Posts Tagged ‘1936’

Barcelona v. Berlin in 1936

September 9, 2018

When it comes to European civilization, Greece is where the  legacy originated about 2500 years ago.

Among the many enduring contributions  by which the early Greeks set Europe into cultural motion, I find two, in particular, that have demonstrated incredible longevity:

Democracy, and Olympics.

Those early Greeks were incredibly active in their sporting competitions, and also in their zeal to launch the world’s most notable experiment in governance by “the people.”

Their idea of Democracy was later amended by the Romans as a form of governance known as Republic, which was perhaps a more practical working out of the egalitarian concept, because groups of citizens could, by vote, select representatives to do the actual decision-making.

Many centuries later, the notion of democracy ascended on a fresh new wind of modern life. Most notably in the 1700’s, certain forward-thinking individuals in America and central Europe used the ancient democratic ideal as a basis for updating and improving human governance. The working out of it has been, over the last two or three centuries, somewhat messy and unsure, but the idea of government by the people for the people is still widely considered to be the best and fairest framework for doing collectively whatever it is that we humans are trying to do to improve our situation here on earth.

A lot could be said here but I’ll just toss up an example of how the idea of democracy continues to capture Euro imagination. Here’s a photo I snapped a few days ago while walking through a public square in Barcelona.

Democracia

As we can see here, democracy seems to be a readily attractive notion, worthy of public mention. However, the prospect of promoting democracy has not always been easy here in Espanya. Spain has had a rough history in which Democracy and Authoritarian governments have bloodily contested each other.

Following their rejection of a King in 1931, the Spanish people fought a civil war, 1936-39; it began in a political competition between zealous advocates of these two opposing models of governance.

But during those tumultuous years, the people of Spain were not the only nation who were grappling with such controversies. A few European borders away, the people of Germany were in a similar contest.

After the Germans suffered the defeat of World War I, they had a massive reconstruction project going on, as they were striving to re-assemble not only their physical nation and its infrastructure, but also their way of governing themselves.

During the 1920’s and ’30’s, both the Germans and the Spanish  wrestled with themselves to establish a democratic Republic. Both attempts ended in failure.

When the Nazis took over Germany in 1933, they ditched the Weimar Republic and degenerated into Third Reich bellicosity. Also in the 1930’s, the people of Spain ousted their King and declared a new Republic. But in 1936, the Franco-led Falangists attacked their own people. By 1939, they had driven the Republicans out of office.

Meanwhile, back at the crunch, there was an athletic contention going on between these two violence-torn countries–Germany and Spain. This  competition gets back to the other great contribution that I mentioned earlier from ancient Greece:

the Olympics.

At the meeting of the International Olympic Committee in 1931, Spain had proposed that the 1936 Olympics take place in Barcelona. But, by a process of democratic voting among the member nations, the IOC awarded the hosting to Berlin.

That was an ill-fated turn of events. Germany was at that time being taken over by the Nazi Third Reich. Hitler and his Nazi thugs were striving to use the Olympics as a showcase of their supposed bullshit Aryan supremacy.

Down in Republican Spain, the leftist government caught wind of what the Nazis were up to. They smelled a rat in Europe. So they launched an attempt to conduct an alternate Olympics, which they thought would express more appropriately the sporting competition of  classic  events.

BarcOlyPop

But the so-called Olimpiada Popular in Barcelona never happened. As it turned out, the Spanish people were having a war among themselves in 1936 instead of inviting the world in for some friendly sports.

Later, during and after the Second World War,  the civilized world  awakened to the disastrous truth of what Nazi Germany had been doing behind the scenes while they had been hosting their facade of pseudo-Olympic propaganda back in ’36.

Spanish Catalunya Barcelona did, however, ultimately have its day in the Olympic sun. That came 56 years later, in 1992.

A few days ago, here and now 2018, we visited that Olympic site in Barcelona where the competitive events were conducted in ’92;  quite an impressive sight it still is:

BarcOlymp

My hope is that both ancient institutions—Democracy and Olympics will survive and thrive in this century we live in now—the 21st.

 Smoke

No Time for Melody

March 20, 2016

Symphony

These moments in a grand concert hall before the orchestra performs are like no other. Onstage, a half-hundred or more musicians dutifully make last minute preparations while the assembling listeners anticipate the unveiling of their symphonic presentation.

There are, it seems to this viewer, as many ways of making musical preparation for such orchestral events as there are musicians. Violinists are fine-tuning their instruments; many of them dance their fingers rapidly across wooden neck boards, rehearsing that difficult passage in the allegro or that five-measure solo transition in the andante. Beneath bright stage lights, brass-blowers sit together in the back row busily manipulating key-stops on gleaming metal; in the middle of this instrumental world oboes, clarinetists and bassoonists blow into their various tubed configurations with steadily progressing precision. Over in the back corner, percussionists tap, turn and tinker on this, that or the other big drum or little sound-making something-or-other. Polished wooden basso fiddle bodies shine under the lights; soldierly stand-up stringists stand beside them thumping and thinking very hard about that bottom line in the booming rondo or overture that is yet to come. The flutists’ silvery cylinders glint with theatrical brilliance as their masters breathe virtuosity into them. A lovely harpist plucks perfectly strung-up sounds.

