{"id":109,"date":"2015-06-08T16:58:44","date_gmt":"2015-06-08T16:58:44","guid":{"rendered":"https:\/\/jacobbr.com\/?p=109"},"modified":"2022-03-13T10:38:43","modified_gmt":"2022-03-13T10:38:43","slug":"of-barenboims-schubert","status":"publish","type":"post","link":"https:\/\/jacobbr.com\/?p=109","title":{"rendered":"Of Barenboim\u2019s Schubert"},"content":{"rendered":"<figure class=\"tmblr-full\" data-orig-height=\"682\" data-orig-width=\"540\" data-orig-src=\"https:\/\/64.media.tumblr.com\/181b55e05e539f74801c60539c9f0145\/tumblr_inline_npmxozoWTg1ryk1it_540.jpg\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/64.media.tumblr.com\/817d45ece77bc91477665a9f48f56dce\/tumblr_inline_pk5hwlQuZZ1ryk1it_540.jpg?w=1290&#038;ssl=1\" class=\"\" data-orig-height=\"682\" data-orig-width=\"540\" data-orig-src=\"https:\/\/64.media.tumblr.com\/181b55e05e539f74801c60539c9f0145\/tumblr_inline_npmxozoWTg1ryk1it_540.jpg\" \/><\/figure>\n<p>Long past four in the morning an old man sits at the piano.<br \/>\nOutside the shaded sky turns azure, its mottled urban-orange clouds invisible<br \/>\nfrom within the concert-hall, windowless as the rest of them. His fingers have<br \/>\nstruck the same miniature phrase, over and over, since midway through the concert.<br \/>\nThe audience left perplexed, unable to applaud. They exited silently, unevenly,<br \/>\nsome alone and others in groups, as the repetition became unbearable. Keiner<br \/>\nmag ihn h\u00f6ren, \/ Keiner sieht ihn an. The lights are switched off. Still he<br \/>\nplays the phrase. This image may seem a melancholic clich\u00e9; the aching<br \/>\nsentimental dross of a long shot from some unmade B\u00e9la Tarr film. The duration<br \/>\nof those shots, however slowly the time may pass within them, remains assimilable<br \/>\nand consumable through the fetish of duration itself. In this way the truly<br \/>\nterrible image, the explosion of time in the dissolution of the individual, is<br \/>\ndeprived of its full anaesthetic expression.<\/p>\n<figure class=\"tmblr-full\" data-orig-height=\"103\" data-orig-width=\"540\" data-orig-src=\"https:\/\/64.media.tumblr.com\/a01162557fead5ea428cfd4e26008f53\/tumblr_inline_npmxneN5GF1ryk1it_540.jpg\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/64.media.tumblr.com\/c7c77b6d2861185ed7233b1c5c3f7eea\/tumblr_inline_pk5hwlUf5P1ryk1it_540.jpg?w=1290&#038;ssl=1\" class=\"\" data-orig-height=\"103\" data-orig-width=\"540\" data-orig-src=\"https:\/\/64.media.tumblr.com\/a01162557fead5ea428cfd4e26008f53\/tumblr_inline_npmxneN5GF1ryk1it_540.jpg\" \/><\/figure>\n<p>Such a<br \/>\nterrible image is the danger approached by Barenboim\u2019s Schubert. The sonatas<br \/>\nare played as though in strict reproduction of how they are carried in the<br \/>\nmind: motifs jut out; where a lilting passage encourages rubato the pace opens<br \/>\ninto a tranquil yet brooding spaciousness. Yet music carried in the mind can<br \/>\nbecome caught, fixated on a phrase without the wit to discover an exit. Each<br \/>\nphrase bears a charge, attached in dark passages to a life spent with it; the<br \/>\ndarkness threatens as each phrase is once again confronted. Each threatens a<br \/>\nsecond fall from grace more terrible than the first: not Kleist\u2019s boy who in<br \/>\nhis narcissism discovers the object he is not, but the man who in his memory<br \/>\ndiscovers what he was and is no more, or what could have been but never became.