performance of his works. How exactly he hoped to outwit the Imperial Censor's scrutiny is unclear, the very name of the fairy-tale's central character, Tsar Dodon, is a deliberate word-play which strongly hints of the Tsar's likeness to the extinct dodo bird; and in fact throughout the opera Rimsky-Korsakov ridicules Tsar Nicholas II personally through the character of Tsar Dodon.

In the first act of the opera, King Dodon in his Palace, the grotesque and blundering Tsar Dodon, irritable, brooding and bored since youth, is presented by the astrologer with the gift of a golden cockerel which crows whenever a threat of danger to Dodon's kingdom occurs -

Cock-a-doodle-do
Watch out ! 
Be on guard !

However, Tsar Dodon prefers it when the golden cockerel crows the advice -    Go ahead and rule from your bed !

In essence, Rimsky-Korsakov portrays a Tsar who is suffering from the Russian psychological trait of Oblomovitis.

In Ivan Goncharov's hugely popular novel Oblomov (1859) the young nobleman Oblomov rarely leaves his room or bed and only moves from his bed to a chair in the first 50 pages of the novel. Incapable of making important decisions or of undertaking any significant action, the novel satirizes Russian nobility, whose social and economic function became increasingly questioned in mid-nineteenth century Russia. Allusion to Oblomov became well-known throughout Russia, as late as the 1920's, during the early years of the Soviet Republic, Vladimir Lenin declared, -  "the old Oblomov is still around, and we will need to wash, clean, rub and scrub him, before he can be of any real use."

The entrance of Queen Shemakha which is sung by a colorata soprano in the fairy-tale opera, includes extensive and intricate octatonic scales which are as experimental and radical as those of Claude Debussy (1862-1918).

Queen Shemakha introduces an explicitly erotic element to the opera when teasingly she declares to King Dodon -

Thou art to be pitied knowing
The Queen only in her garments.
I am not so bad without them.
When I go to sleep, I look a long time in the mirror,
I throw off all my garments...
I look and see if anywhere
There is a mole or any blemish on my body..
Over my marble thighs

On my breasts fall drops of liquid fire
And I have breasts indeed !
They vie with the glory of the southern roses
Magnificent and firm - and they are
As white, light, and translucent as a dream.....

Tsar Dodon's  response to Queen Shemakha's erotic invitation is to announce he has a stomach-ache. His downfall occurs when, after his ill-matched marriage to Queen Shemakha, the golden cockerel pecks him to death, perhaps an allusion by Rimsky-Korsakov to the rumour that Tsar Nicholas himself was henpecked by his wife, and that it was the Tsarina who ruled the roost of the Imperial Household. Its also worth remembering that the very symbol of the Romanov, that of the double-headed Imperial eagle, the true subject of Rimsky-Korsakov's 'fairy-tale'  bears an avian similarity to the cockerel.

Its little wonder that the opera The Golden Cockerel was immediately banned from theatrical performance by the Imperial Censors. Rimsky-Korsakov's harshest words were reserved for Tsar Nicholas II personally, the operatic chorus singing these words-

He is a tsar in rank and appearance
but a slave in body and soul.
In behaviour and attitude he is a real ape.
His head is devoid of true emotion
his spirit is terribly lethargic.
Among the beauties with their shining eyes
he looks like a ghost.

Ominously, as if alluding to the methods by which autocratic governments remain in power, Tsarina Shemakha warns - Whoever we don't like is done for.

while the chorus, representing the common people, anxiously ask of their future - What will we do without a Tsar ?

When an essentially conservative member of Russian society such as Rimsky-Korsakov feels it necessary to use music as a vehicle to denounce political and social wrongs of his age, the warning signals of a society about to radically transform itself may be imminent. The catalyst for such a transformation occurred shortly after Rimsky's death, through the great loss of life experienced by the Russian people during the first World War, which triggered the 1917 revolution, the abolishment of Imperial Romanov rule and the establishment of the Soviet Republic (1917-1989).

