Posts Tagged ‘Mozart’

“The Stone Guest” by Alexander Pushkin

[All excerpts below taken from the translation by Nancy K. Anderson, published by Yale University Press, 2000.]

Pushkin seemed to have had Mozart on his mind around 1830, when he wrote those four miniature plays, usually known in English as the “Little Tragedies”. In one of these plays, Mozart and Salieri – a dramatic treatment of the myth that Salieri had poisoned Mozart, and written long before Peter Shaffer’s Amadeus –  Mozart himself is one of the protagonists. Another deals with a myth that, by then, was very much associated with Mozart – the myth of Don Juan. But, as with everyone else who had tackled this myth (including its originator, Tirso de Molina), Pushkin had his own individual view of the myth. And, partly because the form of Pushkin’s work – a miniature play in which, given its brevity, much is necessarily left unsaid – it is Pushkin’s view that I find the most enigmatic and elusive of those I have so far encountered.

Tirso de Molina had not made too much of the master-servant relationship. Molière, and, following him, Mozart and da Ponte, had, bringing this relationship to the front of the stage. Pushkin also brings the master and the servant (the servant here called Leporello, as in Mozart’s opera) to the forefront: the drama begins with the two of them entering Madrid, even though Don Juan has previously been banished from the city. The conversation between the two is partly expository – telling us what we need to know for the drama to make sense; but it is not entirely expository. Just minutes into the play, for instance, we get this:

DON JUAN (pensively): …    Poor Inez!
She’s gone now! How I loved her!

LEPORELLO: Inez! The black-eyed one … Now I remember,
For three months you were paying court
To her; it was all the devil could do to help.

DON JUAN: July it was … at night. I found strange pleasure
In gazing at her sorrowful eyes
And death-pale lips. It’s strange,
You apparently didn’t think she was
A beauty. And in fact, there wasn’t
Much beautiful about her. Her eyes,
Just her eyes. And her glance … I’ve never seen
Another glance like that. And her voice
Was quiet, feeble – like a sick woman’s –
Her husband was a worthless wretch, and stern –
I found that out too late – Poor Inez!…

With all its various ellipses and aposiopeses, the effect of this passage is sketchy – an adumbration rather than a depiction. Inez was no beauty in any conventional sense, and her “sorrowful eyes and death-pale lips”, and her voice that was “quiet, feeble”, suggest something sickly, other-worldly, and haunted by death. She is not, in short, the type of woman we would expect Don Juan to be attracted to; and, indeed, Don Juan himself is not sure why he had been attracted to her. In Mozart’s opera, Don Juan (or Don Giovanni) would seduce (or rape, if needs be) all kinds of women, simply to add them to his list, but what we see here is something new, something very alien to the incarnations of Don Juan as imagined by either de Molina, or by Molière, or by Mozart: we see here a Don Juan capable of genuine tenderness and affection. True, the other Don Juans could express tenderness and affection for the woman they are wooing at the time, but never for a past conquest; and it is left to us to determine how sincere their protestations of tenderness and affections are, and, indeed, whether such feelings can be said to exist at all when they are, at best, merely transient. But Pushkin leaves us in no doubt: this Don Juan is indeed capable of feeling these emotions, even for a woman who is now, presumably, dead.

And neither was Don Juan attracted to Inez because of her beauty. Leporello did not think her beautiful, and Don Juan agrees. Whatever attracted him, it was not her physical charms. And what he chooses to remember about her are those death-haunted qualities – her “sorrowful eyes and death-pale lips”. All of this suggests a rich inner world that previous Don Juans did not have. But then, almost immediately, Pushkin pulls us up short: the last two lines of the passage quoted suggest – only suggest, as nothing is spelt out – that Inez was murdered by her husband for her affair with Don Juan. If this was indeed the case, Don Juan had played a significant part in her tragedy, and, especially given how he still feels about her, he should feel guilt, and remorse. And yet, he doesn’t. Immediately after this rather affecting minor key passage, without so much as pausing for breath, Pushkin turns the tonality to a major key, and the rhythm becomes jaunty, as Don Juan and Leporello move on to talk about further conquests. Yes, Pushkin had Mozart on the mind, right enough.

This passage about Inez cannot be described as “expository”, as Inez is not mentioned again in the play. The entire section could have been taken out without affecting our understanding of what happens. But that minor key tonality it imparts, if only for a few bars, colours everything that comes afterwards. And it leaves us with a strange impression of Don Juan: he is a man clearly capable of introspection and tenderness and depth of feeling, who can be drawn to qualities other than mere external charm, and yet who bears no responsibility for the past, no guilt for his actions. He had, in the past, before the curtain raises on this play, killed the Commander, for reasons and in circumstances both left unspecified. But, once again, there is not the slightest hint in him of remorse: rather than feel sorry for the man he had killed, it is his widow, Doña Ana, who now interests him. The past is buried, and not allowed to interfere with the joys of the present.

In the second of the four scenes that make up this play, we are introduced to, in effect, a female equivalent of Don Juan, the actress Laura, who, like her male counterpart, demands complete freedom to pursue her desires. If Don Juan feels no responsibility for the past, Laura, only eighteen, and, hence, without much of a past to speak of, feels none for the future. When reminded that some day she too will be old, her reaction is:

…  Then? Why should
I think of that? What talk is this?

But even in those eighteen years, she had been Don Juan’s lover, and, in this scene, Don Juan comes back to visit her once again. This is yet another departure from previous incarnations of Don Juans: previous Don Juans did not care for their past lovers, their past conquests – they were always moving onwards to new experiences. But Pushkin’s Don Juan is different: he may not take responsibility for the past, and may refuse to feel any guilt that may interfere with his enjoyment of the present, but that past, nonetheless, is never dead for him.

In Laura’s apartment, Don Juan is challenged to a duel by a Don Carlos, whose brother Don Juan had previously killed in duel. (Whether or not Don Carlos’ dead brother is the Commander, we are never told.) Don Juan does not want to fight in Laura’s room, but he is given no choice. Of course, he kills Don Carlos. As in Molière’s play, Pushkin had placed the killing of the Commander before the play opens, but while Molière had done this to make Don Juan a more likeable character, Pushkin has no such intention: the killing of Don Carlos takes place in full view on stage, and, while it can certainly be argued that Don Juan was given no choice in the matter, we cannot but note the utter lack of remorse, or even of regret, either on his part, or on Laura’s. It has happened, it is now in the past, and responsibility for past actions, or guilt for past crimes, must not be allowed to interfere with the demands of the present.

And yet the past cannot be forgotten. There, it seems to me, is the paradox at the heart of this strange and elusive work. To enjoy the present, to seize the moment, the past must be forgotten; and yet, the past cannot be forgotten: the death-like pallor of Inez continues to haunt.

