Poetry and the vulnerability of the poet work together to allow us to have an emotional understanding of what is going on. It is touching from inside.
Written by Paul Ma
Poetry and the vulnerability of the poet work together to allow us to have an emotional understanding of what is going on. It is touching from inside.
Written by Paul Ma
A couple of weeks ago, I had the great pleasure of being in Vienna for a few days. It had been ages since my last visit there, and I couldn’t help feeling overwhelmed by the choices of what to see. Where should I start? Should I just stick with one topic? Or district? The amount of art, architecture, music, literature, culture is just so overwhelming. My expectations and hopes were understandably high.
Straight upon stepping out from the metro at St Stephen’s Cathedral, I felt so many different periods around me. The Cathedral, of Romanesque and gothic structure, is topped by a fabulous colourful roof. Its images with a mosaic of the Habsburgs’ double-headed eagle and the city’s coat of arms on the Northern side is a motive for any tourist to see. Even though St Stephen’s Cathedral has been rebuilt or extended, it feels like a perfect unity. The square surrounding it, with the lovely small huts forming a Christmas Market and the buildings leading to the Graben or the Opera make it very much part of a whole too. Fin de Siecle, Renaissance, Baroque and modern all being one. The Haas house, for instance, just opposite, was the first shopping mall in Vienna. Built in 1866 / 1867, it was destroyed at the end of the second world war and was later replaced by a new building by Hans Hollein which opened in 1990. The building was initially very controversially accepted by the Viennese. Now, of course, with time it has become just as much part of the attractions on this square as the rest.
The Viennese are proud citizens of their city. This is the city where one sits in coffee houses and reads the newspaper for hours. The Viennese “Kaffeehaus” is actually a fabulous cultural institution. Having a melange (a Viennese cappuccino) with a Maronitorte or a Sachertorte and philosophising with a friend, gossiping, reading a book, writing a novel or having a business meeting, that all is happening in Vienna’s coffee houses. The “Kaffeehaus” is probably where most of life happens in Vienna. It has nothing to do with the coffee to go, throw away modern life which wishes to be so green but doesn’t really have time for it, and thus fails to see that actually sitting down and just allowing time to go by whilst discussing, reading, or just taking a moment for oneself is probably the healthiest meditation in today’s hectic city life.
The history of the “Kaffeehaus” is closely connected to the end of the Viennese Siege in 1683. Legends have it that Georg Franz Kolschitzky (1640 – 1694) got then the first licence to serve coffee using beans left by the Turks. Some say that coffee was also called Turkish soup. The first coffee house though was opened by an Armenian Spy called Diodato. This reminds me of the later huge impact of the Austro-Hungarian empire and of its creative influences and exchanges with the East. These are still very much present in the Vienna of today.
Walking down to the Hofburg, the Opera, the Burgtheater, the Albertina, the Kunsthistorisches Museum, up the Bastei, the Jewish Square, the Musikverein, the Museumsquartier, the Belvedere, the Naschmarkt, the Theater an der Wien, the Secession or Spittelberg, one experiences history all around. The Renaissance, the enlightenment years, the Habsburgs, the fin de siècle and it’s Jugendstil and the modern times too, all these can be seen and felt in Vienna. I can almost sense the spirits of Beethoven, Schubert, or Schiele, Klimt, Freud and many others walking around me.
Being a musician, I am very much aware of the number of composers who lived here throughout the centuries. Mozart of course, but also Haydn, Schubert and Beethoven are the big classics. I just love that walking through the city one can read on plates who lived in that or this house. Walking to Theater an der Wien, I not only read that Beethoven‘s Fidelio was first performed there but that he also lived in the building for a while. I had never realized that one could live there too. Beethoven’s name is in all kinds of places actually, as he moved quite a lot. Other composers lived and created here too: Bruckner, Mahler, Korngold, Schönberg and the second Viennese school, the Strauss family,… The list could go on and on. It is quite incredible actually how many musicians lived here.
Of course, I could compare parts of the old city, the first district, with for instance Salzburg. One also feels the presence of Mozart there. The major difference, however, is that Vienna is a city, a capital with a much wider scope of periods being felt. All different stages of growth are very clearly present in the various buildings and their architecture. At one point this capital ruled over a major world empire, the Austro Hungarian Empire. It stretched way east to Bulgaria and Rumania and south all the way down to Syria. The influences and reactions to this huge empire on art and architecture are present all over the inner ring.
