United States - Essays 1952-1992 by Gore Vidal.

I remember watching Gore Vidal on television, usually on one of those talk shows he seems to view with contempt. He seemed to be a living opinion. Switch him on and opinions stream out. But usually those opinions, though often partisan and colourfully stated, we’re always pertinent, well-informed and incisive, despite the fact that, verbally at least, he tended to play the Gore Verbose, often using five words where one would do. But what words they were.

In print, he is much more economical with language, and often delivers a point like a poniard stab. Succinct perhaps is a strange word to describe a book that runs just short of 1300 pages and around 600,000 words. But this is a collection of essays, criticisms and occasional pieces spanning forty years, 114 of them, loosely bound into three sections - State of The Art, State of the Union, and State of Being. Literary criticism forms the bulk of the material, with the politics the author became famous for largely intruding as asides and comments. There is very little here on the process of his own writing, so this is far from autobiography. When he does engage with his own work, it is often to answer criticism of what he wrote. In these instances, he does not pull the punches he throws.

The wit is certainly there, as are many of the super egos of US politics, media and literature, not to mention a sprinkling from Hollywood. But here Gore Vidal is mainly analysing the written word, both from his contemporaries and from the past. Here is my own selection of that wit.

On criticism. The best a serious analyst (of a novel) can hope to do is comment intelligibly from his vantage point in time on the way a work appears to him in a contemporary, a comparative, or historical light. 

On changing taste. The bad movies we made twenty years ago are now regarded in altogether too many circles as important aspects of what the new illiterates want to believe is the only significant art form of the twentieth century.

On education and Reagan. Obviously, there is a great deal wrong with our educational system, as President Reagan recently, and rather gratuitously, noted. After all, an educated electorate would not have elected him president.

On stars. In England, after Guelph-Pooters and that con-man for all seasons, Churchill, Bloomsbury is the most popular continuing saga for serious readers.

On Ford Madox Ford. Certainly, Ford never lied deliberately in order to harm others, as did Truman Capote, or to make himself appear brave and strong and true as did Hemingway, whose own lying finally became a sort of art-form by the time he got round to settling his betters’ hash in A Moveable Feast. Ford’s essential difference was the fact that he was all along what he imagined himself to be that latter day unicorn, a gentleman.

On attitudes. Today’s reader wants to look at himself, to find out who he is, with an occasional glimpse of his next-door neighbor.

On literacy. Having explained that rulers never wanted general literacy, on the grounds that it might provoke ideas of revolution. The more you read, the more you act. In fact, the French - who read and theorise the most - became so addicted to political experiment that in the two centuries sine our own rather drab revolution they have exuberantly produced one Directory, one Consulate, two empires, three restorations of the monarchy, and five republics. That’ what happens when you take writing too seriously. Happily, Americans have never liked reading all that much. Politically ignorant, we keep sputtering along in our old Model T, looking wistfully every four years for a good mechanic.

On empire. Historians often look to the Roman Empire to find analogies with the United States. They flatter us. We do not live under the Pax Americana, but the Pax Frigida. I should not look to Rome for comparison but rather to the Most Serene Venetian Republic, a pedestrian state devoted to wealth, comfort, trade, and keeping the peace, especially after inheriting the wreck of the Byzantine Empire, as we have inherited the wreck of the British Empire.

On ornithologists. To a man, ornithologists are tall, slender, and bearded so that they can stand motionless for hours, imitating kindly trees, as they watch for birds.

On a Moscow hotel. We had all met at the Rossya Hotel in Moscow. According to the Russians, it is the largest hotel in the world. Whether or not this is true, the Rossy’s charm is not unlike that of New York’s Attica Prison.

I confess I once stayed in The Rossya, and for more than one night. It was colossal and was demolished because its unimaginative glassed-in concrete box kept intruding into pictures of Red Square, Basil’s and the Kremlin. I was told not only which room to use, but also which entrance, with the qualification that “it might be difficult” if we use any of the other doors. Red rag to a bull… Yes, we accessed the place via one of those other entrances and we found that inside the place was a veritable rabbit warren, with floors in one part of the building not matching floors elsewhere. We got so lost that we had to find our way back outside and approach our room from our usual entrance.

It is an image that informs a review of this book, in that taken as a whole, it is a very long, arduous and at times repetitive read. I am sure that the publishers and certainly the author wanted these pieces to be read singly, and that way the ideas remain fresh.