The impresario Sergei Diaghilev’s 1914 Parisian production in ballet form of The Golden Cockerel, (known as Le Coq d'Or from its French production)  in which the singers performed offstage, while mimers and dancers portrayed the characters onstage, became the model for Rimsky-Korsakov's one-time pupil, Igor Stravinsky’s own stage works. A close study of the score of Stravinsky's innovative puppet-drama Petroushka (1910-11) reveals that its radical harmonies derive ultimately from the experimental octatonicism of his teacher, Rimsky's opera. Such was the high regard in which  The Golden Cockerel was held that, when in December 1917, the composer Sergei Rachmaninov hastily left Russia for Helsinki with his wife and two daughters on an open sledge, among his few possessions he carried with him were a few notebooks with sketches of his own compositions including his unfinished opera Monna Vanna and two orchestral scores, one of which was The Golden Cockerel.

Sadly, Rimsky-Korsakov never lived to hear his opera The Golden Cockerel performed. The stress caused from its being banned by the Censors probably worsened his medical condition of angina and he died before its first performance. However his introduction of overt political statement in music paved the way for a younger generation of composers to either integrate or denounce political ideology in their music. The musicologist Marina Frolova-Walker proposed his opera The Golden Cockerel to be the forerunner of the anti-psychologistic and absurdist ideas which  culminate in 20th century 'anti-operas' such as Prokofiev's The Love for Three Oranges (1921) and Dmitri Shostakovich's The Nose (1930) and that it laid, "the foundation for modernist opera in Russia and beyond." [2] . Rimsky's name today is now celebrated as one of Russia's greatest composers, with the St Petersburg State Rimsky-Korsakov Conservatoire honouring him in its name.

Andrei Bely's Symbolist novel Petersburg (1913) also reflects the fevered atmosphere of the dying years of the Romanov dynasty. Set in the 'window on the west' city of Petersburg, and greatly admired by James Joyce for its fragmentary narrative, Bely's novel features a psychological cat-and-mouse game between a high ranking bureaucratic official and his decadent 'asiatic' would-be anarchist son. Sometimes hilarious, at other times sinister,  the backdrop of an often crepuscular city, whose citizens, not unlike the Dubliners  of Joyce's Ulysses (1922) become a central character of the novel. Bely's Petersburg  not only depicts the social tension of  Russia before the 1905 Revolution, but is a landmark work of 20th century literature.

There can't surely be any connection between Sir Thomas Browne and Norwich with early 20th century Russian history and music, can there ? Well, there's these two tenuous connections - Firstly, in 1922 the English author Virginia Woolf wrote an introduction to a selection of Sir Thomas Browne's writings for the prestigious Golden Cockerel publishing house. Secondly, Browne's Norwich associate, Arthur Dee (1579-1651) was the eldest son of  John Dee (1527-1609) who secured for him the post of court physician to Tsar Mikhail I.  After enduring 14 Moscow winters, sometime in the early 1630's, Arthur Dee left Moscow to retire at Norwich. He abandoned his alchemical writings to the care of the Imperial Library. Centuries later,  the charismatic, shaman-like figure of Rasputin gained access to the Imperial Library through his influence at the court of the last Romanov Tsar, Nicholas II. Rasputin is alleged to have stolen Arthur Dee's alchemical writings. They were later subsequently returned to the Imperial library.

I once imagined the possibility that a fairy-tale about a prophesying bird's introduction into a Royal household, which a whole Kingdom fatalistically begins to rely upon, may have symbolically alluded to what was a commonly-held concern of the time - the unhealthy influence of Rasputin upon Tsar Nicholas II and his family in matters of Russian politics. But no, the dates don't quite match up!

Although Milica of Montenegro and her sister Anastasia, both of whom were interested in Persian mysticism, spiritualism and occultism, are credited as introducing Rasputin to Tsar Nicholas I and his wife Alexandra in November 1905, Rasputin did not gain any real influence upon the Russian Royal family until 1908, long after Rimsky-Korsakov had completed The Golden Cockerel.

