Malcolm Arnold 9

Sep. 23rd, 2025 06:09 pm
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Malcolm Arnold
Symphony no.9
National Symphony Orchestra of Ireland/Andrew Penny





Arnold is probably better known for his film scores such as Bridge on the River Kwai,but his 9th symphony is his crowning achievement in my opinion. Composed in the eighties, this is his crowning glory with a heart aching lento in the fourth movement. The movement is bleak and intense, spare and grief stricken, like a gigantic funeral march but with a radiant resolution at the end. Without that final chord, the surrender to nihilism and despair would be total
Awesome..

Arnold: Symphony No. 9, 4th Movement



ENJOY
jazzy_dave: (bookish)
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Anita Brookner "Hotel du Lac" (Penguin)





"Hotel Du Lac" is primarily a character study… not just of this story’s cast, but of the narrator herself.

Visualize a small hotel located in a remote but picturesque village on Lake Geneva, Switzerland. One that is quiet even during the prime vacation season. Hotel du Lac maintains a reserved, quaint, yet formal atmosphere. Imagine traveling alone to such a place to escape a disaster you recently created at home. Here, you find yourself to be one a half-dozen guests left on the premises following the summer season. These simple circumstances provide the basis for Brookner’s story, and to make the minimal plot more interesting, she provides a narrator who is a well-known author of romantic fiction writing under a pen name. Her true identity is kept a well-preserved secret.

Anita Brookner’s writing style is captivating and the plot is intriguing. In the story, the narrator is compared to Virginia Wolfe, and Anita Brookner truly does have a similar way of story-telling. She is very good at drawing out details in a way that paints a complete picture. But there are several negative factors that detracted from "Hotel du Lac" being a perfect novel.

The story takes place in a vacuum of time. Based on some trivial details like descriptions of the clothing and the fact that television has been invented, it appears to take place in the 1950s… though the way it is presented makes it more like a story from the Victorian Era. The characters exhibit strangely unrealistic formal behavior and extremely rigid manners, creating an aura of surreal existence.

Also, the entire story is based on the narrator’s observations and her analysis of the other guests at the hotel. This presents a problem for the reader because the novelist is shy, introverted, non-committal, indecisive, and according to the other guests, plain and mousy. She has no social skills. She quickly draws conclusions about the other guests and shares her thoughts with the reader. As the story progresses, she admits that writers are either known for being remarkably wise, or remarkably naïve- with no real personal experience. And it becomes apparent that the narrator’s judgement of people is jaundiced by her own lack of personal experience and lack of mature wisdom.

Personally, I was tired of the narrator’s critical assessments and harsh judgement of the other guests. I became bored and would gladly have abandoned her for the company of those she shunned. But Anita Brookner had other plans. The reader is stuck with this drab and boring woman right to the bitter end.

The conclusion is both anti-climactic and annoying because this incognito author really believes life is like the romance novels she pens. Moreover, right up to the final scene she is so tentative and wary she cannot assert herself.

Anita Brookner illustrates exceptional character development. It’s just too bad the character was not more likable.
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For three days he had scoured the forest, seeking the cottage. He had been told that’s where she resided and his need of her satisfied once he found her. Directions had been both vague and specific and the scrap of paper with the scribbled map which at first had seemed so straightforward a way was now crumpled and wearing thin and read more akin to a map drawn by a madman than the woman he had paid to sketch it out for him. 
 
He had met that woman in a darkened corner of a pub in a nearby village, a place he had never frequented before and couldn’t find again when he tried to return to ask more questions. His palm still itched where she had fished the silver out of it. His first sight of her had his pulse racing, comely and he had thoughts of seduction. But she paid him no mind in matters of lust and when she excused herself and never returned, she had appeared quite ugly to him.
 
All of this had taken place over the past nine days, starting the night of the moon high in the night sky and waxing gibbous. Soon the moon would hang low and full as though it could be plucked out of its heavens like an unearthly fruit. 
 
His grudge was a piece of fruit grown mealy, kept too long. 
 
The grudge he’d kept with him for over half a year, through the winter, spring and summer. He had harvested it the autumn before when she’d married another.
 
He loathed both of them, but it was for her he most especially wished injury. 
 
And he would have it done, not by his hand because he couldn’t risk harm to his reputation and during his more honest moments he could admit that he was frightened of her husband. 
 
He last saw her on market day the month before and she was gone heavy with child. And that decided it for him. He would do her harm. 
It was no easy task to find the witch. The search occupied his every waking hour and most of those asleep, dark dreams filled with blood and the sound of breaking bones. He could feel something turning inside of him, bowing his shoulders and creaking his spine and yet he pressed on. In corners of foul-smelling public houses, in alleys so narrow one had to enter sideways, behind trees ancient and hollowed and scratched with symbols that made his eyes narrow. But he would have what he would have and gathering information led him to the woman who drew the map. 
 
Finally, he stumbled upon the place. Down twisted pathways, over a poisoned creek, beneath a split hanging tree, past the shadows of night animals stilled by his passing by, he smelled the woodsmoke and spied the candle guttering on the sill. He knocked and the door swung open. A hunched figure in a chair rocking beside a massive hearth with soup cauldron bubbling. 
 
