{"id":1927,"date":"2010-07-01T10:57:56","date_gmt":"2010-07-01T14:57:56","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=1927"},"modified":"2013-01-09T16:44:59","modified_gmt":"2013-01-09T21:44:59","slug":"the-culture-diaries-richard-brody-part-ii","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2010\/07\/01\/the-culture-diaries-richard-brody-part-ii\/","title":{"rendered":"A Week in Culture: Richard Brody, Part 2"},"content":{"rendered":"

This is the second installment of Brody’s culture diary. Click here<\/a> to read part 1<\/em>.<\/p>\n

DAY FOUR<\/h3>\n

\"\"10:19 A.M.<\/strong> WQXR: Schumann, Three Romances for Oboe and Piano, op. 94, played by Heinz Holliger and Alfred Brendel. One of the great chamber-music recordings<\/span>. <\/p>\n

11:05 A.M.<\/strong> The Genius and the Goddess<\/a><\/em>: \u201cMailer<\/span> satirized the homespun Miller as \u2018the complacent country squire, boring people with his accounts of clearing fields, gardening, the joys of plumbing (\u201cNothing like taking a bath in water that comes through pipes you threaded yourself\u201d).\u2019\u201d<\/p>\n

11:55 A.M.<\/strong> Tag Gallagher\u2019s superb biography<\/a> of Roberto Rossellini\u2014remarkable<\/span> to learn that Italian critics hated Germany Year Zero<\/em>. <\/p>\n

2:10 P.M.<\/strong> Village Voice<\/em>\u2014interviews<\/a> with the directors Lena Dunham, Aaron Katz, and Matthew Porterfield (the director of two great movies, Hamilton<\/em> and the forthcoming Putty Hill<\/em>), about BAMcinemaFEST<\/span>. <\/p>\n

5:30 P.M.<\/strong> I Am Love<\/em>, which opens<\/a> June 25. Operatic, for those who don\u2019t like opera; Viscontian, for those who don\u2019t watch Visconti; erotic, for those who like to watch.<\/p>\n

8:10 P.M.<\/strong> The Genius and the Goddess<\/em>: \u201cIn February 1959, when the seventy-four-year-old Danish author Isak Dinesen<\/span>\u2014wasted, skeletal and ravaged by syphilis\u2014expressed a desire to meet them, Carson McCullers invited the actress and playwright to lunch at her house in Nyack, New York.\u201d <\/p>\n

8:30 P.M.<\/strong> Mozart K. 497, Malcolm\/Schiff on Mozart\u2019s own piano from around 1780. Reminds me that my favorite recording of this masterwork of symphonic scope, a Nonesuch LP of it, performed by Robert Levin and Malcolm Bilson, is unavailable on CD. Haven\u2019t heard it since I sold<\/span> my LPs in 1995. Wonder how it would sound now. <\/p>\n

\"\"9:30 P.M.<\/strong> Watched Jonathon Niese complete his one-hit shutout; saw bits and pieces of the last few innings. Pessimistically expected that, pitching into the ninth inning, he\u2019d lose both his one-hitter and his shutout\u2014I was wrong<\/span>. <\/p>\n

10:00 P.M.<\/strong> Clifford Jordan and John Gilmore, Blowing In from Chicago<\/em>, a Blue Note recording from 1957. The cut \u201cBlue Lights,\u201d composed<\/span> by the alto saxophonist Gigi Gryce. <\/p>\n

10:25 P.M.<\/strong> Erica Morini, Mozart, Violin Concertos 4 and 5. Morini: a Viennese immigrant (born 1904) with a mellifluous tone, who speaks Mozart as her mother tongue. These are privately-made live recordings, from concerts with a local orchestra, from 1965 and 1971, and a document of the vast cultural enrichment of New York that resulted from the desperate emigrations<\/span> of the nineteen-thirties and forties. <\/p>\n

\"\"10:57 P.M.<\/strong> I notice a strange Heisenbergian aspect to this diary\u2014the nocturnal chunks of time usually devoted to reading are, this week, instead go into filling out the up-to-the-minute account of the day\u2019s cultural doings. Am reminded of what one great rabbinic scholar said to me about another: I read ten books and write one; he reads one and writes ten. Nonetheless, I am learning something else about my own cultural life: that it\u2019s weirdly regimented, by day and time.
\n<\/p>\n