<br \/>\nSchubert\u2019s music is treacherous. \u201cThere is no history between one Schubert<br \/>\ntheme and the next\u201d remarks Adorno. This marks the affinity between Schubert\u2019s<br \/>\nmusic and the unconscious. Not merely as music that takes as its subject or material<br \/>\nthe dream that can fall into psychosis, the lack of history between themes is<br \/>\ntranslated by the music into a mind full of history but without time. Two<br \/>\ncrystals collide. If reality must always betray the dream, then the dream must<br \/>\nin turn betray the unconscious in its apparent separation from the body; the<br \/>\nperformance of Schubert restores the body to the dream, but brings with it the<br \/>\nrisk of mortality, real violence, and destruction<\/p>\n<figure class=\"tmblr-full\" data-orig-height=\"248\" data-orig-width=\"386\" data-orig-src=\"https:\/\/64.media.tumblr.com\/fa63492a94a08e22fec7aff99f205c18\/tumblr_inline_npmxnwGihF1ryk1it_540.jpg\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/64.media.tumblr.com\/1addab246dc00f614a975d0139765416\/tumblr_inline_pk5hwmGXFF1ryk1it_540.jpg?w=1290&#038;ssl=1\" class=\"\" data-orig-height=\"248\" data-orig-width=\"386\" data-orig-src=\"https:\/\/64.media.tumblr.com\/fa63492a94a08e22fec7aff99f205c18\/tumblr_inline_npmxnwGihF1ryk1it_540.jpg\" \/><\/figure>\n<p>Far off<br \/>\na brontide hails. Sitting nearby Barenboim on the sound-dead stage I recognise<br \/>\nthe eccentricities of his interpretations only momentarily, in fleeting<br \/>\nreflection, hearing backwards. But from the back of the auditorium these<br \/>\nperformances rattle and lurch. They are overcome by a wholly personal idiom.<br \/>\nClose up there remains something inscrutable about Barenboim\u2019s technique: free<br \/>\nfrom the procrustean legacy of affectation that daily drills and exercises<br \/>\nusually inflict. His physicality becomes approachable \u2013 and draws one in<br \/>\nentirely \u2013 not through its constriction or servitude to the music, but in its<br \/>\napparent freedom. But in the distance the music appears in the throes of<br \/>\nexaggeration, delineating a disconcerting objective humanity. There is no<br \/>\nmiddleground, no reconciliation. Barenboim\u2019s performance succeeds where it<br \/>\nrenders the distinction between the near and the distant absolute. Here his<br \/>\nSchubert creates \u2013 either from the semblance of freedom, or from exaggeration as<br \/>\nsubmission to a life already lived \u2013 an experience available to no individual.<br \/>\nAs agency it produces a partisanship of listening, while as reflection it<br \/>\ngrants a faint knowledge of the fragmentation of consciousness itself.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Long past four in the morning an old man sits at the piano. Outside the shaded sky turns azure, its mottled urban-orange clouds invisible from within the concert-hall, windowless as the rest of them. His fingers have struck the same miniature phrase, over and over, since midway through the concert. The audience left perplexed, unable [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","_eb_attr":"","om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[11,12],"tags":[],"class_list":["post-109","post","type-post","status-publish","format-standard","hentry","category-aphorisms","category-art-criticism"],"blocksy_meta":{"styles_descriptor":{"styles":{"desktop":"","tablet":"","mobile":""},"google_fonts":[],"version":6}},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Of Barenboim\u2019s Schubert - Jacob Bard-Rosenberg<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/jacobbr.com\/?p=109\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Of Barenboim\u2019s Schubert - Jacob Bard-Rosenberg\" \/>\n<meta property=\"og:description\" content=\"Long past four in the morning an old man sits at the piano. Outside the shaded sky turns azure, its mottled urban-orange clouds invisible from within the concert-hall, windowless as the rest of them. His fingers have struck the same miniature phrase, over and over, since midway through the concert. 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