Come closer, the ragged voice instructed him, and he drew closer. Leaving the door open to the sounds of creatures hunting and the hunted crying out.
 
Terrible things took place. She pricked him and he bled. She bid him drink and he vomited. His head swam but his heart stayed the course, and he made his case as though she were the magistrate. 
 
When they were done, it’s done, she told him. In the corner, rose a shadow, up and out of the dirt floor, curling out of a pile of fetid matter, spine straightening, shoulders settling, head rising. A thing that seemed to shudder and tremble but not from fear but because it was fear. 
 
What’s that, he asked, his voice a strangled whisper. 
 
That’s your desire.
 
Not my desire! 
 
No? she asked him, cocking her head the way a bird of prey will do.
 
I have no desire that is embodied so. This horrid creature. He was flailing. You’ve called it forth. 
 
Payment of your own blood and bile would suggest otherwise, my boy. You asked of me to spell a weapon, to cast it out into the world, its target a girl, we let it loose together. You and me. She lowered herself into the rocking chair pulling a briar wood pipe out of the pocket of her skirt, leaning forward to light it with a punk from the fire. She blew out two streams of gray smoke from her nostrils and looked up at him. Your desire manifested, became corporeal. 
 
No! He said putting both hands out in front of him. Why does it approach me? The timber of his voice rising, shrill.
 
It’s ready to accompany you, my son.
 
I’m not your son, you wicked hag. 
 
You weren’t born of my body, but you are now my child, child. Go from here and never return, ungrateful man. She bent her body away from him, toward the flickering light of the fire and in that illumination she looked different.

He blanched. Then turned and made quickly for the door, slamming it closed behind him, panting on the stone stoop. Above him, the moon was rising full. He began to run down the cobbled path, through the opened gate, into the menacing woods, behind him he could hear the beating of leathered wings. 
 

Album Of The Day

Sep. 20th, 2025 09:29 pm
jazzy_dave: (musical cat)
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This is a classic prog rock alobum from 1969. Its 40th annoversary edition is just awesome. CD and DVD double in a slipcase style.

King Crimson - In The Court Of The Crrimson King

In The Court Of The Crimson King - An Observation By King Crimson, Primary, 1 of 19
In The Court Of The Crimson King - An Observation By King Crimson, Secondary, 2 of 19
jazzy_dave: (books n tea)
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John Boyne "The Boy in the Striped Pyjamas" (Definitions)




I reread The Boy in the Striped Pyjamas before starting All the Broken Places and it had an even greater impact on me second time round.

The stark contrast between Auschwitz seen through the eyes of a naïve, 9-year-old forced to leave the luxury of his 5-storey home in Berlin when his father is promoted to the rank of camp commandant and the vivid images stamped on my mind from newsreels showing the liberation of the camps and the horrors of the atrocities committed there, from documentaries about the holocaust and the final solution and from interviews with survivors made this book a chilling and compelling read.

When Bruno innocently ponders why the hordes of passengers being forced to board an already packed train on the opposite platform can’t just cross over and join him on his empty train going in the same direction, I pictured the grim reality with a sick feeling in my stomach.

The characters are all really well drawn: the repetition of phrases, mispronunciation of key words and gripes over the lack of playmates, lessons and The Hopeless Case perfectly portray Bruno as a self-preoccupied and privileged young boy while the depiction of his new friend Schmuel on the other side of the fence is simply heart-breaking. The coldness and cruelty emanating from Lieutenant Kurt Kotler send shivers down the spine while Mother’s medicinal sherry and Father’s iron fist create a real impression of home life.

For a relatively short book The Boy in the Striped Pyjamas packs a powerful punch and poses many questions for adult and younger readers alike. A harrowing and haunting work of fiction, a tense and atmospheric read and a unique perspective on this unforgettable period in history.
jazzy_dave: (books n tea)
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Jacqueline Harpman "I Who Have Never Known Men" (Vintage)



For years, 39 women and 1 younger girl have lived in an underground bunker in a cage. Patrolling guards are their only contact with the outside world, and at this point they despair of ever escaping, resigned to death in prison. Most of the women can remember their former lives, but the younger girl remembers nothing but the cage. But one day, a mysterious siren goes off just as the guards are opening the hatch to deliver them food, and after the guards disappear, the women are able to escape. But will they find freedom outside of the bunker?

This is a bleak dystopian novel that is less about what happens to its characters and more about the human spirit in the face of despair. The writing is beautiful, and every word is tense. My only complaint was that I desperately wanted to know more, to understand why and how, but Harpman does not answer these questions and leaves them to her protagonist and the reader to ponder.
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Terry Eagleton "After Theory" (Penguin)





When the very foundations of your civilisation are literally under fire, however, pragmatism in the theoretical sense of the word seems altogether too lightweight, a laid-back response.