Overall, we are reminded that the standard of debate, both political and literary, has declined since Gore Vidal left us these superb essays.

Denia International Piano Festival, 4 Oct 2023

István I. Székely

István is a concert pianist and internationally recognised teacher. He is Professor at the Conservatorio Superior Katarina Gurska in Madrid and professor at Franz Liszt Center for special talents.  He has been invited to give Master Classes in many countries and he is a frequent jury member in international competitions such as the Franz Liszt International Competition in Rome (Italy), the Takács Competition in Oberschützen (Austria). He is founder, president and artistic director or Ars Alta Cultural and via this group staged the first Gonzalo Soriano Piano competition in Alicante earlier this year. He is the winner of several awards in national and international competitions. Since the age of 15 he has given recitals in Europe, the United States, South America and Asia, such as Alexandria and New Harmony (Indianapolis, USA), the International Piano Festival in Bucaramanga, International Piano Festival in Barrancabermeja, the cycle "International Season in Manizales" (Colombia), and many more. He has performed in many notable venues such as the Palacio de Cibeles in Madrid, Palau de la Música in Valencia, Teatro Principal de Alcoy, congress center "Victor Villegas" in Murcia, in the "Adoc", in the University of Burgos, in the International Chamber Music Festival in Calpe, in "Dénia Classics", Aula de la Cam in Alicante, Teulada Auditorium, La Beneficencia in Valencia, in the Auditorio de la Diputación, "ADDA" in Alicante, Auditorium Mediterrania in La Nucia among others. He has performed in private concert for the Princess of Thailand S.A.R. Chulabhorn Mahidol. 

István es concertista de piano y profesor reconocido internacionalmente. Es Profesor en el Conservatorio Superior Katarina Gurska en Madrid y en el Centro Franz Liszt para talentos. Ha sido invitado a impartir Master Classes en muchos países y es miembro frecuente del jurado en concursos internacionales como el Concurso Internacional Franz Liszt en Roma (Italia), el Concurso Takács en Oberschützen (Austria). Es fundador, presidente y director artístico de Ars Alta Cultural y a través de este grupo organizó el primer concurso de piano Gonzalo Soriano en Alicante a principios de este año. Es ganador de varios premios en concursos nacionales e internacionales. Desde los 15 años ha dado recitales en Europa, Estados Unidos, Sudamérica y Asia, como Alexandria y New Harmony (Indianápolis, EE.UU.), el Festival Internacional de Piano de Bucaramanga, Festival Internacional de Piano de Barrancabermeja, el ciclo "Internacional Temporada en anizales” (Colombia), y muchos más. Ha actuado en numerosos espacios destacados como el Palacio de Cibeles de Madrid, Palau de la Música de Valencia, Teatro Principal de Alcoy, centro de congresos "Victor Villegas" de Murcia, en el "Adoc", en la Universidad de Burgos, en el Festival Internacional de Música de Cámara de Calpe, en “Dénia Classics”, Aula de la Cam de Alicante, Auditorio de Teulada, La Beneficencia de Valencia, en el Auditorio de la Diputación, “ADDA” de Alicante, Auditorio Mediterrania de La Nucia entre otros. Ha actuado en concierto privado para la Princesa de Tailandia S.A.R. Chulabhorn Mahidol.

Yaron Traub

Yaron Traub, a native of Israel, is one of the most recognized conductors in Spain, was Principal and Artistic Director of the Valencia Orchestra from 2005 to 2017. Since winning the Prize at the IV International Kondrashin Conducting Competition in Amsterdam in 1998, Yaron Traub has had a very interesting international career conducting some of the most prestigious symphonic ensembles in the world. During his twelve years of leadership of the Valencia Orchestra, he contributed decisively to the recognition of the Valencia Orchestra as a high-level ensemble and consolidated the regular presence of great international soloists alongside the Valencian ensemble.

Committed to education through music, Yaron Traub has strongly promoted pedagogical activities in the orchestra. As an exemplary extension of his commitment to education, Traub, together with his wife Anja, founded a bilingual international secondary school in 2012 with a strong focus on music, art and drama education.

Yaron Traub, natural de Israel, es uno de los directores más reconocidos de España, fue Director Titular y Artístico de la Orquesta de Valencia de 2005 a 2017. Desde que ganó el Premio en el IV Concurso Internacional de Dirección Kondrashin en Ámsterdam en 1998, Yaron Traub ha tenido una carrera internacional muy interesante dirigiendo algunos de los conjuntos sinfónicos más prestigiosos del mundo. Durante sus doce años al frente de la Orquesta de Valencia contribuyó decisivamente al reconocimiento de la Orquesta de Valencia como formación de alto nivel y consolidó la presencia habitual de grandes solistas internacionales junto a la formación valenciana.

