Arbetsrum

When I am not reading the newspaper, other music blogs, music discussions or web pages I have looked up to understand something, while listening to Beethoven’s Ninth or some songs by Steely Dan or a cd with Anne Sofie von Otter, I am sometimes writing arrangements of Christmas music, looking at music composed by my friends, or reading a page or two of serious fiction or theory, but when I am not doing this – or watching the snow that fell yesterday – I have these paintings to work on. The Red Road is almost finished now. The abstract maritime landscape with the beams of light is just a sketch to a larger painting I will make some day. The simplified little copy of Enguerrand Charonton’s The Coronation of Mary (original from 1454) is what it is – a naive exercise. Here is a detail of the original:

Rilke translations: autumn poem 2


Herbsttag

Herr, es ist Zeit. Der Sommer war sehr groß.
Leg deinen Schatten auf die Sonnenuhren,
und auf den Fluren lass die Winde los.

Befiehl den letzten Früchten, voll zu sein;
gib ihnen noch zwei südlichere Tage,
dränge sie zur Vollendung hin, und jage
die letzte Süße in den schweren Wein.

Wer jetzt kein Haus hat, baut sich keines mehr.
Wer jetzt allein ist, wird es lange bleiben,
wird wachen, lesen, lange Briefe schreiben
und wird in den Alleen hin und her
unruhig wandern, wenn die Blätter treiben.

Autumn Day

Lord: now is the day. Great were the summer hours.
Let all your shadows veil the sundial flowers,
and on the fields let all the winds blow free.

Command these last fruits to be full and ripe;
just grant the juice two days more on the south side.
To push the wine’s perfection you will hurry
the last sweet taste into the heavy grapes.

Those who are homeless will not build a house now.
Those who are lonely will not find a partner,
will sleepless wait, will read, write lengthy letters
and aimless walk the avenues and alleys,
impatient, restless, as the drifting leaves there.

—-

Höstdag

Gud: nu är tid. Vår sommar räckte långt.
Låt dina skuggor skymma solurstiden,
och över bördig jord släpp stormen lös.

Befall de sista frukterna att mogna;
men ge dem ett par dagar till i solen,
en uppmaning att fulländas, du hetsar
så fram den sista sötmans tunga vin.

Är någon hemlös, skall han så förbli.
Är han allena, kommer det att vara.
Han vakar, läser, skriver brev på brev
och vankar i alléerna bland löven
så oroligt och planlöst som de far.


German original texts: Rainer Maria Rilke
Swedish and English interpretations: MaLj 2006


updated 12 November 2009: I just found the site http://www.textetc.com/workshop/wt-rilke-1.html with discussions of several versions in English.

Rilke translations: autumn poem 1


Herbst

Die Blätter fallen, fallen wie von weit,
als welkten in den Himmeln ferne Gärten;
sie fallen mit verneinender Gebärde.

Und in den Nächten fällt die schwere Erde
aus allen Sternen in die Einsamkeit.

Wir alle fallen. Diese Hand da fällt.
Und sieh dir andre an: es ist in allen.

Und doch ist Einer, welcher dieses Fallen
unendlich sanft in seinen Händen hält.

Fall

The foliage falling drops as from afar,
as if some heavenly garden drops its foliage;
is falling slowly, with denying gestures.

And nightly hours falls the lonely Gaia
her heavy body drops down from the stars.

We are all falling. See, this hand will drop.
And watch the other one: this is in all things.

But still there is someone, who can hold the falling
and in his tender hands the fall will stop.

Höst

Nu löven singlar, singlar som från skyn,
likt himmelska planteringar förvissnar;
de faller med förnekande små gester.

Och under natten faller tunga jorden
ur stjärnehimlen i sin ensamhet.

Vi alla faller. Så faller denna hand.
Och se den andra här: det gäller alla.

Och ändå finns det en, som allt i detta fallet
oändligt ömt i sina händer bär.