After Theory begins as an intellectual history and concludes as a cautionary tale. Unfortunately, in between there is a messy didactic midriff where Eagleton labours to define Truth and Morality. Such an exploration undercuts the wonderful narrative of the opening chapters, where Eagleton paints with tremendous skill and never avoids landing a quick jab:

The most avant-garde cultural journal of the period, the French literary organ Tel Quel, discovered an ephemeral alternative to Stalinism in Maoism. This is rather like finding an alternative to heroin in crack cocaine.

and

Fate pushed Roland Barthes under a Parisian laundry van, and afflicted Michel Foucault with Aids. . .It seemed that God was not a structuralist.

Eagleton weaves his history of Theory and points out that its time has now passed. It thrived from 1965-80 and compares these fifteen years with the rupture of High Modernism from 1910-1925. He argues that Barthes, Derrida and others were the Joyce and Schoenberg of this later, messier time. He also notes how most of the Theory Gang were left-leaning, if not further radicalised. The proximity to May '68 isn't really confronted subsequently, nor the spot of bother which was both the Cultural Revolution as well as the Islamic Revolution of Iran 1979, the latter of which proved to be a pickle for Foucault. I suppose this is picking battles, but such remains distracting, especially given the strange turn the book takes to epistemology and ethics, which comprise chapters 4-7, nearly half of the text. Slightly flawed perhaps, but still a recommended read.
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Raymond Williams "The Long Revolution"(Pelican)




I've become very interested in critical theory recently, especially in the areas of Marxist Criticism and Cultural Studies. I've been reading some of the primary texts of these movements in an effort to understand where they are coming from and how they can be used in literary criticism and beyond. So far I have finished several short excerpts and essays as well as two books, including The Long Revolution by Raymond Williams. While all of this reading has been truly enlightening, The Long Revolution has stood out to me as one of the most interesting and mindblowing pieces of nonfiction I have ever read.

In this book, Williams sets out to describe the state of literature, democracy, education, and culture in England, how it got there, and where it's going. He does so by tracing the history of various institutions, including public education, the popular press, and standard English, and showing how they have become what they are. Using many (somewhat exhausting) pages of facts and statistics as evidence, Williams comes to stunning and revolutionary conclusions. I was absolutely blown away by his ideas because they seemed so right and felt so honest.

First, Williams sets down definitions for important terms that he will be using for the rest of the books. These terms have so many uses in casual speech that he defines the way he wants the reader to understand them in the context of his book. He defines what it means to be creative, and shows how all people create to some degree in their everyday lives. He also defines culture, not just as art and clothes and the lie, but as structures of feeling, the way people thought and felt about things, the general sense of what it was like to live in a time. Once those definitions are complete, he shows the various ways that an individual can relate to society as a whole, and the different ideas of what it means to be individualistic verses social. His great gift is subtlety, and he can show all the important social reasons why individualism became the dominant idea of how people relate to society while also showing how pure individualism has failed society and is now being reevaluated by a new generation of people. The chapters Individuals and Societies and Images of Society and the end of Part 1 left me literally speechless. It's Williams's balance and fairness, his reliance on research, his refusal to be pedantic or dogmatic, that makes this book so refreshing and so effective.

So often, when we talk about culture we blame low quality arts, be they books, movies, or music, on the masses, as if the working class were inherently less intelligent than the rich or entitled. Williams doesn't just argue against that, he shows with real evidence that much of that classist thinking goes against the actual history of these institutions. He shows, for instance, that the relatively low state of the popular press (magazines and newspapers) today is not, as many people think, the fault of the poor taste of the masses, but instead that the popular press has been affected by changes in printing, distribution, taxation, advertising, and consolidation of ownership more than anything else. The glut of sensational tabloids is sold just as much to the rich as to the poor, and the changes in newspaper styles and distributions are independent of education reforms that taught more of the working class to read. The proliferation of low-quality books, movies, music, and newspapers, he argues, is not the fault of the inherent bad taste of the masses, but a side-effect of the ownership of these cultural institutions by speculators who are only interested in making money. Quality artists, interested in furthering the art form, cannot compete with the scale of distribution that the large companies produce. The problem, it seems, is not that people are inherently stupid or that the lower classes have inherently bad taste, but that our current system of capitalism makes our cultural institutions into a matter of speculation and profit. Anyone who is interested in independent publishing should absolutely read Part 3, Britain in the 1960s, which looks at the publishing industry in a way I've never seen before.

Williams writes in a style that is easy to read and understand. Although there are some slow sections where he is setting down definitions or charting history using facts and figures, his conclusions are always strong and flow naturally from his research. The book is older, published in 1961, so I'm sure it has mistakes and is outdated in some places, but most of it still reads as being contemporary and relevant. His structure is perfect, his writing is incredibly readable, and his ideas are engaging. I don't know that I have ever enjoyed academic writing so much, and I thoroughly intend to read more of his books very soon.
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Seamus Heaney "Beowulf: A New Translation" (Faber & Faber)



This is just fabulous. I know the original derives from a oral tradition, and I feel that this is designed to be read aloud, not to oneself. the meter is unlike the iambic rhythm we're so used to now, but the alliteration works and the lines sort of trip of the tongue. It's never a dull "te tum te tum te tum" thing - the words almost have a life of their own.

Add to that it's a swashbuckling story from the heroic to the unbearably sad and it just sweeps you away. Takes a bit of concentration, but that's no bad thing in a book.

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