CDs

* Scheherazade - Berlin Philharmonic-Karajan 1967

* The Snow Maiden - Sadko -Mlada - Le coq d'or Suite

   Seattle Symphony - Gerard Schwarz - Naxos 2011

* Capriccio Espagnol- Russian Easter Overture etc.

   Seattle Symphony - Gerard Schwarz -Naxos 2011

* Borodin Symphonies 1 - 3 Gerard Schwarz -Naxos 2011

 * Pictures at an Exhibition (orch. Ravel) 

    Night on a Bare Mountain -original and Rimsky's version

    Ukrainian  National Symphony Orchestra  Naxos 2003

    

Books

[1] Maes, Francis; Arnold J. Pomerans and Erica Pomerans (translators) (2002) [1996].  A History of Russian Music: From Kamarinskaya to Babi Yar. Berkeley and Los Angeles: University of California Press. 

[2] Frolova-Walker, Marina (2005). "11. Russian opera; The first stirrings of modernism". In Mervyn Cooke. The Cambridge Companion to Twentieth-Century Opera. London: Cambridge University Press.

* Natasha's Dance : A Cultural History of Russia.
   Orlando Figes Penguin 2003

  

*  From Russia: French and Russian Master Paintings 

    1870-1925  from Moscow and Saint Petersburg. 

    Royal Academy of Arts 2008

DVD  

The Golden Cockerel 

soloists Albert Schagidullin  and Olga Tritonova

with the Chorus of the Mariinsky theatre, Orchestre de Paris 

conducted by Kent Nagano  directed by Thomas Grimm 2003.

Pictures

Top - Ivan Bilibin: Court Astrologer and King Dodon

Video of Natalie Goncharov's art

Ivan Bilibin: King Dodon and the Queen of Shemakha

Below - Rimsky-Korsakov by Igor Repin

By a remarkable coincidence The Golden Cockerel  is currently being staged in a new production at the Mariinsky Theatre in Saint Petersburg, Russia. 

The World premiere of The Golden Cockerel was on 24 September 1909, at the Sergei Zimin Private Russian Opera, Moscow. It was  premiered at the Mariinsky Theatre on 14 February 1919  and the premiere of its latest production was on 25 December 2014, at Mariinsky-II, St Petersburg. Next performance, Sunday 1st February 2015.  Here's a trailer of the production.

Merivel: A Man of his Time

Returning some twenty plus years from  Restoration (1989) novelist Rose Tremain continues her tale of Sir Robert Merivel's life with an equally spellbinding sequel,  Merivel: A Man of his Time (2013).

Set primarily in 17th century Norfolk, with excursions to the glamour of the Court of Versailles and the French Alps,  the cares of the world now crowd around both King Charles II and his friend, the courtier and reluctant physician, Sir Robert Merivel, who is once more resident at the Norfolk manor of Bidnold.  Merivel's daughter Margaret, is now a young woman and securing her future is a primary concern of her at turns, frivolous and pleasure-seeking, self-analytical and serious-minded father. When King Charles leaves London and unexpectedly visits the Norfolk manor of Bidnold, consequences develop for both Sir Robert and his daughter Margaret.

Robert Merivel is at times a kind of 17th century Bertie Wooster figure whose primary preoccupations are fine food and wine and pleasure in general. Through the discovery under his mattress of  'the wedge' a long forgotten and crumbling autobiography, Merivel recounts past events in which he lived a life of pleasure before falling from grace with King Charles II. Eventually Merivel restores himself in the eyes of his royal friend through application of his medical skills in service to humanity in the crucible of horrors, the Plague and Great Fire of London.

There's almost an element of Fawlty Towers farce in some of the antics engaged upon by the two longest serving servants of Sir Robert's Bignold Manor, the temperamental and wall-eyed cook, Cattlebury and the doddery but loyal and devoted butler Will Gates, However, the dominant tone throughout Merivel is one of a muted valedictory farewell to life and its pleasures. Prone to melancholy and inexplicable weeping at the beauty of life, Sir Robert now in his maturity, muses upon life’s sadness, not only discovering he enjoys pleasures such as wine, food and sex less, but also reconciling himself to life’s inevitabilities, growing older, illness, and reconciling oneself to seeing those one loves departing from life. Loving life, often directionless, and paying heavily for the consequences of his follies, Robert Merivel is not without a serious and self-analytical side to his complex nature.