This paradox forces itself into the forefront of the action in the final scene. Here, Don Juan, having declared his love for Doña Ana under the assumed name of Don Diego, has been invited into her chamber. And, on the very brink of attaining his desire, he does the very thing that is most likely to thwart it: he admits that Don Diego is but an assumed name, and that he is really Don Juan, the killer of her husband. It is a startling moment, and not something I can claim fully to understand. It seems an inexplicable thing to do, and certainly not something that the Don Juans of de Molina,  Molière, or Mozart would have done. But Pushkin’s Don Juan is different: however he may try  to bury the past, to expunge it from his mind so he does not have to bear its burden, it refuses to remain hidden: it must out. And, in this startling final scene, it erupts unexpectedly into the open.

And at this point, the statue of the Commander comes to drag Don Juan into Hell. It is impossible not to see the stone statue at this point in symbolic terms. What does he represent? For surely, he must represent something: he is not just an optional add-on, present merely because the story demands it. The title of Pushkin’s play is not, after all, Don Juan, or Don Giovanni, or The Trickster of Seville: it is The Stone Guest. It is the statue, the title reminds us, and not Don Juan, who is at the centre of things, and it is up to us to understand the significance of this statue.

The obvious response is that he is the past that Don Juan had tried to deny – the responsibility he had shirked, the guilt he had buried, but which refuses to remain buried. Seen in this respect, we can find significance in the fact that he is of stone, the very antithesis of the flesh and blood that lives for the moment; we may find significance also in the fact that it is Don Juan who had invited him; or in the fact that the statue of the Commander is considerably larger than the Commander had been when he had lived.

All of this makes for a coherent reading, no doubt, but it strikes me as unsatisfactory, as it reduces the poetic richness of the work to mere allegory, and symbols rich with meaning into impoverished ciphers. In these cases, it seems to me best to not interpret at all, but, rather, instead of trying to winkle out what these symbols and the poetic images may mean, to take them at face value, and allow them to resonate in one’s mind.

I can’t say this play has settled yet in my mind. But it does continue to resonate, and I do sense there is more substance here than can be conveyed by any interpretation I may have to offer. Pushkin seemed to see this myth in terms of the past, and of the burden of guilt for that past that we try to keep submerged, but which we cannot keep from irrupting into the present.

At least, that’s the way I see it right now: I’m sure that the longer I ponder on it, the more meanings it will continue to yield. It is, as I said, the most enigmatic and elusive of all the Don Juans I have encountered so far.

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“Don Juan” by Molière

[All excerpts from the play are taken from the translation by John Wood, published by Penguin Classics, 1953]

 

Molière’s version of Don Juan appeared in 1665, only thirty-five years after Tirso de Molina’s, but it seems to inhabit a quite different world. It seems a more civilised world, more refined; and Don Juan is no demonic force of nature here, as he had been in the earlier play – no id stripped of its superego: rather, he seems, if anything, a thoughtful young man, a man who takes the trouble to think about, and to justify, his incessant womanising:

Let fools make a virtue of constancy! All beautiful women have a right to our love, and the accident of being the first comer shouldn’t rob others of a fair share in our hearts. As for me, beauty delights me wherever I find it and I freely surrender myself to its charms.

Not merely does he present his womanising as a virtue rather than as a vice, he sees the women as the victors, and himself as the vanquished – as the one who “surrenders”. Now, of course, this could be, and is, indeed, likely to be, mere self-delusion, but the fact remains that he actually believes it.

Come what may, I cannot refuse love to what I find lovable, and so, when a beautiful face is asking for love, if I had ten thousand hearts I would freely bestow every one of them.

What is generally seen as self-centredness, and lack of empathy for the feelings of others, Don Juan sees as generosity. And this leaves open the question: does Don Juan really not see the grief and the heartache that he causes? Seemingly not. When he encounters Elvira, the woman he had married and had subsequently deserted, he fobs her off with an absurd reason for having left her. It’s not so much that he is lying: not only does he not himself believe what he is saying, he does not expect Elvira to believe it either. Molière, like da Ponte and Mozart after him, endows Elvira with genuine tragic dignity and nobility of character, and Don Juan’s callous treatment of her cannot but leave a nasty taste in the mouth. But Don Juan is, nonetheless, being true to himself. “The whole pleasure lies in the fact that love isn’t lasting,” he says at one point. Love is transient. He accepts that as a fact; he takes pleasure in this fact; and he cannot hold himself responsible if others do not see this fact as clearly as he does. Love isn’t lasting; life isn’t lasting; so why not accept these truths, seek what pleasure these truths bring us, and not burden ourselves with arbitrary moral rules that make us so unhappy in our temporary existence?

For Molière’s Don Juan is a rationalist. His servant, Sganarelle, describes him in the opening scene as a man who believes in neither “Heaven, Hell, nor werewolf”. At one point, Sganarelle, tries to pin down what exactly Don Juan believes in:

Sganarelle:  Do you really not believe in Heaven at all?

Don Juan:  Suppose we leave that alone.

Sganarelle:  That means you don’t. And hell?

Don Juan:  Eh?

Sganarelle: No, again! And the Devil, may I ask?

Don Juan:  Yes, yes.

Sganarelle:  No more than the rest. And don’t you believe in a life after this?

Don Juan:  Ha! Ha! Ha!

Sganarelle [aside]: This chap will take some converting! [To Don Juan] Now tell me this – the Bogy Man – what do you think about him?

Don Juan:  Don’t be a fool!

Sganarelle:  Now, I can’t allow that. There’s nothing truer than the Bogy Man. I’d go to stake for that. A man must believe in something. What do you believe?

Don Juan:  What do I believe?

Sganarelle: Yes.

Don Juan:  I believe that two and two make four, Sganarelle, and that two fours make eight.

And suddenly, we find ourselves in the world of Turgenev’s Bazarov, who knew only that two plus two made four, and that all else is nonsense. This is the truth, this is how things are. Don Juan has happily embraced this truth, and delights in it; and if others cannot do so, then so much the worse for them: Don Juan cannot hold himself responsible for the follies of others.

But, in Molière’s version, Don Juan is by no means a man devoid of morals. When he sees a man set upon by robbers, he feels honour-bound to help protect the man from his assailant: one doubts whether de Molina’s Don Juan or Mozart’s Don Giovanni would have cared. This Don Juan is not amoral; but his morality cannot encompass the irrationality of desiring that which is not, and that which cannot be – of desiring Eternal Love, or Eternal Life.