German original texts: Rainer Maria Rilke
Swedish and English interpretations: MaLj 2006

Science and Human Values

“The discoveries of science, the works of art are explorations – more, are explosions, of a certain hidden likeness. The discoverer or the artist presents in them two aspects of nature and fuses them into one. This is the act of creation, in which an original thought is born, and it is the same act in original science and original art. But it is not therefore the monopoly of the man who wrote the poem or who made the discovery. On the contrary, I believe this view of the creative act to be right because it alone gives a meaning to the act of appreciation. The poem or the discovery exists in two moments of vision: the moment of appreciation as much as that of creation; for the appreciator must see the movement, wake to the echo which was started in the creation of the work.”

– Jacob Bronowski (1958)

Abstraction

“Most people shy at the very word “abstraction.” It suggests to them the incomprehensible, misleading, difficult, the great intellectual void of empty words. But as a matter of fact, abstract thinking is the quickest and most powerful kind of thinking, as even an elementary study of symbolic logic tends to show. The reason people are afraid of abstraction is simply that they do not know how to handle it. They have not learned to make correct abstractions, and therefore become lost among the empty forms, or worse yet, among the mere words for such forms, which they call “empty words” with an air of disgust. It is not the fault of abstraction that few people can really think abstractly, any more than it is the fault of mathematics that not many people are good mathematicians.”

– Susanne K Langer: An introduction to symbolic logic, Third edition. Chapter I: The study of forms, p 34. Dover, New York 1967.

End of summer 2006

Groucho is here seen arriving at “her” (his?) winter season home: the parking lot called the Twig Meadow, near the little horse stable at the outskirts of the village.

Findings

En alltid aktuell diskussion, tyvärr. (How can we save the wordless knowledge found in music, how can we save the values in centuries of mature artistic reflection — complex, rich, responsible expressions of human life, ideas and political history — from being drowned in a culture and society that prefers songs speaking of immature, unreflected, irresponsible feelings? Commercial music is a cult, practised already in music discussions in kindergarten groups — while art music is seen as uncool.)

——————————-

My blog friend Tim Posgate has posted a cute
music video for one of his songs.

I just couldn’t forget that filthy old wreck, Marilyn

In the summer 2002, we were on the lookout for a replacement for Carolina, the narrow, well-sailing “RJ-85” sailboat we had bought while we lived on the West coast (our third or fourth boat, was this). One of the stepsons wanted to take over Carolina, if we were thinking of getting something bigger and more comfortable for our vacations. For some reason I believed that a more reliable (with inboard engine) and spacious boat would be the only thing I needed to be happy for the rest of my life, and if I didn’t get it, my life would never be what it should have been, given my interests and background! The first possible craft we decided to look at was a “Schelinkryssare” (a 35 ft cruiser designed by Oscar Schelin) from 1971. She was called Marilyn, and for sale through a yacht broker in Stockholm.

I hopped on board, and looked with disgust at the far from ship-shape mess on deck, and all the things that were broken, misplaced, filthy, rusty or dented. Ropes left on deck everywhere, the sails attached to wires in the mast that were not running straight and free for hoisting, the wood on the cockpit benches was rotten, and the steering-wheel was dysfunctional. The cabin smelled unpleasant, there was green-ish water under the worn but nicely varnished floor, the propane stove with its old bent pipes and fittings made me look for the emergency exit and pray that none of the other prospective buyers would light a cigarette when on the ship, the bunks and the cabinets needed repair, the hull isolation was filthy and ugly, the electric system needed immediate replacement, there were signs of water-leakage through the top door, et cetera. Much work. Not worth the fairly high price. However, the sails seemed to be both new and okay (even if the rig looked ridiculous), the 27 hp diesel engine reliable and quite new (but a high-risk: fixed on just three of four mounts, all rusty), and the hull seemed strong and well built. And the poor wreck had a soul… So I was quite taken, and couldn’t leave her until I had walked the deck two rounds more, trying to notice all the faults!