A highlight representing the moving with the times was my visit to the Albertina. The Albertina used to be one of the biggest Palais of the Habsburgs in Vienna. Built on the remains of the city wall, it was used as a residence by Maria-Theresia’s favourite daughter, the Duchess Marie-Christine and her husband, the Duke Albert of Saxe-Teschen. The Duke founded his collection in 1776, leaving upon his death in 1822 more than 14.000 drawings and 200.000 masterpieces including works by Dürer, da Vinci, Michelangelo, Rubens, and Rembrandt. This is the central piece of the collection of the Albertina to this day and is the main attraction of the Museum. His nephew, Archduke Carl, administered and continued this collection, passing it on to his own son Albrecht upon his death. In turn, Archduke Frederick received the collection before having to let go of most of it in 1918, as Austria became a Republic.
In 1945, the museum was bombed. It was then partly rebuilt and partly newly built. The main attraction of the Albertina is, as mentioned earlier, the graphic Collection. The museum however also has big temporary exhibitions. My own visit was aimed to see the major Monet retrospective, which I thoroughly enjoyed. However, I won’t go into detail of it here, as that really deserves a post of its own. The big discovery for me though was when walking up to the Monet rooms, suddenly being in the living rooms of the Duke and Duchess. The wall tapestry, the carpets, the furniture, the paintings and lithographs of some of the artwork collected all make you understand that this was a residence lived in by great art lovers in the enlightenment period. It is a totally different world from the entrance and other section of the museum which are modern.
I really could go on and on singing my praises to this city, but I really think each one should make their own impressions. What stroke me most is that culture is present all over here. For me, culture is identity, language, history, tradition, a way of thinking and of being, art in all its forms and education. I could experience all of this in Vienna. Is this unique to this city? This is an extremely hard question to answer, other cities have some of these attributes too. However, the amount of culture makes Vienna certainly a very strong contender for that first place. It makes me eager to discover more on my next visit.
I am not a regular Ballet go-er, but since becoming close friends with a Ballerina I have had the opportunity to get to know this world more and more. It is true that sometimes this art form can seem a little mannered. All the tutus, the men in tights, the pantomimic gestures, the point shoes… But on an evening such as this one at the Bayerische Staatsballet, I am reminded that thinking in this way is being totally unfair to this art form. A story such as Anna Karenina‘s can be very movingly and clearly told in a non-kitsch way, with pointed shoes and wonderful dancing.
I had read the Tolstoi novel years ago and only recalled vaguely bits of it. So I did not really know what to expect. I found myself going down memory lane: the train, the balls, the winter, the summer heat in the fields and of course the love affair and its consequences leading to Anna Karenina’s delirious state. They all came back to me! That Russian fin de siècle atmosphere in all its opulence, how wonderful!
No big red curtain when coming in. It starts with a steam engine soundtrack, the train is rolling on, the dancers set in a freeze with a black and white video of a close up of the train. The atmosphere is set! We are at the train station. The place where Anna Karenina and the Count Alexej Wronski first meet. The choreography, by Christian Spuck, allows all scenes to be so clearly recognisable with the only help of a curtain in the back and the dancers’ costumes and props ( set by Jörg Zielinski and Christian Spuck).
For me, there are two major aspects which make this evening magical: the scenic and atmospheric changes, with just a few movements and the music!
Just a few moves and we are at the horse’s races. This staging reminded me of a very similar scene in the film “My Fair Lady”. The whole atmosphere and stage changed in a couple of seconds, suddenly the public is on the tribunes. It is watching the races through binoculars. i.e. hands. I just love this kind of magic! One knows what is happening and yet one doesn’t have everything so obviously pointed out. The men working on the rail tracks is just another such scene. One can feel the heat, the sweat.
The imagination is allowed to take over and to make its own associations just through movement. It’s an open stage, nothing more. The love scene between Karenina and Wronski is two dancers… Just dance, with an incredibly intense and passionate, but also destructive and violent love act. The desperation of Karenina to see her son, her undecisive husband who then gives in to the overhand of the Countess Lidija Iwanowna is beautifully told without any unnecessary prop or set. Wonderful!