11:25 P.M.<\/strong> Gabriel Faur\u00e9, Piano Quintets nos. 1 and 2. A fine but strange recording<\/span>, by Peter Orth and the Auryn Quartet, an American and four Germans. <\/p>\n

2:20 A.M.<\/strong> The Genius and the Goddess<\/em>: \u201cThe young poet Sylvia Plath, married to the English poet Ted Hughes and trying to be a writer, a wife and a mother, identified with Marilyn\u2019s apparently ideal life. . . . Conned by Hollywood publicity, she had no idea of Marilyn\u2019s troubles.\u201d<\/p>\n

DAY FIVE<\/h3>\n

10:05 A.M.<\/strong> WQXR: Brahms, \u201cVariations on a Theme by Haydn\u201d. A stirring<\/span> and smart way to start the day. <\/p>\n

\"\"10:06 A.M.<\/strong> Blogging<\/a> about Busby Berkeley\u2019s Blonde Inspiration<\/em>, viewed last week but present in memory; re-read my own posts about it. Wonder whether I\u2019d recognize them as mine<\/span> if I stumbled on them by accident. <\/p>\n

11:00 A.M.<\/strong> John Cassavetes\u2019s Opening Night<\/em>, on DVD\u2014one of my favorite movies, ever. Therefore hard to talk about. <\/p>\n

12:17 P.M.<\/strong> The Locusts Have No King<\/a><\/em>, Dawn Powell: the literary life in New York, 1948, as it overlapped with the commercial life, the advertising life, the drinking life, the sex life. . . I\u2019m surprised<\/span> by her judgmental sarcasm. <\/p>\n

2:20 P.M.<\/strong> Reading, again chez Glenn Kenny at Some Came Running<\/a>, while doing a post about Tiny Furniture<\/em>, his response<\/a> to a negative but interesting remark by its director, Lena Dunham, in the Voice<\/em> interview, about a film that I love, Nicholas Ray\u2019s Bigger Than Life<\/em>. She\u2019s missing a great experience, but I can\u2019t hold it against her<\/span>. Around the neck of every artist, a sign should dangle: \u201cEntitled to be wrong.\u201d Critics are obligated to be right. <\/p>\n

3:14 P.M.<\/strong> Doing a post about Brian De Palma\u2019s Blow Out<\/a><\/em>. Remembered the beginning was a film-within-a-film; happy to find the first sequence on YouTube; impatient<\/span> to see the whole movie again. <\/p>\n

\"\"3:30 P.M.<\/strong> Read my colleague Lila Byock<\/a>\u2019s tweet linking to (and deriding) Sam Tanenhaus<\/a>\u2019s attempted debunking<\/span>, at the Times<\/em>, of The New Yorker<\/em>\u2019s \u201c20 Under 40\u201d concept.<\/p>\n

7:25 P.M.<\/strong> Mozart, String Quartets, K. 387 and K. 458. \u201cK\u201d for \u201cK\u00f6chel,\u201d the cataloguer<\/span> of Mozart\u2019s works. <\/p>\n

8:35 P.M.<\/strong> Mets v. Orioles; R. A. Dickey, the knuckleballer, 35 years old. Remembering Hoyt Wilhelm, who retired at age 50. I thought his birthdate on the back of the baseball card was a misprint<\/span>. <\/p>\n

9:30 P.M.<\/strong> Thelonious Monk at Newport 1958-59. A great bootleg, especially the first four tracks\u2014Monk in a great trio with the bassist Henry Grimes and the drummer Roy Haynes. Monk plays \u201cBlue Monk<\/span>.\u201d <\/p>\n

11:26 P.M.<\/strong> Pausing in the middle of a DVD of The Agony and the Ecstasy of Phil Spector<\/em>, a documentary<\/span> coming soon to Film Forum. <\/p>\n

DAY SIX<\/h3>\n

\"\"9:50 A.M.<\/strong> WQXR, indeterminate classical sounds\u2014short of coffee. Much lower-than-usual dose of Lady Gaga and Shakira and Christina Aguilera and other Saturday-morning music-videos-on-demand<\/span> this week. <\/p>\n