But one cannot deal with human affairs without taking the irrational into account. Elvira’s continuing to love Don Juan, the man who had so heartlessly deserted her, is no doubt irrational, but we do not, as Don Juan does, scoff at her for doing so: rather, we find in her devotion, misdirected though it is, a nobility and a pathos, and even a tragic dignity. That may be irrational, but in all human affairs, irrationality exists, whether Don Juan chooses to accept it or not. And when irrationality does indeed irrupt into Don Juan’s life, he is troubled by it: when he invites the Commander’s statue to dinner, and the stone statue nods in response, Don Juan is momentarily speechless, and then, after a pause, can only say:

Come on. Let us get out of here.

Later, he claims it was but a trick of the light. His sense of the world cannot accommodate life inhabiting that which is not flesh and blood, any more than it can accommodate human desire for that which does not exist. As with Bazarov, when two and two stop making four, he is out of his depth.

But when the statue finally comes to drag him to a Hell in which he does not believe, Don Juan shows genuine courage. I doubt de Molina’s Don Juan or Mozart’s Don Giovanni show much courage here: since neither has the imagination to feel fear, neither has any fear to overcome. But with Molière’s Don Juan, it is different, for Molière presents Don Juan not as some phenomenon of nature, but as a human. And, being human, he is susceptible to fear, and also capable of courage. Indeed, I cannot help feeling that, despite all Don Juan’s manifold flaws and shortcomings, Molière couldn’t help liking him: he certainly humanises him in a way that neither de Molina nor Mozart does.

This is a feeling I often get with Molière, although, given how long it has been since I last read through his plays, I should really go through them again to check my impressions. But certainly, when I last read these plays, I distinctly got the impression that, despite showing us with a thoroughly unsentimental clarity all the various inadequacies of humans, he couldn’t help liking them. Of course, there are a few, such as Tartuffe, who are probably beyond the pale of human sympathy, but, from what I remember, Molière had no scorn or disdain for those who are duped by Tartuffe: he regarded them, as he did Alceste the misanthrope or Harpagon the miser, with no bitterness, but, rather, with a gentle and amused tolerance. The follies of mankind are things in which we all have a part, and that leaves little room for anger or for bile.

And I can’t help sensing a gentle humanity in Don Juan as well. This is not to say that Molière cannot see the sufferings brought about by Don Juan’s actions, but the features of the character of Don Juan are certainly softened. The killing of the commander, say, that both de Molina and Mozart present onstage, here takes place before the action starts: the exact details of that killing are not given, but, given Don  Juan’s impulsive generosity in running to the aid of a stranger assailed by robbers, we are happy to believe that he is far from a cold-blooded murderer.

Molière emphasises also the warm and easy relationship between Sganaralle and Don Juan – to such an extent, indeed, that I was more than once reminded of Don Quixote and Sancho Panza. Of course, Sganarelle says that he knows his master to be a scoundrel, but only stays on with him out of fear, but that is belied by the many scenes they have together: there is not the slightest hint of tyranny on the part of Don Juan, nor fear on the part of Sganarelle. In the opera, da Ponte and Mozart made more of the servant’s vicarious enjoyment of his master’s conquests, and of the co-existence of this vicarious pleasure with a certain sympathy for his master’s victims, but Molière stops short of venturing into those psychological depths: in this play, the warmth of the relationship between the two is clear, and is a striking departure from the somewhat harsher dramatic world presented in Tirso de Molina’s play.

But – inevitably, given the story – all the essential gentleness of Molière’s drama cannot camouflage that whiff of sulphur, of hellfire.  Don Juan, who believes in this world and this world only, a world of flesh and blood where two and two make four and twice four make eight, is finally overcome by an irrational force that, far from being flesh and blood, is animated stone. Once again, from what I remember from my previous readings, Molière was usually gentler to his other flawed protagonists, but this is one aspect of the story from which there is no getting away. Which makes this play, I think – despite all the laughs (and it is very funny, even in translation) – the closest Molière has come to tragedy.

“The Trickster of Seville” by Tirso de Molina – the first Don Juan

The myth of Don Juan is possibly unique in that we may pinpoint precisely its origins: it’s a Spanish play, first published in 1630 but written much earlier – possibly as early as 1616, Wikipedia tells me – written by Catholic monk Tirso de Molina. The full Spanish title of the play is El Burlador de Sevilla y convidado de piedra – which, roughly translated, reads The Joker of Seville and the Guest of Stone. The English title of this play varies by translation, but in the one I read – the verse translation by Roy Porter – the title is given as The Trickster of Seville. So let’s stick with that.

The story caught on almost immediately. In the decades following the first performance, there were – in those copyright-free days – any number of variants. Further variants continued to appear at a dizzying pace: Armand E. Singer,  Professor of Romance languages at University of West Virginia, has listed no less than 1,720 of them. And the myth has attracted the attention of some of the greatest creative minds of the Western world – Molière, Mozart, Pushkin. Indeed, Molière’s version appeared a mere 35 years after the publication of Tirso de Molina’s. Clearly, there is something in this story that resonated powerfully, and, given the undiminished popularity of various works based on this myth, continues to resonate still.

At the most basic level, it is, of course, is a male wish-fulfilment fantasy – a man addicted to sex whom no woman can resist is, I’d guess, the stuff of dreams for most heterosexual men, and the punishment at the end is no more than an obligatory piece of stuffy moralising we need to put up with. This, of course, is to interpret the myth at its most basic level, but perhaps we shouldn’t dismiss this basic interpretation: there is, it seems to me, a lot going for it: wish-fulfilment is, after all, a powerful draw. However, it seems fair to say that it is not this crude piece of wish-fulfilment that has drawn to it some of the greatest of creative imaginations: the myth clearly resonates on other levels also.

The last time I broached this subject on this blog, one correspondent very kindly directed me to this fascinating account of the myth by Paul Berman. In his essay, Berman argues that Tirso de Molina, who, despite his Catholic credentials, was a convert from Judaism, critiques in his play the Christian viewpoint that replaces the Principle of Law with the Principle of Grace, of Justice and Retributon with Repentance and Forgiveness. “The trouble,” Berman argues, “ … is that society that depends on conscience has no defense against a sociopath who has none”, and that “Christian reliance on the Attribute of Mercy at the expense of the Attribute of Justice … frees Juan to formulate a sociopath’s theory of salvation”. I shall not repeat Berman’s thesis here, since, firstly, I don’t think I have taken it all in fully; and, secondly, because it available online in its original form, and any paraphrase on my part can only distort. I do, however, recommend it to the interested reader.

