The Taddei Tondo by Michelangelo
Some kind of spring has broken in my brain. I have not written a note since the Fifteenth Symphony. That is a terrible state of affairs for me.
Letter to Isaak Glikman,
January 16, 1973
In the summer of 1974, not long after claiming he hadn’t “a single musical thought in his head,” Dmitri Shostakovich wrote to Isaak Glikman, “I have been composing quite a lot recently.” [Story of a Friendship: The Letters of Dmitry Shostakovich to Isaak Glikman, 1941–1975 323, no. 56 and 196] In 1971, Shostakovich had completed Symphony No. 15, his last. At the time, his final string quartets, the 14th (1973) and 15th (1974), and his last work, the Sonata for Viola and Piano (1975, the year he died), were yet to come, as were three works for voice, including the Suite on Verses of Michelangelo Buonarroti, first written for bass and piano (op. 145, 1974) and subsequently orchestrated (op. 145a, 1975). Continue reading
Boris beside the Baltic at Merekule, Leonid Pasternak, 1910
Boris Pasternak, whom no one yet knew . . . had this to say about poetry: “It will always be in the grass, it will always be necessary to bend over to see it, it will always be too simple to be discussed in assemblies.”
I’ve been following a trail of pebbles and crumbs. As I’ve arrived at no particular destination, and arrival anywhere certain is unlikely, I’m making a record of the journey so far.
Hansel & Gretel, Carl Offterdinger
My journey began with a book by the British poet David Herd, John Ashbery and American Poetry. Herd’s way of approaching Ashbery is intriguing, quite unlike anything else I’ve read. Among other things, he spends a good bit of the book tracing Ashbery’s influences and inspirations. I didn’t agree with—or understand—everything Herd wrote, but his observations forged stimulating associations and connections that seemed very much in the spirit of Ashbery’s poems. Continue reading