A Quote by Philip Kitcher
Using the Adagietto of Mahler's Fifth is one of the touches of pure genius in Visconti's film (even though Mahlerians complain very loudly that the piece has been ruined), since it corresponds perfectly to Aschenbach's yearnings and to his circling walks around Venice.
Related Quotes
Britten's opera tends to see things in simpler terms. It portrays an Aschenbach who wants a richer form of sexual fulfillment, and who is hemmed in by the social conventions to which he subscribes. But Visconti's use of the Mahler Adagietto is perfect for what I take to be Aschenbach's sexual desire.
We know that he gave Aschenbach Mahler's first name, and also his facial features. So Visconti picks up on something interesting. That led me to think about ways of developing further the Aschenbach-Mahler connection.
Presenting Aschenbach as a composer - based on Mahler - leads to some dreadful scenes (especially those in which Aschenbach is berated by his student), and it surely distorts the character Mann created. Yet, we know that Mann's novella was based on a holiday in Venice he took with his wife and brother, and that while he was there he followed the reports in the German newspapers, describing the dying Mahler's progress as he returned from New York to Vienna.
Although, I am proud of all my Symphonies as they all have something special to say, my particular favourite is the Fifth. As the great Mahler expert Donald Mitchell said that if Mahler had written another Symphony, it would have been my Fifth!
The classical allusions and the Platonic disquisitions on beauty are no longer a form of cover, but integral to Aschenbach's complex sexuality. Moreover, the wandering around Venice in pursuit of Tadzio isn't a prelude to some sexual contact for which Aschenbach is yearning.
I'd love to meet Julian [Assange], and time permitting, and his will permitting, I'm sure it will happen at some point. Even though he's been very critical of the film [The Fifth Estate], he's been very polite about me and my work, and I feel the same way about him.
I found a deep kinship between Mahler's recurrent attempts to confront all sides of life and to affirm himself in the face of his own finitude, and Aschenbach's dedication to persevere in the literary evocation of beauty. Exploring this kinship led me to reflect on many of Mahler's songs and symphonies - and particularly his great masterpiece, Das Lied von der Erde. The end result was a way of reading Mann that I hadn't originally anticipated at all.
I am circling around God, around the ancient tower, and I have been circling for a thousand years, and I still don't know if I am a falcon, or a storm, or a great song.
I felt I should also contrast Visconti's treatment of the novella - usually damned by Mann fans (who typically respect Britten's more "faithful" adaptation). The Visconti film does many quite wonderful things, although there are good reasons for the condemnation.
I was being taken around by a press agent at the Venice Film Festival at age 18. Was it fun? Sure. But it was a dangerous path to be walking on as far as having a substantive life. Because the casualty rate at the Venice Film Festival for 18-year-olds? High.
I'm so honored to be on this recording with Ann & Nancy Wilson. They are iconic and I've truly been one of their biggest fans since I was a kid. And what a perfect song to sing with them, since I adore Vince Gill and have been very proud for his commitment to his own musical vision. When we were recording at Nancy's house, and even though I'm friends with those girls now, I had to keep 'pinching' myself and marvel at how blessed my life is! It was a very PROUD moment for me.
Mann's Death in Venice actually contains a snippet of philosophy about the second question, when Aschenbach, collapsed in the plaza, engages in his quasi-Socratic, anti-Socratic, ruminations.
Schopenhauer's thought that Will is insatiable, that once satisfied in one form it must be expressed in new desires, is inherited both by Mann and by Aschenbach (it's in Mahler, as well). So life is inevitably incomplete.
We've been using vaccination in some form for hundreds of years now. We have almost nothing in our modern medicine that we've been using that long, and it's been consistently productive even though, you know, the older vaccines were much more dangerous than vaccines we're using now.
No man, even though he be Shakespeare, can write perfectly when his web is woven of threads that have been spun in many lands.
Each individual is unique in ordinary life. The uniqueness becomes even more sharp and clear, crystal clear, when the person becomes enlightened - because only then his pure genius, his pure individuality, uncontaminated, unpolluted, is revealed.
Related Authors
Alfred Lord Tennyson Quotes
British
Poet
Benjamin Disraeli Quotes
British
Celebrity
Bertrand Russell Quotes
British
Celebrity
C. S. Lewis Quotes
British
Writer
Charles Spurgeon Quotes
British
Priest
George Eliot Quotes
British
Novelist
George Herbert Quotes
British
Poet
George Orwell Quotes
British
Novelist
Jane Austen Quotes
British
Novelist
Jeanette Winterson Quotes
British
Writer
Lord Byron Quotes
British
Poet
Neil Gaiman Quotes
British
Author
Richard Branson Quotes
British
Businessman
Virginia Woolf Quotes
British
Author
W. Somerset Maugham Quotes
British
Novelist
Winston Churchill Quotes
British
Statesman