In my fantasies, I could see, hear, and feel what it would be like to own a boat with a personality like that, and appreciate the possibilities and advantages of this model. I also imagined my grandchildren in the future would say, “When we were small and sailing with Grandma on Marilyn“… I wanted so much to be someone possessing an old plastic 35 ft sailboat with an old-fashioned, beautiful light grey hull, a blue line and a nice name, so I could not think of much else, or sleep, but had to get up in the middle of the night and look at myself in the bathroom mirror and weep hysterically! We looked at other Schelin:s, at several different other models, and weighed price against what needed fixing. Sometimes we were tempted to buy one of the practical, clean, nifty, good-enough, plain but well-equipped and reasonably priced boats we found. But we never could agree on which one.

The summer months went by. I took a navigation course in the autumn, to have a systematic brush-up of the stuff I almost already knew, and to get a navigation certificate. I returned to visit Marilyn, every time I was in town! When she was sold, I went there to say goodbye to the ship, and talk to the yacht broker. I asked what price they finally had agreed on, and if there had been anything reported from the hull inspector. There was no special discount, as there had been no evidence of any severe faults. The buyer was a carpenter from Denmark, who had remarked, “Good for me to have some work to do, or else I will drink too much beer!”

After the navigation course was completed, the instructor offered an opportunity for a practical exam, consisting of navigation exercises and manoeuvre training onboard his motorboat — in his hometown, an hour south of Stockholm. I signed up, but got extremely anxious about the entire event. It was to take place on a weekday in November or early December, so the prospect of being at sea at that time of year was unpleasant, and the idea of travelling alone, that far away and early in the morning, made me feel completely at a loss. I contacted another woman from the course, and she offered to help me out with a hike from the University, if I could make it to the Statoil filling station there on my own, and meet her at 7 AM. Thankfully, I got ill, so I had a reason to cancel it without feeling like a fool.

Just before Christmas, my husband heard from a colleague in Finland that there was perhaps an interesting boat for sale in Turku. A widow with an “H-35” from 1981 (a 35 ft cruiser, a well-sailing quite modern boat by a Finnish yacht designer) was thinking of selling it. We got a report from a first inspection on site. “Nice boat, but the ‘skitigaste’ (=filthiest) thing I have ever seen”, said our friend. Negotiations with the widow started, held in a mix of Swedish, English, German and Finnish, to be understood. Husband and son went to Turku with a passenger ferry, to have a look. Enthusiastic (or – the son – rather indifferent, disillusioned and tired of all the previous arguments) they called me and asked if I could agree on taking this fantastic chance to get a boat with great possibilities, at a bargain price!

“Okay; of course…” (What could I say?)

At Christmas 2002, I was writing on my first and only work for orchestra, Winter into Spring, or Töväder (Thawing Weather), something I was really serious about. Hubby was thinking, talking and dreaming about how to transfer Euro money for the boat payment, how to fix a boat transport and how to start the boat renovation.

A Friday evening in January 2003, we got on a small car ferry from Frihamnen in Stockholm. It was a beautiful night, with a full white moon shining over dark islands, dark water, snow and ice. Chunks of ice in the shipping channel were hammering on the ferry hull, all the hours we went through the vast archipelagos on both sides of the Aland Sea. I could hardly sleep, mostly because I was so fascinated by the landscape outside, and the other unfamiliar sensations. We arrived in the grey morning, and got our car off the ferry in Turku, drove through the town and out to the sleepy suburb where the boatyard was situated.

“And here she is – our new boat.”
“Uh-hu. Nice.”

(That? The ugly, wet, sad thing with a snow drift on top? Did I borrow a fortune from mother, only to spend it all on this practical joke? My God – what a bargain! My life is over now, absolutely over. This is The End.)

I climbed the ladder, which a kind owner of a neighbour boat had helped us with, and silently started to inspect my new ship, beginning with clearing the deck from as much ice and snow as possible. There was solid ice in the engine room, too. And water in the cabin, dripping everywhere, through leaks in the roof, from the melting snow and ice on deck. A lot of woodwork was in bad condition from this neglect to cover the boat properly for winter. The radio and the VHF telephone were dripping, also. There was an ugly old propane stove, with bent pipes and suspect fittings. Et cetera. And not even a trace of a soul. This boat was dead. Gone. Beyond rescue. Just a piece of indestructible fibreglass.