'And then I thought how Life itself is the greatest Theft of Time, and how all we can do is to watch as the days and months and years slip away from us and make off into the Darkness'.

Not wanting to post spoilers, suffice to say events in Merivel include Sir Robert's acquiring of a bear named Clarendon who has an influence upon him when later writing a philosophical treatise on whether or not animals possess souls, and Merivel's finding true love for the first time in the unhappily married Frenchwoman Louise, a serious student of the new science of chemistry.

With its medical theme (Merivel possesses a set of surgical instruments, a gift from King Charles II with the words, Merivel, Do not Sleep inscribed upon them) its location of Norfolk, and seventeenth century setting, Rose Tremain, in my humble view, may have let slip an opportunity to join literary figures such as Virginia Woolf, E.M.Forster, Jorge Luis Borges and W.G. Sebald, to express admiration, albeit through a casual nod, to one of the foremost literary figures of seventeenth century England, the Norwich-based physician Sir Thomas Browne (1605-82).

Several other leading figures of seventeenth century intellectual history are however alluded to in Merivel. Sir Robert fondly recalls his attending lectures by the famous anatomist Fabrius with rowdy German students and his close friend, the austere Quaker John Pearce cherishs a book by William Harvey. Self-analysis, not unlike that of the popular essayist Montaigne runs through Merivel's narrative. Although its regrettable that Sir Robert doesn't allude to either Browne's best-selling Religio Medici or his vanguard promotion of the English scientific revolution, Pseudodoxia Epidemica one likes to imagine these titles were once in the library of Merivel's Norfolk manor.

It has been said that "the single best adjective to describe Western Civilization at the opening of the seventeenth century was the word “Christian.” By the century’s end the single word that rightly characterized the West was “scientific.” Merivel attributes his own loss of religious Faith from the death of his parents through house-fire. Increasingly, as his life progresses, he places greater faith in his surgical instruments than in prayer when facing matters of life and death. The one and only time Merivel does speak with any semblance of religious conviction occurs in Restoration when addressing his Quaker fellow-workers at an asylum for the insane, when he advocates on the healing properties of music upon the minds of its inmates.

Digressing slightly, no small mention of Opium occurs in Merivel. First introduced into western medicine by Paracelsus as a pain-killer and anaesthetic, by the seventeenth century Thomas Sydenham (1624-89) the ‘father of English medicine' declared, "Among the remedies which it has pleased Almighty God to give to man to relieve his sufferings, none is so universal and so efficacious as opium". Throughout the seventeenth century opium became increasingly used in medicine. Sir Robert when performing a surgical operation on a cancer patient resorts to using the drug. In despondent mood, he also attempts to escape his miseries by repeatedly sending his servant to a Norwich apothecary for its purchase.

Opium is invariably associated with Oblivion in the densely-packed symbolism of Browne's Urn-Burial. A succinct and perceptive observation of its psychological effects in a typical fusion of philosophical stoicism, medical imagery and empirical observation can be found in the Discourse -

'There is no antidote against the Opium of Time, which temporally considereth all things'.

Browne’s commonplace notebooks includes observations upon dosage and effects of opium, while a fuller knowledge of the drug and even its recreational usage with sex can be found in Pseudodoxia Epidemica -

 '.....since Poppy hath obtained the Epithet of fruitful, and that fertility was Hieroglyphically described by Venus with an head of Poppy in her hand; the reason hereof was the multitude of seed within it self, and no such multiplying in human generation. And lastly, whereas they may seem to have this quality, since Opium it self is conceived to extimulate unto venery, and for that intent is sometimes used by Turks, Persians, and most oriental Nations; although Winclerus doth seem to favour the conceit, yet Amatus Lustanus, and Rodericus a Castro are against it; Garcias ab Horto refutes it from experiment; and they speak probably who affirm the intent and effect of eating Opium, is not so much to invigorate themselves in coition, as to prolong the Act, and spin out the motions of carnality'.

