Tuesday, January 27, 2015

Zaide, (The Young Adult Novel) The first chapter.

235 years ago, Mozart returned to Salzburg following massive failure, right before his 23rd birthday. Shortly after, he began work on the opera Zaide. Who knows if he started it on or around his birthday, but I can't help but think that the moods were stirring in his head. While birthdays can be a great time of celebration, they can also grind our failures into the back of our eyes like glass grit.

When I first watched this Opera, I knew it said something special... Something I believe speaks to youth. If only they would watch it. But, (as do several opera buffs wrestle) how can one stir operatic interest among youth? My answer: This would be a great YA. And, I have spent the last year+ pursuing the endeavor.  

I began this work with these three rules (in order of importance): Reflect Mozart’s vision and his personal wrestlings—obviously that requires conjecture on my part (I likely got something wrong). Allude to the opera’s music. And create a realistic story that fits the historicity of the events and fixes time-elapsed issues that often accompany operas.

So, for Mozart's birthday I have decided to offer a gift (such gift giving can be one of the most fearful ventures) a soft-release of my YA Zaide project. With trepidation, I paste the first chapter below.





ZAIDE


1NE


Overture

The power of the picture is dead. Images bombard us, fighting for their place in our brains. A thousand words? More like, we use a thousand pictures for every word. In turn, we would think nothing of sharing our likeness with someone, even in the most casual of settings. Some say that’s a good thing. They say we’re being open and honest. But, are we so open and honest with complete strangers, that those close to us don’t know who we are? Or, have those close to us overlooked what we wanted to say, using us to serve their purposes? So, we search for those willing to listen.
Zaide had a picture. One picture. In those days, you had to be someone important to have one. A portrait. A talented soul painstakingly shaped and shaded each fine feature. If you had been lucky enough to have any, you wouldn’t give one away to a friend of a friend’s roommate.  Zaide kept hers in a pocket close to her heart. She had a love/hate relationship with the portrait. It was beautiful. Everyone said she was beautiful, but this picture carried a different kind of beauty. The picture was a portrait of who she wanted to be, not one of who she thought she was.
Crowded with dirty peasants, the port streets roared of rouges and merchants.  Janissary soldiers scanned from various posts. With a cloth fluttering from the top, their high squared off hats dared stowaways to press their luck.  African eunuchs waited behind Zaide. They wore gray, collarless outfits and their faces were as stoic.
The multi-domed palace loomed high-hilled at the horizon opposite the harbor. Rows of spear-tipped cypresses surrounded the path leading to the commanding center arch. Shrubs and trees dotted the hills surrounded the palace, clumping thicker in draws. 
The docks smelled the foul smells domesticated creatures. If only, for just one time, spices would be the only imports of the day. But, then Zaide wouldn’t have been there, for her lot was to welcome the new livestock. Zaide stood, trying to rid herself of any emotion. Trying to let herself stay hardened. The wind flailed the hem of her dress against her shins. The sea air strained through her veil filtering no muck vapors. She held her headscarf away from her eyes. She was not required to wear her coverings, but she just couldn’t do her job without it. She couldn’t bear it. She needed the protection.
Osmin faced the Barbary pirate ship. His arms crossed his chest as if they were stamped there. A scourge dangled from underneath his arm. It was his special whip with bits of shrapnel tied into the ends, ‘to make a good first impression.’  Beneath his curled mustache, his smile mirrored cruelly. His turban was red and gold. Again, he wanted more vibrancy. Anything to get them to remember him.  This was his Christmas morning.
“Do you think there will be any beautiful ones?” Osmin asked Zaide.
Zaide scowled beneath her veil.
“I have to find a wife for an honored slavemaster among this lot.” Osmin chuckled. “I wouldn’t want to have to waste a beautiful one on him.”
Zaide said nothing, staring toward the ship.
