Man in the Holocene

Example
Graphic by M C Escher


Birds that feed on fish; their excrement will form the beginning of an oasis in which human beings can live, until the next stream of lava smothers it all.


Max Frisch - Man in the Holocene

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Life's a bitch and then you reincarnate

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Mixed wisdom traditions inspired by recent travels. My photos below were taken last month at the Theravada Buddhist temple of Wat Khongkha Kha Phimuk in a very hot Thailand. Then a repeat of my 2020 post about the Mahayana Buddhist view of what happens between bitching and reincarnating. Music from between heaven and hell   Why is the between so underrated? We live in a binary age which is defined by 0 or 1, and anything in between is dead meat. So we think only in terms of good or bad , right or wrong, masterpiece or minor-piece , and black or white . One of the main drivers of this dualism is social media where narratives are defined by like or dislike, friend or unfriend, and the ultimate sanction of follow or block . But life is not defined by absolutes. We actually live in an infinitely nuanced analogue world which digital technologies compress to just two binary options. Which obliterates the priceless legacy of the between created in the millennia before we became ad...
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Young Mahler - encouragement worthwhile?

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A charming and previously unpublished reminiscence of an 11-year-old Gustav Mahler (photo above) comes to An Overgrown Path from Elissa Minet Fuchs former ballerina with the Ballet Russe and the Metropolitan Opera. Mrs. Fuchs (see photo below) is the widow of conductor and composer Peter Paul Fuchs who was the subject of two tributes here when he died last year. A reader drew Mrs. Fuchs' attention to my articles and she has very kindly supplied me with material, including previously unpublished photographs, on her husband for a full appreciation to be published here on the first anniversary of his death next week. Among the material was this memory of a young Gustav Mahler. Peter's grandfather on his mother's side, Alois Rusicka, was born in a small town in Czechoslovakia not far from the Austrian border. He was a law student - pursuing his degree and an amateur musician, a cellist. On one of his visits home, he was approached by a tavern keeper. He was asked to meet ...
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The purpose of puffery and closed-mindedness

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There is a neat inversion of yesterday's theme of modern orchestras being influenced by baroque performance practices in the double CD above. About Baroque features the unusual combination of contemporary music and period instruments. It was the product of an innovative funding initiative by the Siemens Arts Program that brought together the Freiburg Baroque Orchestra and five leading young composers in a series of workshops and rehearsals that allowed the composers to understand the sonic potential of period instruments. The output from the programme was five new works from Michel van der Aa , Juliane Klein , Rebecca Saunders , Benjamin Schweitzer and Nadir Vassena written specifically for the Freiburg Baroque Orchestra. These were captured in concert performances and released on About Baroque in 2006. Let's make one thing clear, About Baroque is not ersatz early music. It is very contemporary music written for a leading period instrument ensemble. And how well it wo...
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Audiences need permission to like unfamiliar music

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Third rate music on Naxos' American Classics?

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I'll be interested in American readers' reactions to the start of this review by the Guardian's Andrew Clements - ' Considering how much third-rate music has been included in Naxos's American Classics series, Elliott Carter has so far been poorly served by the budget-price label. But in the year of the composer's 100th birthday, this - the first of two discs that will include all five of Carter's string quartets - could be the start of a major addition to his discography.' Andrew Clements then goes on to write a glowing five-star review of Naxos' new CD of Elliott Carter's String Quartets Nos 1 and 5 performed by the Pacifica Quartet . I'll agree whole-heartedly with his verdict on the Carter Quartets, I bought them last week and they are superb performances of superb music. But I am not so sure about his other views. That judgement of 'third-rate music' raises the interesting point of should a critic focus primarily on the interpr...
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A vintage year for blasphemy and heresy

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Depressing, but predictable, to see the mainstream media scrambling aboard the Bohuslav Martinů bandwagon as soon as BBC Radio 3 announces a cycle of his superb symphonies . Equally depressing, but a sign of the times, to see the Independent publishing an appreciation of the composer's symphonies by a writer who confesses elsewhere to never having heard a single note of them. As Norman Lebrecht famously wrote in the Evening Standard back in 2006: ‘... until bloggers deliver hard facts … paid for newspapers will continue to set the standard as the only show in town’. Sadly the hard facts now show that Norman is no longer at the Evening Standard , and, as from next Monday, the Evening Standard will no longer be a paid for newspaper . But you can find pre-bandwagon appreciations of Martinů here and here . Any copyrighted material on these pages is included as "fair use", for the purpose of study, review or critical analysis only, and will be removed at the request of ...
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Wagner, Mahler and Shostakovich all sound like film music

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In a typically thoughtful contribution to my post Why not play the premier league composers more often? Richard Bratby - who is professionally involved in classical music - mused "speaking solely from my own experience - there is a very noticeable falling-off in ticket sales when a symphony orchestra programmes pre-Beethoven repertoire, irrespective of the quality of the performance or the music, or the energy with which it is marketed. But why?" Now Kea has answered Richard's question with the following comment: Wagner, Mahler, Shostakovich, etc, all sound more or less like film music (or -- more accurately -- film music sounds more or less like recycled bits of Wagner, Mahler, Shostakovich, etc) and therefore don't require any intellectual involvement or serious effort to listen to. Understanding the music of Bach, Mozart or Haydn, etc (or for that matter Schumann, Brahms, Webern, Cage, etc) actually requires people to listen actively rather than being pulled alo...
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