Its even been proposed that one reason why Browne’s prose reads unlike any other may have been due to an empirical familiarity with opium. During the decade of the Protectorate of Cromwell and the highly uncertain days which engendered an Endzeit Psychosis upon much of English society, it may have been tempting for Royalist supporters such as Browne to reach into the medicine cabinet.  Its also a curious coincidence that two of the leading figures of English Romanticism, the essayist De Quincey and the poet Coleridge, both of whom were great admirers of Browne’s baroque and labyrinthine literary style were also notorious for their recreational usage of opium.

Sir Thomas Browne’s literary diptych Urn-Burial and The Garden of Cyrus - each of which consists of five chapters, are respectively- a philosophical meditation upon a descending into darkness and death and a coming into light and life. They are intriguingly echoed in theme to the opening chapter of Restoration in which Merivel considers five differing ways his story can be said to begin, while the opening of Merivel-A Man of his Time has Sir Robert meditating upon five differing possibilities of how his life may leave the world.

Like Restoration, the first-person narrative throughout Merivel is fluid and utterly engaging. Rose Tremain has created a character who will be well-loved with a familiarity of his life and times. I won't be alone in discovering myself to identify with Sir Robert's all-too-human faults or having an empathy with him, reinforced in my case by Merivel's birthday falling on the 27th of January, mine also. Merivel muses upon the Zodiac sign of Aquarius thus -

'I was born under the constellation of Aquarius, the eleventh sign of the Zodiac, the sign of the water-butler, that humble but indispensable slave who fetches from wells and rivers the elements so vital to the human tissue. I imagine this Aquarius as an old, stooped man, his spine warped by the weight of a wooden yoke from which hang a pair of briming pails. On he staggers, day after day, year after year, with his precious burden, but as his strength is waning, he totters and stumbles and, as he moves through time, more and more water is spilled, thereby engendering in the bellies of the ancient gods an irritation stronger than thirst'.

I cannot recommend this novel enough, but to get the most out of Merivel its best to read the early life of Sir Robert Merivel in Rose Tremain’s Restoration first.

The novel Restoration was made into a film in 1995 with the one-time Hollywood bad-boy Robert Downey Jr. acting to the Manor born the role of Sir Robert Merivel (top and bottom photo). Rose Tremain however said of the film that while it had a beautiful texture to it she was disappointed with the film's storytelling. She also said that the film had no logic and so fails to move the audience. Her disappointment led her to take up scriptwriting. One can’t help thinking a more sensitive filming of the novel could have been made by a British direction and production, perhaps of the calibre of Merchant and Ivory. Rose Tremain herself has recently been appointed Chancellor of the University of East Anglia. She was among the University's earliest students in the 60's, reading English literature.

Finally, and I may be among the first to notice this - Sir Robert Merivel resides at the fictitiously named Bidnold Manor, he occasionally romps in the bed of a Lady Bathurst and has a bear named Clarendon. Those familiar with the geography of the so-called ‘golden Triangle' area of Norwich will know that near to Bignold school and adjacent to each other there is a Clarendon and a Bathurst road.

See Also

Rose Tremain

Restoration (novel)

Restoration (1995 film)

The Triumph of Winter

January 27th is the birth anniversary of the immortal Wolfgang Amadeus Mozart, composer of Don Giovanni, 27 sublime piano concerto's and many other monumental classical works. Its also the birth-date anniversary of Lewis Carroll, an Oxford professor, author of Alice in Wonderland (1865) and Leopold von Sacher-Masoch, author of Venus in Furs (1870). It is also World Holocaust Memorial Day. These are the main historical characters and events associated with my birthday.