Shouts and whip-cracks roared from the boat. Soon after, a line of neck chained prisoners walked down the ramp.  The pirates yelled their foreign rants as if the volume meant their words were more likely to be understood.
The prisoners wore drab, dark clothes. Simple outfits without glamour.
“Puritans,” Zaide thought. “I need to go with English or Dutch.”
The pirates lined up the new lot, while Osmin negotiated with the captain.
Zaide scanned the crowd. Each looked down, some lips murmuring in prayer. 14 people in all. Most were men, but one was a family.
The little girl grabbed her attention first. Around 7, she was openly sobbing, not trying to be brave.
Next to her was the only woman, or girl, close to marrying age. She was around 15. Zaide eyes burned. That’s the age I was when captured. Of all these puritans, she’s in for the most horror. At least, I had someone captured with me. Someone to share my burdens. But… they were all sold to other provinces. The girl did not stand out, but she was not unattractive either. Her sandy hair was braided. Her cheeks soft and speckled. Her dark loose clothes left her body shape a mystery, but she was not stout.
Next to the girl stood a man and a woman. Zaide assumed they were the parents. The mother was too old for the harem, and would most likely be sent to the palace kitchen, with the youngest girl. She resembled both the little girl and the older one. The father’s face hung with all sorts of emotions: brave, kind, sad (not for himself but for his family), and gentle. He looked like the kind of father, Zaide would have liked. 
At the other side, a sandy-haired boy held his mother’s hand. Zaide’s breaths fluttered like a floating, lingering oboe series, at the sight of him. His face scared Zaide. She didn’t know why. She had seen that expression before. No one with it had ever survived, and that didn’t seem to bother them. But, with head-butting irony, for as long as they lived, they made the best slaves.
His cheeks were soft. His nose as well. His eyes as blue as the Mediterranean. They shifted to Zaide. The kindest glance slapped her. She looked away.  Her diaphragm and spine quaked, long and low as if the fluttering oboe started to weep.  She had hardened herself from slaves’ pleading looks, but her quivers were akin to the fear-piercing nerves she had had when first put into the translating position.
Osmin finished paying for the slaves. He had shouted a bit in the haggle, but not of anger, more like a man arguing over which sports team is better.  The slave trader scanned the new lot. Pointing his whip at all the men, he said, “Take them over there.”
Slavemasters unchained the three females from the group, and dragged the men to one side.
Her face filled with confusion and fear, the lone teenage girl let the slavemasters guide her to Osmin. She kept her head point down. Osmin placed his hand below her chin, forcing her face up. She resisted until fear trumped rebellion. Scanning her, Osmin laughed, low from his belly. “She goes with the eunuchs.”
The eunuchs walked over to the girl and grabbed her upper arms.
Osmin returned to Zaide’s side. “She’s pretty,” he said, pointing the tips of his mustache toward the young girl as the eunuchs unchained her. “But not beautiful enough for anyone important.”
Zaide clenched her teeth. Dog. Could there be a fouler spirited person? Even at great loss of myself, I’d destroy him if I could.
Osmin looked her way as if he had heard the grinding crack of teeth.  “The slaves?” He spoke with a ‘do your job’ tone.
“Hold your tongue. I need to figure out the language. If you weren’t such a barbaric simpleton, you could do it yourself.”
“Beauty fades. Your mouth never will. The day that you fall out of favor…”
“You will sour Soliman before I.” Zaide didn’t waste her ears on him. She walked closer to the slaves.
As eunuchs dragged the teenage girl away from the rest, dreadful understanding contorted her expression. She flailed as they secured her with a new set of chains. “Why are you taking me away from everyone else? What are you going to do to me?” Her struggles did nothing to slow the slavemasters from securing her.
One of the men slapped her, mumbling shut her last set of complaints. They didn’t dare use the whip and mar the goods. 