However, there seems to me other angles as well that are worth exploring. The most striking, for me, is the means of Don Juan’s punishment. Of course, in a traditional morality play, the wrongdoer must be punished, and Don Juan is; however, perhaps rather surprisingly given the long list of earthly enemies he has accumulated, the punishment does not come from any earthly source: it comes from the other world. This creates for some dramatic untidiness – an untidiness that not even the stagecraft of Molière, of Mozart and da Ponte, or of Pushkin, could quite get around: throughout the action of the play, conflicts are created that are, by the end, left merely hanging in the air, since the resolution comes not from any of Don Juan’s worldly antagonists, but from a very unworldly one. As a consequence, the various characters whom Don Juan encounters are left, once Don Juan has finished with them, with no real dramatic purpose to fulfil. As Don Juan moves on from one set of characters to another, the sets of characters he leaves behind have little to do except to disappear from the action, or merely to crowd the stage for no discernible reason.

In Mozart’s opera, this seems to me the very point: the earthly antagonists are no match for Don Juan (or Don Giovanni), who emerges therefore as a character beyond the reach of earthly justice: the disorder he brings to the world can only be set right by a force from another world. The ineffectuality of mere mortals in the face of the phenomenon that is Don Juan is, it seems to me, is at the very centre of Mozart’s opera. But I am not sure this is the case in de Molina’s play: as in Mozart’s opera, there are several characters who, once their interaction with Don Juan is finished, mill about the action without contributing anything, but their inability to act effectively seems to me here more a dramatic encumbrance than anything else.

However, this other-worldly punisher is a remarkable figure. The idea of the other-worldly nemesis being a statue, a creature of stone, is, as far as I know, entirely Tirso de Molina’s creation, and while, it appears from various modern productions of Don Giovanni, many in our own times find rather risible and are embarrassed by the idea of a moving statue exacting retribution, it is precisely this feature that excited the imaginations of Molière, Mozart, and Pushkin. For Don Juan, who glories in being a creature of flesh and blood, who rejoices in pleasures of the flesh and is fired by desires of the blood, must be punished by one who has neither flesh nor blood about him – who is, indeed, quite literally, made of stone.

But of course, to speak of Don Juan’s punishment by the statue as the punishment of the human by the non-human is too crude a representation. For Don Juan is more than just human, of course. Or, to be more accurate, he is less than fully human. He is a character entirely without conscience, and, as such, no human consideration can touch him. His utter lack of human conscience places him beyond the human pale. In Freudian terms, he is the id set free, with no superego to impose any form of control. It could be argued, I suppose that this man, seeking merely pleasure, without any form of control restricting his actions, is a form of wish-fulfilment, and a very potent one at that: he is certainly a very attractive figure, as was recognised from the very start. But while we may find such a figure attractive, we also recognise his dangers: no ordered society could accommodate such a figure, and his very presence of fills us with a sense of dread, even of terror. Don Juan fills us with both joy and with terror: he both attracts and repels in equal measure. It is easy to see why so many have been drawn to de Molina’s myth.

The Trickster of Seville is, despite some dramatic clumsiness, a remarkable play, and not merely because it originates so powerful a myth: de Molina seems fully aware of the resonances of his creation – although, of course, there is always a danger that we may be reading back into this work various elements that later dramatists have introduced. De Molina presents both the attractive nature and the charisma of Don Juan, and also the misery he leaves in his wake: the lamentations of Tisbea (called Thisbe in Roy Campbell’s translation), is particularly striking, especially given that, unlike Don Juan’s other conquests in this play, she is of a lower social order:

Fire, oh fire, and water, water!
Have pity, love, don’t scorch my spirits!
Oh, wicked cabin, scene of slaughter,
Where honour, vanquished in a fight,
Bled crimson! Vilest robber’s den
And shelter of the wrongs I mourn!
O traitor guest, most curst of men,
To leave a girl, betrayed, forlorn!

Even in Shakespeare, I cannot think of an instance of a woman from the lower social orders accorded such tragic stature.

But at the centre of the play is, of course, Don Juan, the man who is beyond the control of society because he is beyond the control of his own conscience, a fulfilment of our deepest desires and also of our most fearful nightmares, and who both attracts and appals in equal measure. He is a figure who has appeared in all sorts of guises since in Western literature, and, I guess, he will continue to appear: for while we may all secretly desire to be a person who is utterly unconstrained in the obtaining of desires, the very thought of such a person existing can but fill us with terror. We need to be our own Stone Guest to keep out flesh and blood in ord

The Don Juan Myth

I am not so much intrigued by the Don Juan myth as I am by its having intrigued so many others. On the face of it, I can see nothing particularly remarkable about the myth: Don Juan, an insatiable satyromaniac whom no woman can resist, strikes me as little more than a frankly rather crude male sexual fantasy. And yet, this seemingly uninteresting myth has exercised minds as distinguished as those of Molière, Mozart (and his librettist da Ponte), Pushkin, Byron, Richard Strauss, and, in a modern twist in which the mythical Don Juan Tenorio becomes the contemporary John Tanner, Bernard Shaw.  I am intrigued by what they all saw in this myth.

The only work based on this myth that I think I can claim to know to a greater depth than that merely of a nodding acquaintance is Mozart’s opera Don Giovanni, and, as I indicated in a recent post, this opera, despite some forty or so years of listening, I find puzzling in many respects. For Don Giovanni himself, the central character around whom everyone else and everything else seems to revolve, seems, to me at any rate, a complete blank. Music which would strike us as deeply felt if sung by any other character becomes, when sung by the Don, insincere: we know that his ardent avowals to Donna Elvira of his repentance are false; in the serenade that follows, we know that the heart-achingly beautiful avowal of love he expresses is not deeply felt, nor even shallowly felt: it is not felt at all. This creates a peculiar tension: how can music so richly expressive not express anything? Through centuries of interpretations, all sorts of things have been written by commentators who refuse to accept that this can be possible: music of such emotional depth must, they assume, indicate emotional depth in the character who is singing it, and they have tried to see in the character of Don Giovanni all sorts of things that simply cannot be justified by the text. Many Romantics thought the Don Giovanni is searching for his ideal love: he isn’t. As Leporello’s “catalogue aria” makes clear, it is mere prosaic quantity rather than any poetic quality that counts for the Don. More recently, director Kaspar Holten, who directed the piece for Royal Opera, thought Don Giovanni was trying to escape his own mortality, but, once again, there is nothing whatever in the text to indicate this. Not an inkling.

So let us accept what Mozart and da Ponte gives us. Much of Don Giovanni’s music suggests that it should be deeply felt, but it isn’t, and the sense of unease this imparts to the listener is, I think, precisely the point. Mozart’s music endows Don Giovanni with a tremendous vitality, and an irresistible charisma, but there’s nothing behind all this vitality and charisma – no search for Ideal Womanhood, nor Fear of Death, nor any of the other things that the preoccupations of the interpreter’s own time may choose to saddle him with. This lack of substance where substance is to be expected makes this, I think, a very disturbing work – perhaps even more so than Mozart’s next opera, the deeply disquieting Cosi Fan Tutte.

