The classical music world knows Alfred Brendel as one of the foremost pianists of his time. Far fewer people know him as a poet, with two books of poetry in German and one—One finger too many—in English translation (New York: Random House, 1999).
The collection’s title poem concerns a pianist who developed a third index finger “not to play the piano with/though it sometimes did intervene/discreetly/in tricky passages/but to point things out/when both hands were busy.”
While some of Brendel’s poems are serious, many are light-hearted. He explains, “At one stage in my life I didn’t laugh enough…some mechanism in my psyche may have come to my rescue.” The title of another poem, “Not Brahms again”, points to a humorous but therapeutic reflection that he describes as “a little revenge for the perversity of the B♭ concerto…the passages which, as they stand, are literally unplayable.”
This according to “The poet speaks” by Michael Church (BBC music magazine, VII/3 [November 1998], pp. 32–33; RILM Abstracts of Music Literature 1998-4729).
Today is Maestro Brendel’s 90th birthday! Below, Brendel plays Schubert’s Four Impromptus, D. 899 (op. 90).
BONUS: Cover half of Brendel’s face in the above photograph, then the other half, to see two completely different expressions.
From her time as a young performance poet in New York in the late 1960s to her current position as punk rock’s éminence grise, Patti Smith has foregrounded the image of the poet as privileged seer.
Smith’s romantic impulses can be viewed within the context of her activity in the Poetry Project at St Mark’s Church, the preeminent public face of the East Village poetry scene of the 1960s and 1970s. Her complex negotiations between her understanding of the poet as visionary and the adamantly playful, diffuse, and collaborative aesthetic characterizing downtown New York’s poetic community fed into the development of her performative stance as proto-punk rock icon.
This according to “‘Nor did I socialise with their people’: Patti Smith, rock heroics and the poetics of sociability” by Daniel Kane (Popular music XXXI/1 [January 2012] pp. 105–23).
Today is Smith’s 70th birthday! Below, her iconic 1974 recording of Hey Joe.
In 2015 Technische Universität Dortmund launched the series Dortmunder Schriften zur Musikpädagogik und Musikwissenschaft with Ludwig Uhland und seine Komponisten: Zum Verhältnis von Musik und Politik in Werken von Conradin Kreutzer, Friedrich Silcher, Carl Loewe und Robert Schumann by Burkhard Sauerwald.
The large number of settings of his poems is one indication of the significance of the poet, politician, and scholar Ludwig Uhland (1787–1862) in 19th-century intellectual history.
The composers employed a variety of compositional strategies to convey the linguistic characteristics of Uhland’s poetry, such as their folk-like vocabulary and design. A detailed excursus of the Uhland–Silcher song Der gute Kamerad provides a representative example of the history of the political reception of Uhland settings.
Below, Richard Tauber sings Der gute Kamerad.
The inscription Dum vixi tacui, mortua dulce cano on an early 18th-century Italian spinet in Edinburgh is identifiable with the second line of a riddling couplet found in Nikolaus von Reusner’s Aenigmatographia (1599). The literary ancestry of Reusner’s couplet is traceable to a traditional Greek riddle about the tortoise-lyre, where the tortoise becomes vocal only after its death.
Many examples from classical authors and imitators in later European literature and popular tradition can be found. The motif was transferred to instruments made of wood, and Reusner’s couplet was much used as a motto on early violins; the famous luthier Gasparo Duiffopruggar particularly appears to have been associated with it.
This according to “The riddle of the tortoise and the lyre” by Edward Kerr Borthwick (Music & letters LI/4 [October 1970] pp. 373–87).
Above, a harpsichord in the Flemish style that includes the inscription; below, an instrumental work inspired by the original four-line poem.
Mathilde Wesendonck (above) is known to music historians for her romantic entanglement with and artistic influence on Wagner in the 1850s. What is less commonly known is that once her relationship with Wagner had cooled she became an admirer and personal acquaintance of Brahms, and began a correspondence with him that was to last for several years.
A little-known oddity is the poetic text she composed and sent to Brahms in 1874 in the hope that he would set it to music as a work for chorus and soloists. The remarkable subject matter of her poetry: cremation.
The practice of modern cremation, demonstrated at the Vienna Exposition of 1873, had begun to attract much attention among the medical community and press in Europe and U.S., but it was new, controversial, and generally unavailable. In appealing to Brahms to write a work on the subject, Wesendonck’s intention was to encourage the movement’s growth.
Upon receiving her ode to cremation, Brahms, much amused, immediately forwarded it to his friend Theodor Billroth, who likewise derived from it much unintended humor. Word of the would-be “cremation cantata” spread to other friends, including Wilhelm Lübke and Julius Stockhausen.
This according to “Brahms, Mathilde Wesendonck, and the would-be ‘cremation cantata’” by Jacquelyn E.C. Sholes (The American Brahms Society newsletter XXX/2 (fall 2012) pp. 1–5). Below, Brahms’s Begräbnisgesang, op. 13, which explicitly evokes a conventional burial.
More tidbits about Brahms are here.
Although Stéphane Mallarmé’s writings on dance are few, he has come to be considered an important dance theorist who allied and underscored two aspects of dance that are seldom simultaneously emphasized: its ritual character and its function as a system of signs.
While Mallarmé linked dance with poetry, he noted that—unlike poetry—dance’s symbolism does not develop from a codified semiotic system; rather, dance signifiers are inherently open-ended, and the spectator completes the art work by supplying the signified.
This according to “Ephemeral signs: Apprehending the idea through poetry and dance” by Mary Lewis Shaw (Dance research journal XX/1 [summer 1988] pp. 3–9).
Above, Édouard Manet’s portrait of the poet; below, perhaps the ultimate meeting of Mallarmé and dance, as Rudolf Nureyev performs a reconstruction of Nijinsky’s choreography for Debussy’s Prélude à l’après-midi d’un faune, a work inspired by Mallarmé’s L’après-midi d’un faune.
Patti Smith’s direct assimilation of Arthur Rimbaud’s work into hers presents a case of cultural cross-fertilization in which the poetry of a foreign high-cultural figure enters into and influences a popular and countercultural discourse, illustrating how a nonacademic reading of a canonical text can help to produce a musical style that disseminates a message of social deviance.
Smith has foregrounded her debt to Rimbaud in several ways, explicitly referring to him as her major poetic influence and participating in a hermeneutic activity as she transformed his texts into her own. The poet has served as Smith’s most credible archetype of subversive behavior, and his work has provided the richest source for the development of her innovative aesthetic practices.
This according to “Rimbaud and Patti Smith: Style as social deviance” by Carrie Jaurès Noland (Critical inquiry XXI/3 [Spring 1995] pp. 581–610). Below, Smith performs Rock n roll nigger, one of the songs analyzed by Noland, in 2011; listen for Rimbaud’s name around 3:20.
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