“Leave her alone.” Not yet fettered to any other slave, the girl’s brother knocked a slavemaster to the ground. His leg chains rattled as he ran toward his sister with a galloping gait. He did not even reach half the span before a slavemaster kicked him to the ground. Scourges weren’t afraid to dig into the boy’s skin. He tried to stand as they lambasted him. Osmin joined in with a giddy smile.
Sharp cracks and meaty thwacks throbbed inside Zaide’s ears. Her guts twitched toward him, but her outer sense kept her limbs still.  With each lash, her muscles seized as if she had been the one being beaten.
“That is enough.” Osmin said shortly after they started. “He has much work to do. These kind are good workers.”
Osmin walked to the docks, dipped a bucket in the sea, and returned. “Hold him down.” He said. He smiled big enough to sheen toothy yellow.
Slavemasters stretched out his arms and legs. The boy was too weak to fight.
Osmin dipped his head close to the slave. “You can let your spirit serve you well, or you can have it bring you misery. Either choice shall give me great pleasure.”
They boy did not understand the words, but could discern to tone. After a quick chuckle, Osmin dumped the saltwater over the boy.  He screamed, not like a kicked-dog yelp, but more like an ‘I can endure this’ growl. 
Osmin nodded with pride, as if he had just discovered a prize-racing stallion.
A deadening cold waved over Zaide’s back and neck, goading out even more tension. She tightened her fist, wishing she had the power and ability to use it.
Slavemasters yanked the boy off the ground by his chains. Although bloody and bruised, his previous peace-filled expression returned. Wrenching his elbows behind him, they forced a bar between the crooks of his elbows and the middle of his spine. His hands remained chained below his ribs.
“English.” Zaide swallowed and rotated her neck. She ached from having seized at each boy’s blow. She had seen plenty of floggings and even ordered a few herself, but none affected her like this.
For the most part, she was immune from receiving a beating, only the Sultan was allowed, but he never touched her. At least that way. And the ways he did touch her, didn’t happen too often. He had big selection. Above all, Sultan Soliman loved Zaide, and he wanted her to be happy—within his confines. She had two responsibilities. Spend the night with the sultan at his request, and translate orders to European slaves. Otherwise, she had free reign of the palace.
She’d rather spend the night with the sultan, than crush captured soul’s spirits.  Comparing her lot to that of the other slaves, she bore her nights with Soliman chiding herself. “I deserve this. I deserve this, for what I have done to these people.”
Zaide cleared her throat and spoke with as much domineering as she could muster. “Slaves. Welcome to your new home. I am Sultan Soliman’s fav…” Zaide spotted the boy staring at her with kind-hearted pity. Blood trickled beneath a blue eye.
Zaide’s heart plucked her vocal chord as sharp as a harpsichord hammer. She murmured her lips silently for a bit.
“Well.” Osmin scowled.
“Calm yourself. It has been a while since I’ve had to do English.” She faced the slaves again avoiding eye contact with that boy.
“As I said. I am the sultan’s favorite. An insult against me, would be as if you attacked Sultan Soliman himself.  You no longer belong to yourselves. Your children, your wives, your friends now belong to the sultan. But, despair not. Sultan Soliman is a kind man. He does not treat his slaves as other nations. Do well, and you will be rewarded. Many of the highest officials and viziers are slaves. Disobey, and you will perish.”
“Do they understand us?” The boy asked.
A slavemaster scourged him where his elbow met the bar. He gnashed his teeth and kept looking at Zaide.
“Slave. You are not to speak unless spoken to.”
He nodded with his lips, followed with a compassionate grin-frown.
“But, no. They do not understand you.”
“Can you do anything to allow families to say goodbye?”
A slavemaster lifted his whip.
“Stop,” Zaide said in Turkish. “I asked the slave a question.”
She turned back to the boy. “No. That would not be possible.”
“Thank you for allowing me to ask. I do not envy you. Your lot is worse than ours.”
Zaide whipped around, flinging her hands into the air, a sign ordering the men to take the slaves away.
She covered her face, leaving the slightest slit in her veil. As tears and slime slathered her face, Zaide paced away, holding in her choking throat, looking for a safe place to weep bitterly.