The second factor making this evening magical is the music. A fabulous sound landscape, a mixture between tracks of steam engines and hammering, orchestral sections with or without piano, solo piano pieces or even piano and voice songs. A mixture of romantic Russian music at its best, modern music and soundtracks. Sergej Rachmaninov, Witold Lutislawski, Sulkhan Tsintzadze and Josef Bardanashvili are the composers. The piano has a leading role with Adrian Oetiker giving strong renditions of Rachmaninov’s third concerto among others. Such a wonderful choice and use of music. It is an incredible wide scope of sound images all enhancing the atmosphere and the story. I am thrilled!
Of course, all this would be of no use without the dancers, and they are superb! Ksenia Rhyzhkova just is Anna Karenina, Matthew Golding the Count Wronski, Jonah Cook, and Lauretta Summerscales are the so charming and sweet couple Kitty and Kostya, and the couple Dolly and Stiwa are danced by Javier Amo -whose presence I truly enjoy- and Elvina Ibraimova. Making the evening complete and perfect are the costumes by Emma Ryott.
I have to say, this was a truly fabulous evening! It reminds me of what theatre, is about: getting the public’s imagination going, never getting boring, keeping one involved with what is happening on stage and bringing up emotions! Bravo!
On a grey November Sunday morning I followed an invitation to hear a chamber music matinee in the Allerheiligen Hofkirche in Munich. It has been absolute ages since I have been to a string quartet concert. Coming from a musical family, with a cellist as a sister I enjoy chamber music, especially having played the violin as a teenager. So my knowledge of the repertoire is pretty good, even though I am no expert. The program, however, offered a new hearing for me: Béla Bartók‘s String quartet Nr.5, Sz 102. That got my interest going.
This is such a wonderful venue, that I must write a bit about it. The Allerheiligen Hofkirche was a Catholic church and it was built between 1826 and 1837. Following a visit to Palermo and the admiration of inner frescoes there, the then crown prince Ludwig decided to have a church built in a similar style as part of his Residenz. Leo von Klenze, the architect followed the crown prince’s wishes, extending his inspiration to the Marcus Dome in Venice. The interior with its vaults covered coloured frescoes was built in a Romanesque style while the facade was more gothic. This was the first church built in Bavaria after the secularization in 1803, hence its name “All Saints”.
During the Second World War, the church, the Residenz and the National Theater were very heavily damaged. Unlike the Residenz, it was left to deteriorate for years before a decision was taken. First wanting to tear it down, the city then decided to renovate it following a huge uproar by the citizens of Munich. The renovations started in 1972 under the leadership of Hans Döllgast. After his death in the 1980s, restorations continued with new cupolas and work on the facade. Then from 2000 to 2003 work on the interior was taken over by the Architects Buro Guggenbichler und Netzer before it was finally opened to the public.
The damages made to the church are visible as a testimony. The frescoes are left in their spare segments, the pillars have lines where they were put back together. All this was done very respectfully and beautifully. This gives the hall a wonderful atmosphere, which is enhanced through the warm and indirect lighting and through the red bricks. And so it is that the Allerheilgen Hofkirche became a Hall. It is no longer used as a church but as a concert venue, it’s acoustic being excellent, and as a venue for special events.
Beginning this program is Dvorák’s string quartet Nr. 14 in A flat Major op.105. The cello starts with a slow introduction. It is leading the others before moving on to an allegro appassionato movement. Dvoràk started writing this quartet when leaving the United States after 3 years there to move back to his beloved Prag. This is his last string quartet. Wonderful piani, colours, interaction, all played sensitively and beautifully by the musicians. The quartet players are members of the Bayerische Staatsorchester: Johanna Beisinghoff, Julia Pfister, Monika Hettinger and Anja Fabricius. It is a pleasure to watch them play.
The second half is Bartók’s string quartet Nr. 5 Sz 102, and this for me is a discovery. I never really thought of Bartók’s music as being full of humour. This piece changed my mind fully. I just love the pastiche classical section in the last movement, the playing with “out” of tune effects, the glissandi and jazzy rhythm in the cello pizzicati. Bartók only needed a month to compose this piece in the summer of 1934. The first performance was then on 8th April 1935 in the Coolidge Auditorium in Washington. This work has all that is so typical of Bartók, the accented rhythms, the complex harmonies. It is also so playfully modern experimenting with sound effects, sound landscapes. A wonderful work.
