RE-ENVISIONNING:MICHAEL PONTI AND SEBALD. INSPIRED BY SEBALD’S ESSAY ON JAN PETER TRIPP IN “A PLACE IN THE COUNTRY”(TRANS.CAITLING, 2013).BY STEVEN BENSON

RE-EN

VISIONNING:

“Additions”

“Rotated a

Fraction

Out of

Kilter”;

“Tonal

Shades

Altered”;

“Interventions

Deviations and

Differences”….

These

Phrases-

Similarly

Found in

Deconstruction

Ism and

Queer

Theory:-

They could

Equally

Describe

Sebald’s

Writing

Style;

And

PONTI’s

Pianistic

Peregrinations,

His peripat

Etic

Wanderings…

—————————————————————–

Thus, Sebald will go off on a rhizome, which initially seems wholly random but then turns out to be intrinsically linked to the variegated strands of the web he weaves in words.

Thus, Michael Ponti, pianist extraordinaire-often unjustly accused of “inappropriately” quixotic interpretations of the masters-will INSERT an extra note(sacrilege!), change a note, play along with the orchestra(Eg in the rehearsal of the Raff Concerto, recorded for Vox); he (in some ways, like Sebald) RE-ENVISIONS his subject matter,his “moments musicaux”(to quote Sebald’s only essay wholly on classical music, collected in “Campo Santo”, in turn citing{ie knowingly}Schubert’s piano miniatures of the same name). Ponti goes BEYOND  mere interpretation, as established by the current phase of hegemonic critics/academics -where to interpose your OWN pianistic style “between” you and what the composer “definitively” wanted is to commit a heinous crime(even though these re-interpretations were fashionable, indeed the norm,until the 1930s-Paderewki, Hoffmann, etc):he goes beyond reproduction(ie putative facsimile of the composer’s intentions); he is wayward; he does extreme rubati; he clangs, in the upper register and booms with the power of twelve giants in the bass; he plays tinny upright pianos(some of the Scriabin solo piano recordings, again for Vox, still available); oh dear, he even plays a few downright wrong notes!!!!!!!!Here he is in one of his most nervile, quirky, impetuous recordingshttps://www.youtube.com/watch?v=oQ18Z55x8sU andhttps://www.youtube.com/watch?v=MAebPEPYwJM.

So, they are both QUEER- in the wider sense I have often explored:unapologetically idiosyncratic, differant, full of flights of fancy. They both interpolate themselves(be it in the ostensible narrator/”narrators”{quote marks because it is partly a cloak for Sebald himself} or in the composer’s intention/”intentions”, we cannot fully ascertain anyway, ie merely from performance directions and even from knowledge of contemporaneous performing styles).

—————————————————–

Both of them re-envision and thereby RE-ANIMATE

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About decayetude

ENTHUSIASMS: CLASSICAL MUSIC, ESPECIALLY OBSCURE ROMANTIC COMPOSERS; BACH/HANDEL LITERATURE, ESPECIALLY THOUGHTFUL, WELL-WRITTEN(STYLISTICALLY)NOVELS W G SEBALD WALTER BENJAMIN THEODOR ADORNO(JUST BEGINNING!) AESTHETIC PHILOSOPHY GAY MEN'S WRITING;QUEER THEORY STIMULATING DISCUSSIONS(EMOTIONALLY AND INTELLECTUALLY) GOOD RICH THICK ESPRESSO MICHAEL PONTI SPRITUALITY/LIFE'S "AURA"(BENJAMIN), WHATEVER TRANSCENDENTAL THING YOU WANT TO CALL THIS MEMORY-the elusiveness thereof. LOST TIME AND AN ATTEMPT AT ITS REDEMPTION(NON THEISTICALLY/RELIGIOUSLY)
This entry was posted in Death of Author, Haiku poems, life mirrors art, Michael Ponti, my poems, Piano music, psychogeography, queer, queer theory, Re-envisionning, Sebald, Self-actualisation, Uncategorized, working outside hegemonies and tagged , , , , , . Bookmark the permalink.

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