Monday, January 19, 2015

7 means of attention-seeking I find uncomfortable

Behold, our look-at-me culture
A girl fears to ask
For the approval she seeks
Their voices loom loud
If only one would hear
Copy-cultured cronyism
Pretentious praise, their highest joy
All the while, I wither
Tongue glued to my palate.

~Rachel O, Caveat Ties

Mozart craved attention… Adulation. And deep in his diaphragm, he was an insecure man who often slumped into a funk when he didn’t raise the praise he desired, or thought he deserved. Above all, I think he wanted people to acknowledge his work. I often wonder what he would have done to get attention. And, what he wouldn’t have done. In my own search (and research), I wonder what I’m willing to do. I’m not sure. I kind of want my stuff to stand for itself. I don't want crap to get attention, just because I know how to market it. But, it just doesn’t work that way. So, I thought of 7 things I feel uncomfortable doing (whether I should or not) in order to get attention. These are likely why I am having some troubles.


Tying myself to a charity
“All proceeds will…” This is a very popular marketing gimmick, and maybe I’m wrong for thinking the way I do about it. I mean, don’t we live in a quid pro quo culture? Why not help oneself if it helps others? But, when an organization does this, it doesn’t really seem as if it is about the charity. It’s a self-serving double-propping: making money from letting everyone know how virtuous he or she is.

Being offensive, controversial, or provocative solely for the sake of being offensive, controversial, or provocative
There is a difference between being honest, and trying to shove ideas in another’s face. I have things to say that many would find controversial, even offensive. And, I want to ask tough, probing questions that get at the root of what we believe. But, I would prefer to bring forth my message in a way that gets people to contemplate, as opposed to goads. Besides, the only ones that really cling to such attentions-getting tactics are like-minded ilk. And, I’m not necessarily trying to cater to the like-minded.
Repetition
I once read that the secret to get gobs of twitter followers was to tweet often. One, I don’t have the time or computer access to compete with the bulk of twits. Two, what am I supposed to say? Do I say the same thing over and over again? I tend to assume, if no one responds the first time, my words probably weren’t anything anyone wanted to hear.  Or, do I just say every vain babbling that comes into my head, hoping that something finally resonates with someone? That can’t be a good strategy for me, a man that has the tendency to foot/mouth my words. I need time (lots of it often) to think about what I say before I say. (My wife will agree.) But, this is most likely a losing strategy. It seems the number one marketing rule is repetition. And, I know with as fast as people spew out blather, it is quite likely that my words have gotten lost.  Sometimes, repetition is the only way to get an idea’s buds the light of sun
Asking for help, or asking for attention
Again, this is most likely one of the worst set of uncomforts I have. Why am I afraid to ask for help? I don’t think it is because I’m afraid people will say ‘no’. I’m afraid they will say ‘yes’ begrudgingly. I don’t want to make my passions a burden for others. I want to create something others enjoy, something that makes people think, whatever it is. And, another reason I’m afraid to ask for help is because I might not hear what I want to hear. Like, “Don’t quite your day job.” (Night job in my case.)
Catering
Leopold constantly reminded his son to not neglect the popular.  But, what if I don’t like the popular? Either mainstream or literary. If I don’t like what everyone else likes, do I really think I can get people to accept what I think they should like? I wonder if some authors create a shell of arrogance, by saying their unliked works are unliked solely because an audience isn't sophisticated enough to like it? Yet, I still create to meet an unmet demand: myself.
Flattery
I’ll be the first to admit, I need to be better about saying encouraging words to others. But, I don’t want to give empty complements to others in order to manipulate them into beaming a spotlight on me. And, vice versa. And, I don’t want to comment on other people’s posts solely to prop myself. I want to actually be interested, and have something to offer the conversation.  
Risk-taking
I don’t think many really like taking risks. When it concerns my personal well-being, I am not as fearful. But, when others are dependent on me… Sometimes I tell myself, if I thought the way I do now, as I did when I was single… Maybe I would have… How could I possibly justify throwing time and money into a writing venture, when three children under six depending on me to provide? Especially since, I haven’t even a hint of success to spur me foreword.