Comprometido con la educación a través de la música, Yaron Traub ha impulsado fuertemente las actividades pedagógicas en la orquesta. Como una extensión ejemplar de su compromiso con la educación, Traub, junto con su esposa Anja, fundó una escuela secundaria internacional bilingüe en 2012 con un fuerte enfoque en la educación musical, artística y dramática.

Ars Alta Cultural, www.arsaltacultural.com

Presidente y Director Artístico - István I. Székely

 

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Pinchas Zuckerman with the Sinfonia Varsovia in Penderecki, Schubert and Beethoven – a real delicacy

The word “delicacy” can mean many things. It can signify refinement in a personality, something good to eat, or describe something too fragile to handle. Situations can be delicate, also, and perhaps Pinchas Zuckerman, despite his many years of the peak of his musical and performing powers, felt that last night’s concert in Alicante qualified as a rather “delicate” occasion.

The Sinfonia Varsovia’s advertised conductor, Tatsuya Shomono, had to cancel his leadership of this concert, which had originally planned a performance of Bruckner’s Fourth Symphony, after the first half when Pinchas Zuckerman would play the Beethoven violin concerto. But the conductor was ill and could not travel. So Pinchas Zuckerman picked up the baton as well. Or, rather, he didn’t, because he didn’t use one!

A change of program saw the Beethoven Concerto moved to the second half, and the new first half presented works by Penderecki and Schubert. The Sinfonia Varsovia string players opened the evening with Penderecki’s Chaconne In Memoriam Pope John Paul II. And they played it without a conductor, with apparently all the delicate communication skills of a chamber ensemble. Delicate also applied to the music, which seemed to examine, and then re-examine feelings of loss. Played thus, seemingly without active direction, save for a gesture, or a bow stroke from the lender, the Penderecki Chaconne began this evening in a thoroughly original way, though quietly, without show, with delicacy.

Pinchas Zuckerman then conducted Schubert’s Symphony No. 5. In this work, a young Schubert takes his compositional lead from Mozart and Haydn. The music exudes control, form, structure and process, rather paroxysms of emotion. And, as such, it worked beautifully, allowing the orchestra again to play like a chamber group with elegance, poise and, yes, delicacy.

After the interval, Pinchas Zukerman, was soloist and director for Beethoven’s Violin Concerto. Now I have often heard the soloist treating this work as if it is a grandiose statement, as if every phrase needs staccato attached. And so this evening’s performance by Pinchas Zuckerman came as a real surprise, almost like a breath of fresh, delicate air. He stressed the shape and phrasing of this music and, crucially, demonstrated how the soloist blends with, interacts with, and times contradicts the orchestral accompaniment.

I first heard Pinchas Zuckeran in London’s South Bank about half a century ago and I don’t remember the concert. But I will remember this location, especially for the refined, and subtle delicacy that he brought to the music and the occasion.

Visibly tired by the end, he kept returning to the platform since the ADDA audience never wants to let anyone have an easy time. He did offer an encore, a short cradle song, to which he invited the audience to “Sing along”. It was a grand, memorable, delicate gesture.

 

The Royal Philharmonic Orchestra with Narek Hakhnazarayan under Vasily Petrenko in Dvorak and Tchaikovsky at ADDA, Alicante

Mixing the familiar with the less familiar is a common programming tool. The popular work brings them in, and you broaden the audience’s taste - or even surprise them! - with the less well-known. That seemed to be the theme underpinning the Royal Philharmonic Orchestra’s approach to their concert in Alicante under Vasily Petrenko. Honorary Scouser, Vasily Petrenko, presented a Czech concerto and a Russian symphony by household names, Dvorak and Tchaikovsky, but whereas the cello concerto of the former is performed perhaps daily, the Manfred Symphony of Tchaikovsky rarely makes it onto the concert platform. It would seem to be a matter of resources and costs, because the work lasts for almost an hour, needs a large orchestra, including two harps and an organ, and also the composer conveniently provided lower cost alternatives in his last symphonies, which are easier to stage. In over fifty years of concert-going, this was my first Manfred.