Because this morning is frosty, with a return to real Winter temperatures, The Triumph of Winter (1568) by Antoine Caron (1521-1599) seems a fitting selection. Caron was a French painter of the Northern Mannerist school, an art movement sandwiched somewhere between the Renaissance and Baroque (c.1560-1610) which delighted in unusual perspectives, animated movement and scenes allegorical and mythological. The figure of Mercurius, a god closely associated with the art of alchemy, can be seen holding his Caduceus wand. Standing next to him is a dancing Bacchanalian violinist. Winter, sitting upon a chariot, drawn in procession by storks in harness, is Triumphant. Any of the four statuettes of the Layer monument would, dare I suggest it, not be incongruous or out of place in this decorative and theatrical winter scene. 

Cosmo's Factory

 Probably the greatest American 70’s rock album ever !

 Can it really be 40 years ago today that I purchased for my birthday at the princely sum of 39 shillings and 11 pence, the album 'Cosmo's Factory'?  As a choirboy the  singing of John Fogerty, Creedence Clearwater Revival’s front-man simply astounded me.  Not only did he pen the band’s numerous hits, playing  a mean, lean, clean and bluesy lead guitar, but also sang  like some crooning Mississippi swamp bull-frog. It was unknown to me and to most Brit’s probably, that in fact the band hailed from Berkeley, California and  were  not from the south at all, but  were  creating a highly original pastiche, inspired by the music of New Orleans and the bayou swamp lands. In fact their first ‘hit ‘Proud Mary’ alludes to New Orleans.  When Tina Turner covered 'Proud Mary' it regenerated her career.  But what a lot of people don’t know is that  the British band Status Quo's  mega-hit  ‘Rockin’ all over the world’   was also penned by J .C. Fogerty.

Emerging out the late 60’s Creedence  Clearwater played at the swan-song  festival of the 60’s,‘Woodstock’, but because of the over-indulgence of the previous act, Grateful Dead, they didn’t appear on stage until 3 a.m. Not too surprisingly  given the circumstances, the footage of their performances is long lost.

 It’s just the sheer joy of hearing Creedence’s tight, 3 minutes  of feelgood songs with strong melodies which makes them  continue to be one of the most played bands on American radio. The quintessential all-American band, as  American as Mom's apple-pie, they have now sold over 26 million records world-wide. When other bands went for a slick studio production Creedence’s ‘keep it simple’ style ensured that they were as good to hear live as in the studio.

 During their meteoric and short-lived rise to fame CCR spawned number one hit after hit  in America and the UK.  Powered by the driving bass and drums of Stu Cook and Doug Clifford with Tom Fogerty on rhythm guitar CCR became the sound of early 70's American pop-rock. However, a grueling schedule of near non-stop recording sessions and touring meant that the  band did not last long with artistic conflicts between band-members, notably between John and his elder brother Tom Fogerty.

 At first hearing many believe the band’s  2 minute hit-single ‘Travelling Band’  on 'Cosmo's Factory'   to be a 50’s song, but its evidence  of  J.C.Fogerty’s genius to pastiche classic 50’s pop in an updated way. Every track on ‘Cosmo’s Factory’ is a classic.

One of the most amazing rock-guitar solo’s ever occurs on Cosmo’s Factory.  Fogerty, who is easily a guitar virtuoso equal to Carlos Santana or Jimmy Page,  covers Marvin Gaye’s ‘I heard it through the Grapevine' with soulful vocal and blistering guitar solo.  His funky soul-based guitar playing on the track confirms him to be  a musical  adept  of many genres, including country and western,  R 'n' B, pop, rock  and soul music.

I had the pleasure of seeing John Fogerty interviewed on a T.V. chat-show a few years ago.  A modest, soft-spoken, American gentleman, ever the musician-trooper he continues to successfully tour and is popular in  Scandinavian countries.

Tonight  I hope to be celebrating my birthday with  friends and a 1970’s cold war drink, vodka and coke, cranking  up the volume for what is quite simply in my humble opinion, the greatest guitar solo ever  - as heard on the 11 minute studio jam track of Creedence's cover version of ‘I heard it through the Grapevine’.  

Today is the birth-dates of Wolfgang Amadeus Mozart, Lewis Carroll and Leopold von Sacher-Masoch. It is also World Holocaust Memorial Day.