Thursday, January 15, 2015

A Troglodyte’s Take on Regietheater

I know. A troglodyte mixes with Opera like chew-spit mixes with a recently opened pop (soda for most of the world). But, as I have been exploring, I have discovered a new term: Regietheater. What is that? It is the newfangling of opera allowing the director the freedom to change things around. Make it ‘hip,’ ‘phat’ or whatever terms the trendy use nowadays. What do I think of it? It’s new. So of course I hate it.

Now, before you start thinking I’m simply being ironic, I do not dislike Regietheater because it is new. I wouldn't even mind watching an opera in a more modern setting—as long as it stays true to the spirit of the composer. My problem with Regietheater is they do these freaking bizarre things to opera.  Weird noises. Graphic scenes. Sloppy sets. And, lots of red paint (blood). Moreover, they push themes that have nothing to do with the composer’s, some of which are at odds with this troglodyte.
‘Hey troglodyte, you just don’t get the symbolism.’ It is true. I’m not that bright. "Thanks for putting giant masks on the antagonists and giving them oversized furniture, because I wasn’t bright enough to know you wanted to tell me they were small men with big heads." And, why does it seem that modern symbolism so often equates with graphic? Just because one calls attention-getting dribble satire, doesn’t mean it really is.
‘Well, Regietheater explores brutal realities.’ I’ll admit there is value in emotional honesty. And, grit can have its place. But, isn’t that the power of the music? And, how does creating a new brutal reality for those exposing themselves—because they feel it may be their only shot at being discovered—help solve the cruelties Regietheater claims to abhor? (i.e. sexual exploitation, for profit.) And, do some operas loose the opportunity of discovering great talent, due to a particular set of values… Or a particular set of looks?
 ‘What about one’s artistic vision? Would (blah artist) have changed his (blah work) in order to cater to the complainers?’ There is a difference between sticking to one’s artistic vision versus piggybacking off some other artist’s vision in order to manipulate audiences into absorbing themes that have little-to-nothing to do with the original artist’s intentions. And, then have the gall to call those that complain, troglodytes. (A badge of honor for this man, I’m simply defending those of refined tastes.) If someone wants to pursue artistic vision, do so… Create that revolutionary opera. Of course, that would that require a ton of slow, often-fruitless labor trying to build a name and beckon audiences.  As opposed to the ease of bait-and-switch.
But, if one wants to share with the world why Mozart (for example) was great, share Mozart. Share his struggles, his doubt, as he expressed them. That is what most who hear the name come to see. 


Tuesday, January 13, 2015

K. 488, Piano Concerto no. 23

Being a poor (a hideously relative term), busy (most often term of excuse) man, I have little opportunities to see any live orchestra performances. So, when a chance to see Mozart comes, I do what I can to see it: check my fun money account, make sure we have no plans, and hope my wife doesn’t need a break from the always-fighting boys. Thanks to the South Dakota Symphony Orchestra (and my wife), I received an opportunity.

South Dakota native Paul Tuntland Sanchez performed Mozart’s Piano Concerto no. 23 with the SDSO. Having the musical knowledge of a redneck at a French cheese convention, I couldn’t tell you if they clung to their keys, kept up cadence or twanged with proper timbre (don’t fully understand the connotation of that word). But, I thought it was marvelously fun to watch. Sanchez played in a manner that drew attention to the music, not himself. From conductor to concertoer to orchestra, everyone let the music take them on its mountainside trail ride.
Here's a link to SDSO and Paul Sanchez's FB page (Check them out)
https://www.facebook.com/SDSymphony?fref=nf
https://www.facebook.com/PaulTuntlandSanchez