Soloist in the Dvorak was Narek Hakhnazarayan. Now this work is so well-known, it is hard to find surprise in its delivery. What one can do is marvel at the remarkable control, married to perfect expression and phrasing demonstrated by a Narek Hakhnazarayan. Our soloist used to be a BBC New Generation Artist and he clearly has good relations with other British institutions, such as the RPO. Only in his early thirties, he is already in receipt of a national honour from his home country, Armenia. He must have played the Dvorak Concerto many times, but his approach displayed a freshness and vitality that completely won over this Alicante audience.

But what really caught the audience’s attention was the soloist’s choice of encore. There was even a ripple of applause at his announcement, and then he started playing the finale of the Suite for Solo Cello by Gaspard Cassado. Much less well-known than his near contemporary, Pablo Casals, Cassado was a composer as well as a cellist. He mixed the identifiable Spanish with late Romanticism, and enough contemporary hard edge to make his music much more than mere lollipop. Casado’s music is still not heard very much, and almost not at all outside Spain. Narek Hakhnazarayan was inspired in his choice, as well as in his playing.

And then we moved on to Tchaikovsky’s Manfred. The program notes referred to Berlioz and a desire to produce a programme symphony. Also mentioned was the fact that it was originally Balakirev’s idea. But this is quintessential Tchaikovsky, mixed with the dark heroism and mysticism of Byron’s heroic poem.

The result is a symphony of conventional shape and form, with four movements, complete with scherzo and slow movement in the interior. And does this work feel different from Tchaikovsky’s other symphonies, given its programmatic brief? The answer is “yes”, absolutely yes. But all the compositional characteristics of the composer are there, certainly recognisable but perhaps developed in a different way from what we are used to.

The Manfred Symphony is a perfect example of how good a composer Tchaikovsky was. Not only is Manfred convincing as absolute music, even for those who have no knowledge of Byron, but the skill is such that elements of the story’s narrative become clear via the music. There is a personal style in evidence, there is no doubt about that, but there is also the intellectual subtlety of writing to depict something else, something from some other imagination, reinterpreted. Tchaikovsky’s Manfred is an exciting, exhilarating piece that should be experienced as often as his fourth, fifth and sixth symphonies.

Surprise, surprise – Bergmann and Baldeyrou play Sibelius, Weber and Franck in ADDA, Alicante

Surprise, surprise might seem an incongruous title for the review of a concert which seemed to offer a-middle-of-the-road programme. Sibelius’s Finlandia began the evening – it often does. Call Maria von Weber’s Clarinet Concerto is not played in concert as much as it should be, but its inclusion raises no eyebrows. César Franck’s Symphony in D Minor, again, is not played very often, but it’s a work that everyone knows about, though for most concert goers it's hardly commonplace. So, given the familiar appearance of the program, what was surprising?

Well, the personnel were unfamiliar. We had our regular band, our ADDA orchestra, but our guest conductor was the Norwegian Pune Bergmann, who was making his debut in this hall. His entrance provided the evening’s first surprise. Rune Bergmann is a big man, but he is also quite amazingly jovial, his smile appearing to stretch right across the string section. It seemed like the celebration of Finland’s identity was being directed by a laughing, Norwegian mountain, laughing out of the sheer joy of the music, I hasten to add. Musically there were no surprises here, just our usual quality.

The second surprise came with our soloist, Nicolas Baldeyrou. Few concert goers ever hear a clarinet concerto. For most who do, it’s probably one written by Mozart, with Weber’s work coming a distant second in the list.

Now Weber’s Clarinet Concerto was doubly surprising. First the playing of Nicolas Baldeyrou was nothing less than outstanding. His understanding of the music alongside his wonderful communication with conductor and orchestra made this performance of the work I have heard in recordings and broadcasts innumerable times something completely new. Especially surprising was the slow movement, which times reached pianissimos that were on the limits of hearing, and as a result, all the more dramatic and poignant. This performance will live for ever in the memory, so beautifully crafted and played that it became a completely new experience.

The ADDA audience does tend to bring soloists back on stage for another bow. We are used to demanding an encore. But this ADDA audience’s reaction to Nicolas Baldeyrou was special. The communal recognition that this with something special was almost tangible. The demanded encore was given, and it was again a surprise.

It was the Habañera from Bizet’s Carmen, arranged for clarinet and orchestra. And it was more than a showpiece, more than a lollipop to quieten the crowd. Faultless playing, communicative ensemble, again combined to create a new, surprising experience from what was immediately familiar.

