August 16: the off-limit zone

Last night’s dream involved me going, accompanied by a young boy, to a railway station to pick up the painter David Hockney. David Hockney was staying in my flat in Paris, though it did not look like Paris. It looked like a kind of bleak warehouse area. Once inside the flat there was a sliding partition, which may have also been in a public corridor, which let through into a more secret off-limit area of the flat, which may or may not have belonged to me. I wasn’t sure. This is a recurring motif in my dreams. The flat with the off-limit area which may or may not belong to me.

What am I to make of this? David Hockney died a couple of weeks ago, so he may have been in my consciousness somewhere. Though I am not a particulat fan of David Hockney. The boy I went with to the station could have been someone I once taught and with whom I had a semi-pastoral relationship. My first little flat in Paris was a chambre de bonne (maid’s room) on the top floor of 10 rue du chateau d’eau. There was no hot water, a thin drip of cold water, and no toilet or bathroom facility. There was a Turkish toilet in the corridor. All the other maid’s rooms on the floor were used for storage by the inhabitants of the flats below. I did not know who owned the maid’s room I lived in. I had been contacted by a Dutch woman, Hanake, who said she could offer me this room for 400 francs a month (£40), but she wasn’t the proprietor, so there was always anxiety about living in the room, like the off-limit zone of the dream. But I suspect there is a more symbolic, Jungian interpretation to the off-limit zone.

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August 12: less appropriate thoughts about the alban berg concert

The Prom concert with the Alban Berg violin concerto gave rise to other less high-minded thoughts than those in my previous post. The orcheatra was a composite of top students from the Royal College of Music in London and the Julliard school in New York under the baton of Esa-Pekka Salonen, a world-renowned specialist in the modern repertoire. As I watched the concert I could not help wondering which members of the orchestra came from which conservatory. Were they comparing their respective competences? How were the top virtuosi of the Royal College looking next to the virtuosi of the Julliard? Musical prodigees are highly obsessive, highly competitive, I’m sure.

And then the soloist comes out to play the Berg wearing a beautiful diaphanous dress. a young player like all the members of the orchestra. She is where they would like to be, playing the starring role. She gets to wear the gorgeous outfit, while they are all dressed in black and white like so many foot soldiers. How the orchestra applauded her at the end of the piece, especially the female violinists! How she smiled graciously and munificently towards them! I wonder. Is it just my evil mind? Or is the dumpy first violinst looking at her thinking she could do a better job?

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August 12: different conceptions of what music is

I went to the Proms the other day and heard a selection of modernist pieces: Stravinsky; Berg; Bartok. The Alban Berg was the least popular with both my neighbours on either side of me. with whom I had separate conversations in the interval. The Berg piece, his violin concerto ‘To the memory of an Angel’ was written in 1932 and is dedicated to the first performer of the piece and an 18-year-old girl who had just died, the daughter of Alma Mahler and Walter Gropius, the girl being the angel of the dedication. It is a fairly difficult atonal piece compared to the rhythmic delights of Stravinsky and Bartok. I said to my neighbour that when I heard the Berg piece it evoked for me the Vienna of the early century, the Vienna of Freud, the sudden massive presence of the unconscious and the deep repressiveness of the culture, especially for women. Berg’s concerto evokes all of this in a shimmering nightmare world. My neighbour said he was frustrated that he couldn’t hear the violin clearly enough, it being drowned out by the orchestra. He blamed the conductor. I said that was the point maybe. The orchestra was suffocating the individual (in concertos the orchestra often seems to represent society and the solo instrument the individual). Consciously or unconsciously, Berg would be referring to the girl or to himself, who had harboured a secret lover and secret illegitimate daughter for years.

I had a similar different understanding of a piece of music another time after a concert of Mahler’s 6th symphony. In the toilets at the end of the concert I heard a man speaking to his friend saying it was a frustrating piece of music because a good tune starts but then keeps getting interrupted and sidetracked. We were in the urinals at the Royal Festival Hall at the time and, despite the inappropriateness of the location, could not help piping up. That was the point, I said. It’s a disjointed, fragmented new world that Mahler is in. The old romatic world is dead. Mahler is evoking the altered sensibility.

I suppose it is what you want from music. A purely musical experience or a formulation of psychological or cultural material.

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August 6: the count of monte christo

I am a high-brow reader. Not very high-brow in many other aspects of my life, as you may have gathered. But I rarely read a piece of popular fiction. Maybe for reasons of snobbery or maybe because I don’t like to be drawn through the sensibility gutter. Too much of that, which is unavoidable, happens in everyday life. However, I find myself reading Le conte de Monte Christo by Alexandre Dumas pere. It is 1500 pages and I’ve got 150 left. It can’t be bad to have pulled me through. The plot is terrific. A man unjustifiably put in a prison on a deserted island off the coast of Marseille and left to rot. Another prisoner connects with him, having scratched his way through the dirt for years. This remarkable man teaches Edmond (our hero) everything he knows: languages; style; learning of all sorts. He dies and Edmond substitutes himself for the corpse and is thrown into the sea from which he escapes. A hoard of treasure on the island of Monte Christo had been revealed to him by his former prison-mate. Edmond finds it and becomes inestimably rich. He spends years on the sea, honing his life skills and then heads for Paris to revenge the four men who betrayed him. He kills them off one by one.

The problem is that the character of Edmond Dantes is an absolute; totally inhuman. He is so clever and refined and rich; he is a kind of superhero. His revenge is thoughtless. It ruins the family and children of all the betrayers; people who are innocent. Dumas does not see that his character is a problem. He could have examined the nature of absolute revenge in this long book, but that doesn’t interest him. Unfortunately the novel remains on the level of a teenage fantasy. Still, it’s a good yarn and has been adapted for the cinema many times, each time taking out scenes where Edmond is particulaly unpleasant, as well as skirting round moments where the ethics of 1842 do not match ours (less of an issue for me; sometimes they show up the sham of some of our ethics).

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