10:50 A.M.<\/strong> Trawling news on-line, land on \nhttp:\/\/entertainment.timesonline.co.uk\/tol\/arts_and_entertainment\/film\/article7146443.ece”>article<\/a> about the forthcoming Indian production of a fiction film, Dear Friend Hitler<\/em>, about the tyrant\u2019s last days. I decide to blog<\/a> about it, and find myself wading through the on-line sewage of Mein Kampf<\/em> and its ongoing international popularity. <\/p>\n

1:20 P.M.<\/strong> After neighborhood errands (notably, acquiring coffee), another errand, outside the neighborhood, to the West Side, to get Louise\u2019s clarinet<\/span> repaired. <\/p>\n

4:15 P.M.<\/strong> Paul Badura-Skoda, Schubert, Sonata no. 1, D. 157: played on an 1810 fortepiano by a pianist whose first musical language is Viennese. His Chopin (as Tuesday night) is all music, stripped of sedimented tradition; his Schubert is the essence of the tradition. <\/p>\n

4:55 P.M.<\/strong> Let It Rain<\/em>, a DVD of the new French film by Agn\u00e8s Jaoui. The trailer was promising\u2014there are a couple of good actors (Jamel Debbouze, Fr\u00e9d\u00e9ric Pierrot)\u2014but it’s scripted to death, the other actors are as broad as Broadway, and it’s full of absurd coincidences and plenty of stereotypes. A hermetically sealed and microwaveable French movie.<\/p>\n

6:45 P.M.<\/strong> Badura-Skoda, Schubert\u2019s Sonata no 17, D. 894, with the calmly majestic Moderato of the first movement.<\/p>\n

9:14 P.M.<\/strong> New York Mets v. Baltimore Orioles, at Camden Yards (on SNY); watching with one eye<\/span> while reading the bridge column in the New York Post<\/em>. Baseball on TV is never as much fun as at the park<\/span>, because the camera angles are always the same and can\u2019t show the whole field at the same time. <\/p>\n

\"\"9:40 P.M.<\/strong> A Star Is Born<\/em>, the 1954 version. Simply one of the greatest, most shattering of all melodramas and Judy Garland gives one of the greatest of all movie performances. Shocking that she didn\u2019t win an Oscar for it (she was nominated, but was beaten by Grace Kelly, for The Country Girl<\/em>, which I\u2019ve never seen<\/span>.)<\/p>\n

1:00 A.M.<\/strong> I want to read. I don\u2019t<\/em> want to read The Locusts Have No King<\/em>. I need to find another book. I have and love the original 1911 version of Dreiser\u2019s The “Genius”<\/a><\/em>, a beautiful recent issue from U. of Illinois Press and a great editorial discovery. I\u2019ve started it but it\u2019s too heavy to carry around, too heavy<\/span> to read in bed while lying on my back. Instead, I write\u2014return a few e-mails, write in this diary<\/span>. <\/p>\n

1:15 A.M.<\/strong> Schumann\u2019s Symphonic Etudes, the 1928 recording by Percy Grainger; a true communion<\/span> of composers. <\/p>\n

DAY SEVEN<\/h3>\n

\"\"10:30 A.M.<\/strong> Awaken to Louise watching The Lovely Bones<\/em>. She wants me to see the creepy scene<\/span> of Stanley Tucci luring the girl to his underground lair.<\/p>\n

10:45 A.M.<\/strong> The New York Times<\/em> piece<\/a> in the Arts and Leisure section on I Am Love<\/em>. The return of melodrama? It has never been away.<\/p>\n

11:05 A.M.<\/strong> A day of writing\u2014including this diary. Leonard Rose, the great cellist, performing Bach\u2019s Cello Suite no. 3 in C. I know it very well. I play a transcription on recorder, and can never get through the first movement without tears in my eyes<\/span>. <\/p>\n

12:55 P.M.<\/strong> Paul Badura-Skoda, Schubert\u2019s \u201cUnfinished\u201d sonata, D. 840. Badura-Skoda finished it; better as a two-movement torso.<\/p>\n