But I remain uncertain. Mozart’s operas – especially the three he wrote to libretti by Lorenzo da Ponte – are endlessly complex works, and one should always be prepared to modify one’s views on them. But I am now intrigued by how others have interpreted this myth.

So I am planning a course of reading on the matter. Over the next few weeks, or however long it takes, I am planning to read Tirso de Molina’s play The Trickster of Seville (which, I believe, is where the myth began), Molière’s Don Juan, Pushkin’s The Stone Guest, and Bernard Shaw’s variation of the myth, Man and Superman. (I suppose I should really add Byron’s poem to that list, but let us restrict ourselves to drama for the moment.) And I am planning to record here, for what they’re worth, my thoughts on these works. And maybe, at the end of it all, I’ll have some inkling of why this myth has exerted to firm a grasp on the imaginations of so many.

And even if I don’t, a project such as this sounds fun.

I now therefore declare the Don Juan season officially open.

Shakespeare’s “Cymbeline” at Sam Wanamaker Playhouse

Usually, when I read a Shakespeare play, I have a pretty good idea in my mind of how I would ideally like to see it staged, what the sets and costumes should look like, where the actors should be positioned, how the lines should be spoken, and so on. These may not necessarily be the best ideas: I’m sure experienced Shakespeare directors understand these matters far better than I do. Nonetheless, I find myself, as it were, directing these plays in my head. Cymbeline, however, is among the exceptions: I have no idea how this should be staged. Despite passages that only Shakespeare could have written, it’s a work that always leaves me puzzled. Maybe Shakespeare just flopped with this one. Alternatively, and more likely, that extraordinary mind of his was working on a plane to which my rather ordinary mind does not have access.

I had never seen the play on stage before last night. The only version I had seen was in the BBC Shakespeare series in the early 1980s – a very accomplished production with a quite magnificent cast, but which left me as puzzled as did my readings. Last night, I went to see the play in the Sam Wanamaker Playhouse –  an extension of the Globe Theatre built to emulate the indoor venues in which so many of Shakespeare’s plays had originally been performed.

I am, I admit, very much in two minds when it comes to the issue of “authenticity”. I accept that it is worthwhile to see these plays in spaces similar to those for which they had originally been written – whether in the outdoor Globe Theatre, or, as here, in the Sam Wanamaker Playhouse. Similarly, it is worthwhile hearing the music of Handel or of Bach, of Haydn, Mozart, and Beethoven, played by orchestras of the size the composers would have recognised, playing instruments of the composers’ own time, and adopting performance practices, as far as music scholars can determine, the composers would have been familiar with. But even if we get everything right in terms of authenticity – even if we were to go to the length getting boy actors to play the female roles – there remains one important component that is bound to remain inauthentic: audience expectations. Shakespeare’s audiences were unfamiliar with the drama of Ibsen or of Chekhov; they had not seen television plays, or films: we have. And we cannot unsee them.

In Cymbeline, a character is beheaded just off stage, and soon afterwards, the severed head and the headless corpse are produced. We may only conjecture how Shakespeare’s own audience, used as they were to seeing public beheadings, and accustomed to decapitated heads on public display, would have reacted. In our own age, for most of us, experience of decapitation comes not directly, but from the horrific reports, and, should we choose to look at them, from horrific images, of executions and judicial killings committed in Syria or in Saudi Arabia. When confronted with extreme violence such as this on stage, our minds are as likely to turn to Monty Python and the Holy Grail as to anything else: we see it as “over-the-top”, and find it funny for precisely that reason. I doubt Shakespeare’s own audiences would have reacted in such a manner. No striving for authenticity can re-create in our minds what Shakespeare’s own audiences would have felt.

Sam-Wanamaker-Playhouse

Nonetheless, it is an interesting experience to see this play in this venue. The hall itself is exquisite, like a bejewelled box. The audience is packed quite close on back-less and handle-less seats, and no-one is very far from the stage: this creates a sense both of intimacy, and of taking part in a communal event. The hall is lit entirely by candles, so variations in lighting can be achieved only by varying the number of candles used for any given scene (thus ruling out sudden or frequent changes); or by adjusting the height of the chandeliers. Needless to say, there were no sets: the stage was entirely bare throughout, with the occasional large prop – in this play, a bed and a trunk – wheeled in and out as and when required. As with historically informed performances of classical music, this is not the only valid way of performing these works, but it’s certainly interesting, and, as with any other approach, when done well, immensely rewarding.

As for the interpretation, I really find myself not knowing what to say with this play: having little idea in my mind of how it should be interpreted, I can neither criticise this production for falling below what I think the text contains, nor praise it for exceeding my expectations, or for subverting my preconceptions. I think, though, that, perhaps, I am now beginning to understand this play. Whether this is due specifically to this production, or to my having repeatedly revisited it over the years in the conviction, given the passages of genius throughout, that Shakespeare couldn’t have expended so much of his greatness on something of so little worth, I really cannot say.

The play is a mish-mash. That is usually a criticism, but perhaps not here: we have to give Shakespeare the benefit of the doubt, and say that if it is a mish-mash, that is because he intended it to be such. Or, to put it another way, unity of tone was not high on his agenda here. The plotline, when summarised, is effectively a fairly-tale, and Shakespeare, I think, had been here before: in the midst of writing his great tragedies, he also wrote All’s Well That Ends Well, a play with, effectively, a fairy tale plot, and as far removed from the world of high tragedy as may be imagined. Shakespeare was already, it seems to me, anticipating his late works: the fairy-tale format of Cymbeline was no sudden whim.

And in order to appreciate a play such as Cymbeline for what it is, we must, I think, reject our preconceptions derived from the earlier works – and, especially, from the great tragedies. Characterisation is no longer the point. We may disagree on the characters of, say, Othello or of Iago, but the nature of their characters is central to the drama: to understand thedrama, we must investigate the characters. But here, it is not even to be asked why Iachimo poisons Posthumus’ mind, or why he later repents: it is enough that he does so. We no more look into the psychology of Iachimo – or of Posthumous, or of Imogen, or of Belarius – than we do of Rapunzel, or of Snow White. And the various different tones juxtaposed cheek-by-jowl, with no attempt to modulate from one to the other, have to be taken as they are: late Shakespeare is not interested in unity, or in modulating between different states of mind, any more than the late Beethoven was.