So, on the music.
I remember when I was around 14. My mom was a hog unit manager, and I began working with her. One of the first jobs I was given was power-washing the farrowing crates. As a kid, I was like, ‘Whoa, I actually get to blast this things with this contraption that could supposedly cut off your toe if you have it at the right setting.’ I let it loose. Manure flew, some off it even hit the fans. For about the first half an hour, I was one of the Ghostbusters. After that, I was a soaked, miserable kid covered in pig crap. ‘I see why she wanted me to do this now.’ I did not open my mouth to speak to myself, for enough filth had already worked its way it.  
Almost anything seems exiting (or at least tolerable) when we first start it, but with certain duties as we become caked in filth, the appeal wears.  And, I have the tendency to look down at someone who actually has a job in his or her desired field but complains about it. ‘What’s wrong with you, do you know how many people would love to have your job?’ Although, I do the same. I get so excited about a venture, but lose zeal as time passes and/or I can’t spur the same passion in others.   
Mozart was such a man. Of course, his passion for music never wore. But, being forced to concentrate in one musical area made him miserable, maybe such a mentality spurred iconic works of many genres.  And, that is why he wanted out of Salzburg. They wanted violin concertos. He wanted to do operas and piano music. Then, he moved to Vienna where they had their own set of expectations. Above all, Mozart wanted to explore.  And exploration brought him to Figaro. If one dares to venture in the realm of the banned, he or she is bound to fight through flying feces in order to clean house. I could imagine that at some point in the Figaro process, Mozart needed a break—as well as some immediate income.  Thus, he began work on K. 488.
The first movement is the start of a journey. The strings and winds sing sweetly. Their voices suggest, ‘This isn’t what I had in mind, but hey, it could be fun. I could find peace doing this.’ The piano comes in with the same sentiment. All the while, sighing hints long for more, some gusts huff a bit louder than mere sighs. The second movement starts with piano. Many of the concertos I’ve explored—so far—seem to have the solo start in the third movement. Moods of despair moan. ‘Am I going to be stuck doing this for the rest of my life?’ Like Ruhe Sanft, plucking of the violin strings is evocative of tears. The music says, ‘Are my dreams destine to die?’ ‘I can’t do it. I won’t make it.’ And then… Bam. The moods are slapped by the third, like an impassioned muscle-clumped motivational speaker. ‘You know what you want. You know how to get it. Let’s go.’ There are still hints of doubt, and self-struggle, but it is music willing to press on. And, it presses on with hope.


Wednesday, December 17, 2014

Zaide, K. 344, Nur mutig, mein herze,

Nur mutig, mein herze

So why am I on such a Zaide kick? There are lots of reasons. Dig closely into my blurbs for some. But often, we go through artistic phases based on philosophical… existential… queries. One theme that seems quite prevalent is the dystopian future. Sure, they play on our fears. Even this troglodyte at heart has to tame my own ‘prepper’ lusts. My wife has insulted me numerous times for suggesting that it may be a good idea to store a stockpile of dried beans and bullets. Yet, the modern dystopic stories, deep in their core, lack moral dilemmas.

"Hey troglodyte, how do you mean?" Some may say.

Hunger Games? Divergent? 1984 (An oldie). Etc. They all center on protagonists’ wrestling with a society so terrible, they have no other choice but to act. To rebel. Their rebellion is their only chance at survival, their only chance for a slice of pleasure, even though a slim chance. Maybe, that is the appeal. Sometimes, I wonder if deep down we want to be put in a position where we are forced to act. Passive action.  In this same manner, one could say that Gomatz is in this type of position. He has nothing to lose. His escape could be his only survival.

But… He is not the one facing a real moral dilemma.

Lately, I’ve been wrestling in my writings. (I’ve yet to have a hint of success).  I’ve created works centered on a utopic society. But, this society is propped via a corrupt reality. The protagonists wrestle with whether taking a stand is worthwhile, if it means ruining their lives. And, even crumbling the culture.

Then I come to a work like Zaide.

