Cactus

This morning I woke to find that once again my 25 year old cactus has burst into flower. Not that it was totally unexpected because during the past week, two large stalks have rocketed forth from it, ready to bloom into quite enormous flowers, which sadly only last a few days at most. The stems of the flowers are about 20 centimetres and the diameter of the flowers some 10 centimetres, really enormous. Quite how this miracle of nature always flowers at either the new or full moon I don't know. I took these photo's a year or two ago, sometimes there are just two flowers, sometimes as many as five. But in any event a true miracle of nature, reminding us that things are not always what they seem, and that from the apparently mundane something extraordinary can occur beyond human power.

Shostakovich

Dmitri Shostakovich 1906-1975

Last night I attended a concert at Saint Andrew's Hall, Norwich. The Moscow State Symphony Orchestra performed the following - Borodin Polovtsian Dances, Philip Glass violin Concerto and Shostakovich Symphony no. 10 in E minor.

The Borodin Polovtsian Dance's were electric and boded well for the rest of the programme. One catches an aural glimpse in its vibrant savagery of another musical work also set in early Rus, namely Stravinsky's Rite of Spring. As for the Concerto well to be honest, although I've been a keen follower of the music of Philip Glass for over 20 years, i don't consider his violin concerto (1988) to be the best or most representative composition of his unique style. The young violinist Chloe Hanslip did her best, but still felt obliged to add a couple of solo encores to prove her undoubted virtuosity. Nor did one feel that the Russian orchestra felt completely at home or responsive to Glass's composition, but this may be just an erroneous perception of mine.

Onto more solid interpretative ground. The second half on the concert consisted of Shostakovitch's symphony no. 10. A vast and mostly gloomy work composed in 1953 soon after Stalin's death. It's only in the last movement that the composer lets his hair down for some jollity. How many times in varied ways does the motif D-S-C-H occur throughout the score? The composer used this musical motif throughout his artistic career to represent himself, the notes being the first letter of his name and first three of his surname in Russian musical notation. The playing throughout the symphony was committed and impassioned, a real tour-de-force. I'm always amazed at the virtuosity of Russian brass and woodwind playing and how united the string section are.

The 10th symphony remains one of the more accessible of Shostakovich's symphonies with a quite distinctive tonality, perhaps because it is in the remote key of E minor. Gloomy as it is a cathartic redemption is arrived at, otherwise such works would never be performed in the Concert-Hall, the audience leaving more depressed than when they arrived!

In some ways Shostakovich's music has finally arrived on the world-stage now that he can be listened to without any political coloration. I've been acquainted with the 10th symphony since I was 14, partly due to a reactionary passion to listen to 'the enemies' music during the 1970's cold war. A music teacher used to discreetly place records such as Shostakovich Symphony no. 5 on the turn-table while the school chess team played. A captive listening audience if ever there was, Chess enjoying something of a Renaissance among school-boys, it was after all during the great tournament between U.S.A. and U.S.S.R. in 1972 between the maverick Bobby Fischer and Spassky! The 5th symphony soon became a firm favourite of mine, but I also remember hearing the World premiere of the 15th symphony albeit on a tinny transistor radio.

Although Shostakovich grew up under the Soviet regime and is easily the most representative composer of the Soviet era, for a hardened atheist there are a remarkable number of mystical or numinous passages to be found in his music. One of the most extraordinary of all his symphonic output is the mysterious percussive scherzo to the 15th Symphony.

Here's a link to read more about Shostakovich

Portrait of Browne

Why o why is this superb oil painting of Sir Thomas Browne hidden away from the gaze of the general public in the vestry of Saint Peter Mancroft? The Gunton portrait of a very red-haired,slightly older Browne is on display in a wing of the church of Saint Peter Mancroft along with other Browne memorabilia, and to be fair, if one requests nicely, it's possible to obtain a viewing of this portrait. But only if one requests so. Why?

But perhaps with the rise of the internet this portrait has the potential to be better known than any volume of visitor's traipsing into the vestry at Saint Peters'.

Browne attended service at Saint Peter's whenever his profession allowed, but it's his miscellaneous tract Repertorium,  an inventory of artefacts in Norwich Cathedral, which displays his knowledge of the history of the Church of England best.

As ever the city of Norwich is v. slow to proclaim its cultural heritage, probably because, in Browne's case, there's no-one able to mak an articulate statement upon him; perhaps, because somehow, in the imagination of the historically naive, he's wrongly assessed as a non-PC fellow.

Tulips

This troop of tulips spotted in a garden by one of the busiest inner-road junctions in the City. Nevertheless standing proud against the noise and fumes.

A certain seventeenth century medical undergraduate was in Holland during the height of 'Tulipmania' (1630-34) when vast fortunes were speculated and exchanged upon the sale of rare Tulip-bulbs. I just love the story of one speculator who having spent a small fortune on a rare bulb, when arriving at the docks to collect his expensive bulb, saw to his horror a workman tucking into a sandwich, adding to it what he believed to be an onion. The poor unfortunate was prosecuted heavily for his mistaken error.

There's an allusion to tulip-mania in the dedicatory epistle to Sir Thomas Browne's 'The Garden of Cyrus';  a mirthful and tongue-in-cheek observation upon the extremes some gardeners have gone to in their horticultural passion.

Some commendably affected Plantations of venemous Vegetables, some confined their delights unto single plants, and Cato seemed to dote upon Cabbage; While the Ingenuous delight of Tulipists, stands saluted with hard language, even by their own Professors.'

There's also the botanical query in 'The Garden of Cyrus'-

How the triangular capp in the stemme or stylus of Tuleps doth constantly point at three outward leaves.

I remember cycling in '83 through the vast industrial-sized fields of tulips cultivated in Holland. A truly eye-watering optical experience.

Hebrew Zodiac

Mosaic on the floor of the 6th Century (CE) synagogue at Bet Alfa, Israel.

More incontrovertible evidence of the syncretic nature of religious beliefs. The long time spent in exile by the Jews in Babylon resulted in the adoption of aspects of Babylonian astrological symbolism. This is most clearly evident in Ezekiel's vision of the Tetramorph which was later adopted by Christianity to symbolize the various attributes of the four Gospel authors. The quaternary of Matthew, Mark, Luke and John corresponding to the 'Fixed Cross' of astrology, Aquarius, Taurus, Leo and Scorpio. Clearly no taint or impurity of religious belief was felt by such syncretic association, even after almost a thousand years post Babylonian exile.