All that’s very well – but to what end? I still find that question difficult to answer, but, last night, I found myself more willing to submit to it than ever before. The vision seemed to be – I can only say “seemed to be” as I am still far from certain – of a bewildering diversity, of seeming randomness, all eventually finding a consummation of sorts in a final reconciliation and in forgiveness, and, ultimately, in a state of wonder. At the end, as at the end of The Winter’s Tale, those thought dead are restored: the vision is that of the Resurrection itself. Once again, this is not new in Shakespeare; those thought dead are restored also at the end of Much Ado About Nothing, and at the end of Twelfth Night (the restoration of Viola and Sebastian in that play is one of the most heart-meltingly beautiful passages that even Shakespeare ever wrote). But now, in his late plays, this theme of eventual reconciliation, and, above all, of forgiveness – of reconciliation with oneself as well as with others – seemed to weigh more heavily in Shakespeare’s imagination. And to convey this vision of reconciliation, Shakespeare turned not to the character-driven tragic world of Hamlet or of Othello, but to fairy tale, and to pantomime.

The production is as fine as I could have hoped for: it is thrillingly staged, achieving a far greater variety of effects than I could have thought possible given the venue; and the verse was spoken beautifully. Emily Barber, especially, makes a huge impression as Imogen (called Innogen here, as Shakespeare had done before the printer’s error immortalised her as Imogen) – making it entirely credible that all whom she encounters find themselves charmed by her, and in love. Only Eugene O’Hare’s Iachimo I found somewhat underplayed: as the pantomime villain, I think I’d have welcomed a bit more overt mustachio-twirling villainy. I think also I’d have preferred a greater intensity when, on first encountering Innogen, he is struck with wonder that beauty such as this could even exist. (Admittedly, Iachimo’s lines at this point are among the knottiest and most tortuous in all Shakespeare.)  But, given that I have never really known what to make of this work, I am not really in a position to make critical comments on interpretative decisions.

The production makes much of the comedy – and, I think, quite rightly. The scene where Jupiter appears to Posthumous in prison is rightly spectacular: Pauline MacLynn (better known to television viewers as Mrs Doyle in Father Ted), who plays the wicked queen in this production with a wonderful comic relish, doubles up in the prison scene as a transvestite Jupiter, and, perilously suspended high above the stage, plays the part as pure pantomime. Whether or not this is the right way to play this strange and awkward scene I don’t know, but it works. The tone of pantomime pervades the final scene also, when the beloved returns from the dead, and all is forgiven. I was initially worried that such a pantomime tone would overwhelm the seriousness, but there was no cause for fear: as with the late Beethoven, Shakespeare is happy simply to lay very different states of mind next to each other, without bothering with the shades in between; and somehow, all these different tones register. Don’t ask me why: I really don’t know. But when, even in the midst of all the knockabout comedy, even at the end of two hours and more of pantomime madness, Posthumous, Innogen once again in his arms, says

… Hang there like fruit, my soul,
Till the tree die!

I think my heart missed a beat.

Mozart achieved this sort of thing in The Magic Flute. I don’t think anyone else has.

How I came round to liking the novels of Jane Austen

For my posts on individual novels of Austen, see here.

Not that long ago, I used to find myself frankly puzzled by the high regard, indeed, by the reverence, in which Jane Austen was held. And this reverence was discernible not merely in the casual reader, or in those who, influenced no doubt by various lightweight adaptations, saw her novels as essentially chick-lit in fancy costume: those whom I admired for their taste and for their critical judgement seemed also unanimous in their regard for Austen.

So I had a choice of three options: I could claim that those who enjoyed Austen were fools unable to see through the hype, and that I, possessing superior discernment, knew better (this is the default position on the internet in such matters); or I could shrug my shoulders, and accept that we all have different perceptions, and that not everyone can take in everything; or, thirdly, I could have another go, and see if, this time round, I could at least see something of what her admirers clearly see. Now, there are many things about my former self that I find myself disliking, but I am glad this former self of mine eschewed the first option, found himself dissatisfied with the second, and went for the third. For now, having re-read all six of her complete and full length novels (the shorter and unfinished works are still waiting in the wings), I can not only see why her admirers admire her so, I have come to share much of that admiration myself. I won’t claim to be a fully paid-up Austenite: our individual temperaments inevitably lead us in different directions, after all; but now, when Austen is praised as a novelist of the foremost rank, I find myself inclined to agree, and to join in the praise. Is not our capacity to change over time quite wonderful?

Of course, this is all very inconsistent in me, but consistency is not really, I think, something to be praised: a mind and a soul impervious to change bespeak a spiritual dullness and an inability to look beyond our immediate horizons – as if these horizons of ours encompass all that need be encompassed. Change is not merely to be welcomed, but to be actively sought – change in our thinking, our tastes, our critical judgement; change in our moral and aesthetic values.

Towards the end of Antony and Cleopatra, Antony, who had thought that he knew himself, discovers to his surprise that he doesn’t. He looks at a cloud, and its shape seems to him constantly to change:

That which is now a horse, even with a thought
The rack dislimns, and makes it indistinct,
As water is in water.

He wonders at this, and finds his own self just such an amorphous body:

… here I am Antony:
Yet cannot hold this visible shape …

This is the self-knowledge he acquires in the course of the drama: he comes to know that he doesn’t really know himself at all; there is nothing solid that he can grasp, and all is as water is in water.

Antony is overstating, of course: we need not take this as Shakespeare’s own view. It is a mistake to take the thoughts of a character at the edge of human experience as representative of authorial wisdom. For, whatever Antony may think at this point, there is clearly a continuity between what we are now, and what we used to be; the human personality, for all its multiple facets that so puzzle Antony, retains a unity amidst the diversity. But it’s this diversity that makes humans so endlessly fascinating – a diversity the nature of which is so mysterious, even to ourselves, that it becomes impossible to say whether any change we undergo over time is the acquiring of new characteristics and the discarding of old, or whether it is, rather, the emergence to the fore of existing but previously unobserved elements.

If any reader who has stuck with me so far into this post is worried that I am now about to launch into intimate autobiography, and detail how I have changed over the years, please rest assured that nothing could be further from my intention: this blog is not, thankfully, a confessional. However, it has long struck me that the books that I value or have valued highly in different periods of my life, and my reasons for valuing them, do constitute an autobiography of sorts. And my progress, within a mere few years, from a dislike for Austen, or, at best, a grudging respect, to an unfeigned and unalloyed admiration, very possibly marks out in me new ways of looking at things, new perspectives. Which would give me cause for introspection were I given to navel-gazing.

Perhaps I hadn’t paying sufficient attention in my previous readings. I tried to interrogate my old self: what was it about these novels that I disliked? I don’t think I ever bought the view of Austen as a purveyor of chick-lit in fancy dress, even though legions of her fans did: she was quite clearly a far more serious writer than that. But I did, I think, find her very formal and decorous, and, as a consequence, distant; I formed the impression of her as detached, as lacking in passion; I saw her as looking down censoriously on her own creations from a moral high-ground; I found her too severe, too cold, too unwilling to sympathise with the common flaws and weaknesses of our shared humanity; I found a lack of warmth; and it seemed to me frankly worrying that her laughs were always at the expense of others: never was there an open and generous laugh – what I’d describe as a Dickensian laugh – in which we may all join.