I’ve done some research on Ottoman slavery during Mozart’s time. Of course, we all abhor slavery (or at least should) but Ottoman slavery was… interesting? Many of the most powerful advisors and politicians were slaves. Particularly European slaves. And, during a time when women were downgraded, the wives of the harem had considerable power. Some were the most powerful people in the land.  All this power, yet still a slave. Hence, enters the moral dilemmas of Zaide. Both Zaide and Allazim had a good lot. (Even Osmin acknowledges it in his mocking.) But, are they willing to give it all up for a greater purpose? One can see why Zaide would take a risk for love. But what about Allazim? Why would he risk his life? His prosperity… Love? Possibly a even deeper love?

Nur mutig, mein herze reflects Allazim’s struggle. He has caught young, forbidden love, mid dance. His job is to punish, but he offers mercy. A mercy that could get him killed. In this aria, he fights his fears, trying to psych himself up to do what is right. With a fist pump, he finishes the aria with the phrase, ‘often the weak beat the strong.’ Somehow, someway, he places his confidence in something bigger than himself or his situation.

And, this brings me back to Mozart. Yes. He had a lot of misery in his life at that point. But, as I think about it, in his time, misery was the norm. Having a slow internet connection is nothing compared to the crap 18th century humans had to endure. Mozart would have had a better lot than most. I wonder if at times, Mozart looked at his life listening to the voices that said, “Suck it up, everyone is miserable,” and thought, “Yeah. They’re right. I have it pretty good.” He tried to convince himself that. Yet, he couldn’t. He would never be content in Salzburg. Thus, his own moral dilemma. Should he stand against his father? Against his employer? Against his city? Even if it led to his destruction?

Saturday, December 6, 2014

Zaide, K. 344, Trostlos schluchzet philomele

Trostlos schluchzet philomele 

There are more literary references to a caged bird yearning for freedom than junk cars trapped in groves.  The reference has become cliché, but as with most clichés, they become cliché for a reason. They illustrate truths well. I wonder where the caged bird metaphors came from. Was it Zaide? I doubt it. If anyone knows for sure, let me know on my Facebook page. So, why does this metaphor resonate? In some way or another, we all feel trapped.  Mozart for sure. 

In Trostlos schluchzet philomele Zaide finds herself in a dungeon. She compares herself to a nightingale. Calling out day and night. Interesting fact about nightingales, they are known for singing at night (Duh). But, they do so in search of a mate. So, they cry out day and night until they find their love. Nice poetic happy hippy stuff. The nightingale has been fine fodder for fancy verse from its first flight. I’m sure Mozart was aware of all this. But, I am not out to accuse him of delving into the cliché.  

The music’s mood is that of seeking, searching, yet there a smidge of content. It has more peace than Ruhe Sanft. Not a peace that says, 'Things are going my way,' but one that says, 'Things are not, and I'm ok with that.'
The lyrics ‘Ach, wer könnte sie wohl strafen, Wenn sie findet, was sie sucht’ hold the key. (I hope I have them translated right. But if not… Well, what would you expect from a troglodyte.) In both the music and the lyrics, this is the work of a man searching, not the work of a man knowing. Mozart was seeking that thing (or things) that would bring him real, lasting joy. The song (the entire opera even) seems to elude that that joy-invoking element is love. Yet, why do so many, who write these lofty, beautiful songs about love, seem to have such trouble in the practical department? Have they idealized it too much? Or have the sought it in the wrong place? 

Do Zaide’s words “Oh, who could ever punish her, when she finds what she is looking for,” suggest a love no one can ever steal. A love that can endure anything. Do her words reflect Mozart’s desires? His struggles? Is such a love possible? If so, did Mozart ever find what he was seeking?


Monday, December 1, 2014

Zaide, K. 344, Tiger! wetze nur die klauen


Tiger! wetze nur die klauen

If people didn’t fight for what is wrong, would anyone need to fight for what is right?

I wonder if Mozart ever got sick of it.  The voices, pushing, pulling. His father. Colloredo. His fans. His critics. Sulzberger’s. The Viennese.  Fighting their wills, in order to pursue his own.