The seller arrived. She was a tiny and elegant woman, in fur coat and small boots, but she jumped onboard like a cat or athlete, without using the ladder. She laughed happily at everything we said, and smiled at the Swedish-speaking gentleman who functioned as her driver, interpreter and technical expertise. When she understood that we had actually bought the boat, liked and wanted it, and had the intention to move it to Sweden the same afternoon, she was so happy so she had to demonstrate her ability to stand on her head, there, in the snow! From other sources, and from evidence in the boat, we learned that this Moomin character (and her late husband) had maybe been fond of the more pleasant aspects of boating. For example, beer. During the renovation, we found that it was not possible – in any one of the 35 ft of this ship – to be out of reach of a beer bottle opener. There were a dozen of them, mounted with great care, in the most imaginative places. The maintenance of and care about the rest of the equipment, on the other hand…

Hype and hope

I am Swedish. I live in Sweden. This country has not been involved in any wars after the year 1809. I think this could be an explanation for our naive belief in peaceful solutions to conflicts. If a majority of the people in a nation has no personal experience of war periods, for many generations, the tendency to think of conflicts in terms of military actions gradually disappears.

We’re nationalistic, as most other people, but seldom express our national pride in aggressive terms of dreams about military or economical domination (but this was a reality in this region, some centuries ago).

Yet, politicians and other prominent Swedes have sometimes acted in a manner that has given us a reputation of “putting their nose into every single thing on this planet”. This is because we have (delusional) dreams about domination on the field of ideas! We are proud of the Swedes who work and have worked for the UN, and of the other politicians and diplomats who have tried to solve conflicts and secure peace in countries far from our little corner of the world.

Another aspect of Swedish national culture, is a tendency to avoid showing strong emotions in public. This means we are (or were – this is changing) not likely to think it is or feels ‘natural’ to express grief, love or hate in public places – even less in organized official ceremonies. You can wonder if this is a result of a stoic ideal, an underdeveloped sense of dignity, a general and common shyness, or a cultural consensus to value only practical and sensible actions.

But, as I said, this is changing. When Prime minister Olof Palme was murdered on a street in Stockholm in 1986 (most likely by a certain drunk criminal who shot the wrong person and afterwards forgot what he had done), people cried openly, and laid flowers on the spot where he had died, and continues to do so today.

When the ferry “Estonia” sank in the Baltic sea in a storm 1994, 852 people died, many of them Swedes. The tragedy has been difficult to forget for those who were affected by it, so much time and money has been spent on monuments, commemoration ceremonies and investigations.

When 63 young people (most of them children to immigrants) died in a disco fire in Gothenburg 1998, the sidewalk outside the building looked like a worship place for several weeks, with flowers, candles, cards and things – and always people, together or alone.

When Foreign minister Anna Lindh was attacked and stabbed on September 10th 2003 by a mentally ill person following her in a department store in Stockholm, and she died the next morning, the reaction from people was strong. Again, flowers on the street, and people crying. In spite of her being a pragmatic politician, she was viewed as a saint, our good hope for the future, now lost. I think what happened here was similar to the British (and world-wide) reaction when Princess Diana died.

Still, I am not sure if these public expressions of grief (and anger) are a good thing. If it is our hope and innocence we are grieving for, maybe this is a necessary process. But, if it is organized or spontaneous mass hysteria, or hype, I think the world would be a better place without it.

In the cases when the tragedies are not natural disasters or accidents, but acts of violence from individuals or states, why should we pay the events – and the criminals – so much attention? They – their actions – do not deserve to be remembered with so serious ceremonies, do they? The victims deserve it, yes, but why – if life, peace and loving your neighbours as yourselves is what matters to you – make a point of remembering the last moments of the victims and how they died?

Wasting Space and Time for the sake of Music

After observing things for months, and thinking it doesn’t really look like the sort of ideal place to promote music on, I decided to give the MySpace Music pages a try. So now I have a space and an assorted bunch of so called “friends” — a mix of personal friends, musicians I have heard or heard about before, and some complete strangers.