All this seems damning. In some of them, I had been simply mistaken: for instance, Austen is certainly not short of passion – as is surely obvious from even the most cursory reading of Mansfield Park or of Persuasion (and how that insensitive oaf that was my former self could have missed this I really cannot imagine). As for my other criticisms, there is more than an element of truth to them, but they are not the whole truth. What I failed so dismally to see, I think, was that major works of art are not restricted to a single tonality; that what they present merely on the surface can be deceptive. Why, I had asked myself in my previous reading, is Emma Woodhouse to be taken to task for being unkind to Miss Bates when the author herself had presented Miss Bates in precisely the terms in which Emma had seen her – as no more than a tiresome old bat? I think I can now answer that question: Miss Bates is a tiresome old bat, and Austen sees no reason to present her otherwise; but she was wise enough and compassionate enough to know that even tiresome old bats have feelings, and that these feelings are sacrosanct. To have presented Miss Bates as anything other than the tiresome creature she is would have been merely pious and sentimental; Austen does better – much better: she allows us to think of Miss Bates in the same way that Emma does, so that when Miss Bates’ feelings are hurt, we find ourselves every bit as mortified as does Emma. And as a consequence, if we had looked down on Miss Bates before, we feel ashamed for having done so; and if we had looked down on Emma before, we no longer can; for how can we consider ourselves to be above that in which we find our own selves implicated? Far from looking down from remote heights on the flaws of humanity, Austen involves us in them.

The key to my greater understanding – for such, I hope, it is – came when a friend referred to Austen’s novels as “Mozartian”. Now, as a fully paid-up member of the Mozart fan club, I am constantly surprised when people pronounce his music to be twee, lacking in passion, shallow, and all the rest of it; for, underneath the elegant perfection of his surfaces, there seem to me to lie inexhaustible depths of passion. Was I being similarly obtuse, I wondered, in failing to look beyond the formal and decorous surfaces of Austen? Having now re-read these six novels, I can only conclude that such was precisely the case. Not that Austen is now an author close to my heart: she isn’t. Nonetheless, I did find myself charmed by Pride and Prejudice; I found myself utterly absorbed in the sombre drama that is Mansfield Park; I found myself quite swept along by the passion – yes, passion – and the eroticism of Persuasion. Emma, I confess, I found hard work, but its artistry and its seriousness of purpose are in no doubt. Even the two earlier works, Northanger Abbey and Sense and Sensibility, though novels of somewhat lesser substance than the masterpieces that followed, remain remarkable works.

So, while our substance may not be of infinite plasticity, while we may not quite be, as Antony had thought, as water is in water, we do have the ability, I think, to look beyond our own individual horizons, and see what we had not previously been capable of seeing. Not that we’ll give ourselves the opportunity to do so if we keep on simple-mindedly rating works in terms of “Like” or “Dislike” as we do Facebook posts; nor if we do as Goodreads urges us, and fix works produced by minds greater than our own on some insipid scale from one to ten. And it may sometimes be the case that one’s temperament is so far removed from that of the author, that not even the greatest willingness, open-mindedness and flexibility on the part of the reader can quite reconcile one to the author’s artistic vision. But it sure is worth a try!

Strauss on my mind

I’ve had Strauss on the mind lately. Richard Strauss, that is, not Johann the Waltz King – although, to judge from the waltz in Der Rosenkavalier, Richard could have gone in that direction had he so wanted.

It all started a few weeks ago, when I found out that I would be working for a couple of weeks in offices in central London. So, naturally, I looked to see what was on in London in the evenings during those two weeks. And I found, to my delight, that the renowned Leipzig Gewandhaus Orchestra, under their Principal Conductor Riccardo Chailly, was giving over a few days a series of three concerts of Strauss and Mozart. So I booked myself for all three of them. I mean, it would have been churlish not to.

Strauss has a bit of an odd reputation. The general consensus of opinion seems to be that it was Mahler, Strauss’ contemporary, who was the true genius, pouring out his tortured soul in works of emotional profundity and spiritual intensity, while Strauss was merely a showman, who cared more for effect rather than for substance, who often strayed into the crude and the vulgar – a sort of musical Barnum and Bailey. While I have no doubt at all about the stature of Mahler, I have never been at all happy with such an appraisal of Strauss. Yes, he was a showman, he could be crude and vulgar, and, yes, there are many works of his in which showmanship takes precedence over substance. But this is by no means the whole story. In the first place, showmanship need not preclude depth, or even artistic integrity; and in the second place, the composer of Elektra and of Metamorphosen deserves to be taken seriously – every bit as seriously, to my mind, as the unremittingly serious Mahler.

The three concerts included what Chailly has described as Strauss’ “core” tone poems, plus the late work Metamorphosen. Interestingly, Chailly does not include Don Quixote among this “core”, insisting that it was conceived as a set of orchestral variations rather than as a tone poem. And neither does he include the Alpine Symphony, a work which probably does lend credence to Strauss’ reputation of being a showman rather than a serious artist. Even some of the “core” works don’t quite, perhaps, dispel that notion – but the boundary between artistry and craftsmanship seems to me a very blurred one at best. And anyone who says something such as Ein Heldenleben is not a supremely beautiful and moving piece of music is a bounder and a cad, and can meet me afterwards in the car park outside.

Ein HeldenlebenA Hero’s Life – formed the second half of the first of the three concerts. In the first half, we had one of Strauss’ earliest masterpieces – the gloriously ardent and swaggering Don Juan. The orchestra played superbly: the sound was mellow, but deceptively so, as, at the dramatic climaxes, it packed a tremendous punch; but even at its most dramatic, the sound never lost its refinement, never became harsh. And no matter how thick the orchestral texture may be, the sound was never congested: there was always a sense of space around the various strands of the music.

Sibelius had once commented that Strauss provided his listeners with rich and exotic cocktails, whereas he gave the listener pure spring water. We need spring water as well, of course: going straight from one rich and exotic cocktail to another can become a bit too much. Here, the spring water was provided not by Sibelius, but by Mozart, a composer who was very close to Strauss’ heart. Between Don Juan and Ein Heldenleben, the Gewandhaus Orchestra accompanied Maria João Pires in a performance of Mozart’s 27th piano concerto. It is a work often described as being a late Mozart work, and indeed it is – although we should keep in mind that Mozart was only 35 when he composed it, and that the works Strauss had composed at that age are regarded as his early works. It is a work of ethereal beauty: there seems something quite other-worldly about it. Gone is the exuberance and the drama of Mozart’s earlier piano concertos: where, previously, the second group of themes had contrasted dramatically with the first, here, they seem to complement each other. The music does indeed dance along gracefully, but the brilliance of Mozart’s dancing in his earlier works seems to have vanished, leaving behind a ghost of its former self. Huxley had once commented that Mozart’s music is saddest when it seems to be happy, but never has the happy surface been quite so transparent as it is here, revealing the depths below. It is a work that smiles, and yet breaks the heart, and I don’t think I could hope to hear it performed better than I did here. There is a passage in the first movement development section that is particularly close to my heart: the key changes come so frequently and so quickly, that it seems to give an impression of drifting between keys: I know of no other music quite like this.