A symphony in name, Cesar Franck’s D Minor has only three movements, two of which are marked allegro, thought you would never know it. Not really a master of orchestration, Franck seems to have concentrated on the storytelling. The musical lines evolve like the narrative of a novel, so that this symphony becomes more like a tone poem than an argument. And, after living in the world of minor keys for most of its duration, the long first movement surprisingly, and without warning, suddenly finds its conclusion in a major key. It’s all quite baffling, like a believer questioning a faith that suddenly returns, dispelling doubt.

And yes, there was an encore. Rune Bergmann again turned to the audience and again smiled that broad grin. “Edvard Grieg La Mañana”, he said. It was the first piece of classical music I ever heard, but it wasn’t  in Spanish.

Normal People by Sally Rooney

Sally Rooney’s Normal People is a hugely successful and very widely read novel about millennials. It concentrates on the relationships that develop in a group of school graduates as they transition from school to university, concentrating on and then majoring in their sex lives. It does this not to the exclusion of all else, but its preoccupation is overt and is as all-consuming for the reader as it probably was for the characters.

At the novel’s core are the ongoing, developing, changing, breaking, tortuous, steamy, lustful, intellectual, repeated, animal though never committed relationships between Connell and Marianne. They are from Sligo, went to school together and then migrated together to Trinity College, Dublin. So much for their similarities.

Amongst the differences one is of paramount importance. Connell is male and Marianne is female, a contrast that sees them come together fruitfully and often in combination to qualify several of the adjectives that described their relationship in the last paragraph. Important amongst the differences, but largely unexamined in the novel, is the fact that Connell is working class while Marianne is middle class. Connell’s academic interests are in literature, whilst Marianne specialises in politics though, it must be recorded, largely without focus, except for occasional side-forays into issues related to the Middle East. Both high-flying students seem to spend more time sleeping that is not sleeping and drinking that is drinking than they devote to reading, or indeed the thought of it.

Connell’s mother cleans for Marianne’s household and apparently is not overpaid. Strangely, though we never learn many of the details, neither Connell nor Marianne has a father in attendance. Connell’s mother might just have got pregnant on a short fling of youth, while Marianne’s father died, presumably some time ago, because she never really shares a memory of him. Whether this common heritage might have had some psychological effect on either of the two adolescents, we never learn.

Connell and Marianne come together, drift apart, take up with others, break off, re-encounter. It’s rather a procession at times. What seems to form a thread is that both always seem to be more worried about how their behaviour affects themselves rather than others. Noone ever seems to know what they themselves want, though everyone seems to get precisely what they ask for. There’s plenty of booze, plenty of sex, a change of personnel and more of the same. There’s an excursion to Sweden with stereotypical kinky photo shoots, more bust ups, arguments, reconciliations which never seem to refer to the past and occasionally there seems to be a kind of sincerity, though all without speech marks.

All pretty normal, perhaps, but always engaging.

Thirty-Five Poems by Herbert Read

Thirty-Five Poems by Herbert Read, I repeat

Stavesacre – a larkspur plant or its seeds

Benison - benediction

Sodality – fellowship, concgregaion, association for chairty

Cincture – belt or girdle

Lanthorn – lantern

Herbert Read, in the veritable slim volume, starts in the First World War. He is not particularly well known as a war poet, but he has been honoured as such. For him, it seems that the confrontation with daily horror led not only to the recognition of the absurdity of conflict, but also an appreciation of its political futility.

… Our victory was our defeat

Power was retained where power had been misused

And youth was left to sweep away

The ashes that fires had strewn beneath our feet.

 

The poetry is often rooted in the tangibly real, so much so that it sometimes seems to deny the possibility of an imagined ideal.

 

… Now chaos intervenes

and I leave not gladly but with harsh disdain

a world too strong in folly for the bliss of dreams.

 

He was a noted anarchist and was politically and philosophically sophisticated. But sometimes the simplest argument is stronger.

… your god has not this power. Or he would heal

the world’s wounds and create the empire

now left in the defeated hands of men.

 

He does not, however, appear to be an atheist overall. He does allow himself occasionally to inhabit a heaven he often seems to deny.

 

This good achieved, then to God we turn

for a crown on our perfection: God we create

in the end of action, not in dreams.

 

There is only reality, however. The experience of that reality, in all its natural beauty is here. It presents experience which is worth recording merely for what it is, But reality, also, just might not be the only thing we might encounter.

 

Fate is in facts: the only hope

an unknown chance.