Walking out in the grey November mist with the afternoon ahead of me, I couldn’t help but smile. The impressions of the morning were going through my mind… the discovery of Bartók’s quartet, the excellent playing of the musicians, the so wonderful atmosphere of the Allerheiligen Hofkirche… All this made it a wonderful start to that Sunday.
When my friend Anna suggested going to the Königshaus am Schachen, I first had to research what she was talking about. The Königshaus am Schachen is a hut, a chalet built for King Ludwig II around 1870, up at 1866m South of Garmisch Partenkirchen in the Wetterstein mountains. It is a small but well worth seeing hut, where King Ludwig celebrated his birthday and name day on several occasions.
The route we took started in the Elmau Wanderparkplatz, at about 1000m. It costs a few euros to park there, but it is a great starting point. The path goes steadily up, is well indicated and is known as the Königsweg. King Ludwig II didn’t walk up to his summer hut, he was taken up there on his horse carriage. The path is wide enough, first going along the small river and then leaving it below while going up. Quite quickly one gets to see the mountains above. About halfway up one gets to the Wettersteinalm, a shielding looking on to a wonderful mountain wall.
From there the path is a little narrower and very windy, still, it remains surrounded by gorgeous trees., and if you look there are some beautiful mushrooms too.
Then suddenly comes our first view on the Schachen hut, accompanied by the gorgeous mountainside on our left. The trees become a little more sparse from here. The view over to the hut in this most incredible surrounding is well worth it. Getting to the hut from there is easy even if it is still a bit of a walk.
One can stay over in the nearby hut, which used to be the kitchen and the servants quarters for the king. We, however, didn’t as we had to get back that same day.
The visit to the Schachen is truly worth it. A guided tour is planned every hour and lasts about half an hour. The ground floor is rather simple, with 4 small rooms, living- dining- bed- and guest-room. The highlight, however, is above: a true Jem! One is totally amazed and surprised after walking up a tiny windy staircase to discover it: the Turkish Room! All is original here, the fountain in the middle of the room, the chandelier, the decor, the cushions, and so on. It is breathtaking!!! King Ludwig II was very precise in what he wanted. The first version of the room didn’t please him and so had to be fully redone. What we see here is what he longed for… a 1001 night dream of a room!
When coming out of the hut, do go and see King Ludwig’s favourite viewpoint. Also worth it, although we didn’t see it because it was shut, is the alpine botanical garden.
Going back down is following the same route as coming up. The walk up is rather long, so for inexperienced hikers do take that point under consideration. We took about 3 1/2 hours going up, and only 2 hours going down because of having to run due to a storm and heavy rains. I do not recommend running down as we did, so remember to check the weather forecast before you go on the hike and to start it early enough to fully enjoy the gorgeous views.
On a grey afternoon whilst in Berlin, I decided spontaneously to walk in the Amerika House, now an exhibition space for the C|O Berlin foundation near the Zoologischer Garten station. It is my first visit here, but surely not my last.
I started with the ground floor, „Back to the Future. The 19th Century in the 21st Century.“: an exhibition about the beginnings of photography and its experiments with exposure, chemical reactions in connection with nature, natural elements and its continued fascination on actual artists. Whether it is Anna Atkins‘ influence or Warren de la Rue’s, it is quite extraordinary how nature, flora, light, earth, moon keeps on fascinating. I enjoyed taking the time to read the information panels. The contents are most interesting and the texts are set discretely, with a nice sized print.
The second show was totally different: a retrospective show of Nicholas Nixon’s work. Nicholas Nixon is an American photographer known in parts for his series of the Brown sisters. A series of portraits of the 4 sisters, one of which is his wife. They are always posing in the same order, but not in the same way. Nixon photographed them once a year for 42 years.
The retrospective, however, starts with his beginnings, the „New Topographics“ series, the „City Views“ series and later goes on to other most moving portraits series. I have to say this show left me very moved. His constant search for closeness in his portraits whether in his series „couples“, „aids“ or „elderly“ was almost too much for me. By saying this, I mean it touched a nerve in me, which I don’t always have the strength to have opened. The distance I needed was not there, but that confrontation is what Richard Nixon wanted. In a short video at the end of the show, he explains this clearly.
I can strongly recommend theses exhibitions, they are moving and strong. Congratulations to the C|O Berlin foundation and the curators. I came out feeling inspired and emotionally taken in, and that is not always the case.