After the interval, we were in a different world entirely: Ein HeldelbenA Hero’s Life. In many respects, it’s a work of utter megalomania: in the section labelled “The Hero’s Works of Peace”, Strauss gives us a collage of themes from his own earlier pieces, leaving us in no doubt as to who the hero of the title is. But I think that to criticise the work on this ground is to miss the humour: whenever I hear this piece, I seem to see a twinkle in Strauss’ eye, a wink and a nudge. Similarly in the second section of the work, which depicts the hero’s enemies: it’s a glorious cacophony of winds, suggesting to absolute perfection a band of snivelling idiots. One may ask what is so very heroic about defeating such a miserable bunch, but once again, this is to miss the humour of the thing. Speaking for myself, I can’t help but break into a broad grin when I hear this.
And then, there is the love scene. The hero’s companion is depicted by a solo violin, and the hero, in the form of the orchestra, woos her ardently; but she is no doormat merely to do the hero’s bidding. Time after time, the violin solo seems to be responding to the hero’s amorous overtures, merely to go off into intricate cadenzas and arabesques: this is a companion who is very much her own person, and with her own mind, who will respond to the hero as and when she wants to, in her own time, and in her own way. And when she finally does, we have a love scene like no other in music: Strauss gives us sounds so gorgeous, and so opulent and sensual, that it’s almost indecent.

Then comes the battle scene, in which the hero defeats his enemies. This is a section that could come over as overblown – but in this performance, it was genuinely thrilling. The orchestra of about a hundred or so players, including five percussionists (yes, five – I counted ‘em!) went at it hammer and tongs, and yet, somehow, they never compromised the beauty of tone. It was magnificent. And afterwards, the enemies vanquished, we move into the hero’s works of peace – a glorious collage of themes of Strauss’ earlier works. In Don Juan, there had been a thrilling moment when a swaggering horn fanfare had sounded over the massed orchestra: we had heard this only earlier that evening; well, since that moment was so wonderful, Strauss thought he would repeat it again in Ein Heldenleben: and no, it doesn’t suffer from the repetition – it remained just as thrilling.

How does one finish a work such as this? Strauss decided not to pile Pelion on Ossa (or is that the other way round?) – after all the thrills and spills, he opts for a quiet ending, as the hero, having achieved all that could be achieved, renounces worldly things. The music is extraordinarily moving and beautiful. Showmanship? Perhaps. Who cares?

The second concert was not really in the class of the first: this was nothing to do with the playing or the conducting, but because the programme wasn’t as good. It started with Strauss’ early tone poem Macbeth, and interesting though it was to hear this played live, it isn’t a patch on Don Juan, the opening piece in the first concert. The Mozart piece was the 3rd violin concerto, and, lovely though it is, and beautifully played as it was by Christian Tetzlaff, it is not in the same league as Mozart’s last piano concerto. After the interval, we had Also Sprach Zarathustra, and again, I couldn’t help wondering just how seriously we are supposed to take this: isn’t the very idea of setting Nietzsche’s philosophy to music a bit of a joke? Once again, I couldn’t help seeing a twinkle in Strauss’ eye. And similarly with the section in which the Übermensch dances: what sort of music would an Übermensch dance to? Strauss makes him dance to a Viennese waltz, and, although the rest of the audience didn’t seem to find this particularly funny, I thought it was hilarious. The piece also has the very famous opening, of course; and the ending too is very beautiful. But for all this, it seems to me somewhat incoherent: despite all the lovely moments and beautiful passages, there is much that seemed to me a bit dull and uninspired. It was all great fun, I suppose, but whereas Ein Heldenleben had been more than just fun, this, I don’t think, was. Once again, this is not a comment on the performance, but on the music itself: there is no doubt in my mind that Strauss was a very great composer … but it’s fair to say, I think, that he was not always great.

For the third and last concert, there can be no doubt at all: it was, from beginning to end, utterly magnificent. It started with the magnificent Tod und VerklärungDeath and Transfiguration; the final section of this work, representing the transfiguration of the soul after death (or some such), is a gloriously opulent passage even by Strauss’ standards; my expectations were high, and the orchestra did not disappoint. After that came another of Mozart’s late masterpieces – the clarinet concerto. I must admit that, immediately after the ending of Tod und Verklärung, my ears took a bit of time to adjust to Mozart’s very different sound world, but once they did, it was utterly irresistible. The soloist, Martin Fröst, shaped and coloured each phrase exquisitely, and as we moved into the interval we were left wondering how anything could possibly come after this and not seem an anti-climax.

What came afterwards was Metamorphosen, one of my personal favourite works by any composer. It is a piece for 23 strings, an unbroken span of some half hour or so; it was composed by Strauss in his eighties in the years after the end of the Second World War, and it is a lament for the depths into which the culture had sunk in which Strauss had been steeped. Now, Strauss’ relationship with Nazism remains controversial: from what I can work out, he was, personally, a very decent and generous man, without any hint at all of racism or of anti-Semitism; but the unfortunate fact remains that, in his admittedly old age, Strauss did allow himself to be wheeled on by the Nazis as the great representative of the German Musical Culture. It was naïveté on Strauss’ part rather than anything else, and while such naïveté cannot be anything other than reprehensible, to label Strauss a Nazi, as some have done, does seem grossly unfair. But, be that as it may, Metamoprphosen is a great masterpiece. I went through a phase in my early twenties – not, for various reasons, the most cheerful years of my life – when I used to listen almost obsessively to Mozart’s D minor piano concerto, and to this: its deep gloom and desolation, rising to uninhibited passion before subsiding once again, has long resonated with me, and listening to it live, and played and shaped so beautifully, was for me a particularly fulfilling experience.

The concert could have ended here, but they obviously wanted to end with a bang: so, to finish off, we had the hugely witty and exuberant Till Eulenspiegel, Strauss’ musical depiction of the prankster from Germanic folklore. It is a tremendous orchestral scherzo, and it was played with great verve and gusto: it brought the house down.

So, after all that … was Strauss a great musical genius, or just a showman? I incline towards the first option – how could the composer of Metamorphosen be anything but a genius? – but frankly, I don’t know that I care much. Genius or showman, this is music that I love, and I wouldn’t be without it. And that’s all that really matters.