Observed all at thece same time, the assembling orchestra appears to be a cacophony of disparate confusion. But as the moment of musical inception draws near, a subtle decreasing of the noise begins to take hold; the senseless soundings wane. A violinist stands, setting his bow to the instrument; then from somewhere inside the collection of sound-contraptions, a solitary musical oboe tone rises above it all, commanding the vacant air with a single, sustained A note. Immediately, as if they were waiting for some specific sound leadership, all the other members respond with their uniquely-voiced A-notes. As the volume of their first unison builds, harmonic thirds, fifths and octaves high and low emerge through the thick air of audience anticipation.

For only a brief moment this preparatory approach to harmony is heard. Then silence.

From behind the side-curtain, the bringer of Symphony walks into the midst of what had been quasi-musical confusion.

He is smiling. So are most of the audience. The thousand-or-so seated congregants express, with applause,  their approval of what is about to happen, implying also with their enthused ovation polite appreciation of what has happened in this large hall many times before.

A symphony. Tonight. March, 2016.

A moment later, in the midst of breathless silence, the Conductor raises his arms, lifting the baton high. Then abruptly he lowers them. And the chaos of sounds that had dominated the stage only a few minutes before has been instantaneously transformed into music, coordinated and arranged in order to express thoughts or feelings about the world.

Two hundred and fifty years ago, the music composed for such an event as this was not the same as it is today. Mozart’s skill, for instance, plucked melodies out of thin genius-air and worked them into intricately woven musical masterpieces that beat through the air with perfect precision, like a clock on a Vienna tower.

In the 1700’s Mozart wrote music for an emperor. Emperors and empires imposed a certain kind of order on the world. Mozart’s music expressed that order in an exquisite way. His music was precision and perfection manifested in orchestral form.

A few decades later, Beethoven came along and rearranged all that preposterous musical order, catapulting thunderous innovations into it. Orchestral music, having found intricate construction in the hands of Bach, Vivaldi, Handel and others, had found its fullest precision under Mozart’s imaginative mastery.

But when the European world was shaken to its roots by the American revolution, French revolution, Napoleonic bluster and God-only-knows what other political and military juggernauts that were rolling like thunder across the civilized world at that time, a new kind of music was called for. A music that expressed not order, but disruption and passion.

And so there was Beethoven. The first eight explosive notes of his 5th symphony blew a hole in the old order and proclaimed a jousting field of new ideas, new forms of government, and new music. It was a revolutionary age. Even Mozart could get lost in the cataclysm.

Great Music captures the spirit of the times in which it is composed; it captures that spirit and interprets it as  audible, lyrical art.

Last night, we were in Charlotte listening to the Charlotte Symphony perform Sergei Rachmaninoff’s Symphony No. 3 in A minor. This interesting piece of music was, to my ear, a musical experiment. While a few of Rachmaninoff’s piano concertos are widely acknowledged as masterful expressions of his musical romanticism, this third symphony communicates a timely, profound disturbance, more-so, I think, than compositional perfection. Sergei Rachmaninoff the early-20th century Russian composed in it 1936.

I call it an experiment because it seems to be a series of dynamic, instrumentally dissonant thrusts; they mount up in rhythmically disparate crescendos, but never  fully resolve in a way that I can thematically identify. In my ear,  it is a tensioned symphony in search of a theme. In search of, perhaps, a melody.

So I was trying to explain to my wife as we left why there’s no way Rachmaninoff could have absolved his musical angst in 1936 by resolving it inappropriately with a catchy melody.

He was living, for crying out loud, in Stalinist Russia; and not only that, half a continent away Hitler’s Third Reich was assembling, under the radar of the Versailles treaty, a massive wehrmacht war machine. In a few years the whole damn world, or half of it anyway, would erupt up in full-blown war. The only order that was emerging in 1936 was the construction of destructive war machines.

It was no time to celebrate an inharmonious world with pleasantries such as harmony and melody.

Here’s a YouTube of the Russian Novosibirsk Philharmonic performing the piece:

https://www.youtube.com/watch?v=h44ZGVe4zCQ

Perhaps my cynical assessment of Rachmaninoff’s Symphony No. 3 is shaded by my own artful projections. A few years ago, I wrote and published a novel, Smoke, which is all about the year 1937. That writing project was also an experiment, albeit a literary one, in telling the story about a young American who might have sojourned through Europe during that same time of imminent disaster foreshadowing World War II.

Smoke