1:30 P.M.<\/strong> Ron Carter, Where?<\/em>\u2014Eric Dolphy with him, a kind of reciprocation for Carter\u2019s participation in Dolphy\u2019s Out There<\/em>, one of the most perfect jazz albums that exists, and the one that made me love jazz, at age fifteen. Here, in Where?<\/em>, Dolphy reins it in; intelligent easy listening, but parts of Dolphy\u2019s playing sound like nose-thumbing\u2014and he\u2019s right.<\/p>\n

\"\"2:15 P.M.<\/strong> A Modern Jazz Symposium of Music and Poetry with Charlie Mingus<\/span><\/em>\u2014he must have loved that \u201cCharlie\u201d; 1957 sextet, featuring a recitation\u2014much earthier than the pompous title. <\/p>\n

3:30 P.M.<\/strong> Sviatoslav Richter, live in Salzburg, 1977\u2014a little Beethoven, much Chopin and Debussy. Iridescent playing, with a nostalgia and tenderness throughout. The Slavic soul yearning for Paris? <\/p>\n

5:25 P.M.<\/strong> La Captive<\/em>, Chantal Akerman in Paris: Proust\u2019s La Prisonni\u00e8re<\/em>, through the prisms of the acrid romanticism of Contempt<\/em> and the aesthetico-economic ironies of Nouvelle Vague<\/em>. A crucial<\/span> and truly accomplished modernist melodrama. <\/p>\n

10:55 P.M.<\/strong> Brilliant piece<\/a> of political philosophy and psychology by J. M. Bernstein at the Times<\/em> on-line, \u201cThe Very Angry Tea Party,\u201d viewing that movement as the ultimate rejection<\/span> of the view\u2014supported by the increased interdependency of the modern world–of the individual as essentially a social construct.<\/p>\n

11:40 P.M.<\/strong> Chess and bridge in the Sunday Post<\/em>: I\u2019m a recovering chess player, never play any more<\/span>. <\/p>\n

12:11 P.M.<\/strong> As if on cue, Patricia Cohen, in the Times<\/em>, writes a piece headlined \u201cLong Road to Adulthood Is Growing Even Longer<\/a>\u201d\u2014as if she herself were responding to Sam Tanenhaus on \u201c20 Under 40.\u201d<\/p>\n

\"\"12:20 A.M.<\/strong> Miles Davis and the Modern Jazz Giants<\/em>\u2014including Thelonious Monk and Milt Jackson (I saw all three, in the mid-\u2019seventies, not together)\u2014in a great 1954 session. Davis\u2019s sound was never fuller nor riper (someone perfectly compared it here to grapes hanging heavily on a vine)\u2014this is where he seems to have found his definitive musical voice. The two takes of \u201cBags\u2019 Groove\u201d (the title tracks on another disk) are among the music I\u2019ve listened to most in my life. As for these other cuts, I know them less and so, listen to them more now. <\/p>\n<\/p>\n

Richard Brody<\/a> is <\/em>The New Yorker‘s movies editor for Goings On About Town and the author of <\/em>Everything Is Cinema: The Working Life of Jean-Luc Godard<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

This is the second installment of Brody’s culture diary. Click here to read part 1. DAY FOUR 10:19 A.M. WQXR: Schumann, Three Romances for Oboe and Piano, op. 94, played by Heinz Holliger and Alfred Brendel. One of the great chamber-music recordings. 11:05 A.M. The Genius and the Goddess: \u201cMailer satirized the homespun Miller as […]<\/p>\n","protected":false},"author":24,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[23],"tags":[344,80,343,346,81,53,347,345],"class_list":["post-1927","post","type-post","status-publish","format-standard","hentry","category-the-culture-diaries","tag-chess","tag-cinema","tag-film-baseball","tag-i-am-love","tag-movies","tag-reading","tag-upper-west-side","tag-werner-heisenberg"],"acf":[],"yoast_head":"\nA Week in Culture: Richard Brody, Part 2 by Richard Brody<\/title>\n<meta name=\"description\" content=\"July 1, 2010 \u2013 This is the second installment of Brody's culture diary. Click here to read part 1. DAY FOUR 10:19 A.M. 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