I don’t see Mozart as a fighter. By fighting, I don’t mean physical alone. We can fight in all sorts of ways. Both peaceful and violent. In fact, I’m often haunted by this reoccurring theme: ‘Stand up for what you believe.’ Sounds great, in principle. Until, as a youth counselor, I have to clash heads with teens who fight me over the slightest instruction, all the while they’re implicitly (and even at time explicitly) standing up for what they believe. Like a chain between two tugging tractors, I have to adhere to the values of my employer—even if I may think the kids have a point. Who am I decide either way? I don’t want to fight. I have to. (By fight, I mean hold kids accountable.)

The world is full of people fighting for what they believe is right. Much of the time that means, in reality, they are fighting for what they want. ‘Ok? Sound good to me,’ some might say. ‘Shouldn’t we fight for what we want?’ I don’t know… Then, am I to drop my ears back, gnaw, claw and kick until I become the alpha stallion? In spite of all the great things people have done by standing strong (and I’m not at all saying they shouldn’t have), I ask myself how many more atrocities were caused by those who stood up for what they believed, or wanted.  Who knows what would have happened had Hitler not been so perseverant? Even peaceful protests are not as peaceful as some would claim. The have a cost.

And…

Oh, how I hate the way people fight to get others’ attention. Maybe, that is part of my problem. I want recognition, but I don’t want to fight with those willing to pull down their pants just to get others to look at them. Or, those who lay guilt trips.  Or, those willing to spend thousands on marketing.  I assume, if people don’t recognize my work, it’s because it’s not quality. (Part of me still hopes I’m wrong.)

Now, I’m not making grand claims saying that we should never stand up for anything, I just wonder if it would behoove us to reflect more over why were fighting, and what standards we use to determine what’s worth standing up for, before assuming we’re right.
Yet, sometimes we are placed in a position where we have to take a stand. One side or the other. Tiger! wetze nur die klauen is a song that reflects such a dilemma. A powerful song of fist-shaking defiance, Tiger! wetze nur die klauen starts right off saying, ‘this is enough.’ She’d lived in luxury, but at a price. A sexual slave to a powerful man. Likely, she could have been beating her brows with guilt, saying, ‘I deserve this. Look at all the other slaves below me. I have it good compared to them.’ Then, she meets Gomatz and everything changes. She tries to escape, and is caught.

Then, enters Sultan Soliman. A man who is fighting for what he wants. The love of Zaide. As a man, I can identify. Who hasn’t had a crush so strong, that he thought he’d do anything to conjure romantic feelings? But, how far should one take that? This is not a battle Zaide wanted. The slower, sadder middle section of the aria laments with regret, but it transitions back to fist-shaking defiance. ‘Let’s do this.’ It seems to sing, ‘The only pleasure, you’ll willingly get from me is my death.’

I wonder if at the Zaide period of Mozart’s life, he believed a fight was inevitable. A fight with his father? Colloredo? Did he daydream about the eloquent words he would use that would put either in his place? What would it take to get Mozart to stand up for what he wanted? Either way, it was not a battle he wanted to fight.

Sometimes, people like to push others, to try to get them to fight back. I’m not sure what I think about the principle. I can see merit, but it still bothers me. Henry Ford was a jerk to his son. His son never stood up for himself, and eventually, died. Ford was devastated, and said something akin to, ‘I loved him. I just wanted him to stand up for himself.’ Who wants to be that person? I don’t get it. And, if there weren’t any people like that, would we need people like that to train others to stand up for themselves? My brain hurts just now. I don’t know… Maybe I have to live in the ‘real world.’

I still can’t shake the feeling that Colloredo had the same mentality. Read my blurb on Colloredo if you want to see why I think so. http://tonedeaftroglodyte.blogspot.com/2013/04/a-radical-theory-about-archbishop.html   Colloredo goaded Mozart’s Tiger! wetze nur die klauen fight. It was his actions that brought Mozart to Vienna, weaning him from his father. Was that good for Mozart?   ???   Or, was it simply good for us? We’re the ones that get to enjoy the music.