My Occasional Thought For The Day

The repetitive purple lines below, in my formatting of this page, are in Persian Cuneiform.

To Download Persian Cuneiform Font - Click Here
Then copy to your PC's Font Folder.

To Download Egyptian Heiroglyph Font - Click Here
Then copy to your PC's Font Folder.

Last night; late evening. I should have been asleep. I did something unusual.

I put on a CD, which is a recent buy: Johann Sebastian Bach - "Violin Concertos" performed by Ars Antiqua Austria. Seven minutes later I went to bed; lay there listening to this wonderful music; fell asleep listening to it. What better way to achieve sweet dreams.

But the Budgies, instead of their usual all night music on 2MBS-FM, had silence as well as darkness. I overlooked this in my desire for gentle repose. Fortunately they forgave me, as soon as I awoke and turned the radio on; with volume quiet yet clear.

This afternoon, a Budgie request CD: Ludwig Van Beethoven - Symphonies 4 & 5 - Leipzig Gewandhausorchester, conducted by Kurt Masur. The Budgies do get more "CD requests" than I mention. How do I know what they wish to hear? Psychic!

Having survived the day on little sleep, I come home & lie down; sleep for an hour and a half. So I am awake, but not refreshed at all. Sleep seems wasted if one is not afterwards alert.

Continuing with this last millenium Doctor Who [Sylvester McCoy] video, I watched the rest of "Dragonfire", plus all of the glorious "Happiness Patrol".

To further test my new VCR, I turned to a Doctor Who [Sylvester McCoy] video, which I had recorded from ABC TV last millenium. This is "Delta And The Bannerman" and part of "Dragonfire". The first story is much better than I recall. The second, much as I recall, and that is: well worth watching.

Today I set up my new VCR. A few frustrating moments, but it is mostly working fine. The fast forward & rewind are so much more rapid than in my old VCR, even when it worked! The picture is very good, except that when I record & only when I record, there are subtle parallel lines of interference, which are close to horizontal albeit not quite.

The Budgies had their CD music today: Beethoven - Symphonies 5 &6 - Tasmanian Symphony Orchestra conducted by ; Mozart - Violin Concertos - Takako Nishizaki & Capella Istropolitana.

It was finally too much for me not to have a VCR. Mine broke last year. So having the money, I bought a new one at Bing Lee in Town, for not much more than a hundred dollars. It would cost as much to fix the old.

Less laudably, a touch earlier I had bought a DVD at HMV: "The Billion Brain", the third Harry Palmer DVD and reputably the least.

Seven Correspondence Chess games I completed today, mostly in the afternoon. I posted them on my way to the Opera House. Speaking of which ...

"Mozart's Masterpieces"

The Sydney Symphony Orchestra [SSO].

... ... ... ... ... ... ...

8.00pm, at the Concert Hall, Sydney Opera House.

Conductor: Gianluigi Gelmetti

... ... ... ... ... ... ...

Wolfgang Amadeus Mozart: Serenata Notturna, K239.

This is one of those evening concerts of late 18th century Salzburg, which are designed for the Orchestra playing at intervals throughout an entire evening Hence the different nature of different movements, although the whole is intended towards the idea of pleasure.

While there is nothing in documents or letters to explain this Notturno, the last Movement is obviously intended to be humourous. There are various parts by various players, which are clearly meant to relate to real individual players. And after various bursts of virtuoso playing, it always quickly returns to a certain theme played by the Concertmaster [ably performed by Dene Olding], which is clearly intended as gentle satire. But who is the recepient composer? We will probably never know, although the original audience were well aware of every nuance intended.

Curiously, as I glanced down the row, as I smiled at the the return to "that theme" on one of the many times it happened, only one woman towards the other end of the row was also smiling. I think Mozart would have been disappointed in that.

.. ... ... ... ... ... ...

interval

.. ... ... ... ... ... ...

Gustav Mahler: Symphony Number Seven.

Mahler is not the most accessable of composers. Not that any individual theme nor variation is that difficult in itself, but length was very important to him. This very length is what often puts people off. However I am now used to it, such that I ignore any pain in my limbs & enjoy the music.

This is late 19th century, late Romantic music, and this shows in the relaxed pace of slow movements, and even of the faster movements. A very full Orchestra is scored, with two Harps, and a full complement of Brass and Wind. It is the addition of Trombones & Tubas to the Horns & Trumpets, which gives a Mahler Symphony a much louder & sharper sound than a Beethoven Symphony, rather than the mere larger size. At times, this sharpness can become a touch overwhelming, as when Mahler is in Allegro mode it does not finish at all quickly.

The final Movement had me, in some amusement, thinking of Mahler as the "Status Quo" of Romantic Music. This is in the sense of the Rock group of that name, who have been playing since the late 1960s. They were often satirised for having lots of "ending bits" at the end of many of their songs, especially by the cult satirical band, the Hee Bee Gee Bees. That is, there are half a doxen places where the song could have ended, but instead it continued. Mahler's final Movement in his 7th has at least a dozen places where it could have ended, but yet it continued. I did not mind at all, for, for what faults he has, he does know how to compose. But one man I passed, on my way to the bus stop, was telling his wife how irritating he found the sheer length of the Symphony!

For another point of view: the Mahlerphiles, in the A Reserve seats not that far behind me, were ecstatic with their applause of Gelmetti and the SSO. They know when Mahler is played how it should be. So I was correct and sensing it to be a very good performance.

That Budgie Valkyrie! I came home from work to find her waterdish on its side & obviously empty. There was no visible water damage nearby, but when I removed the tray from under her cage, a few drops escaped on to the hardboard. These did it no harm. So I carefully carried the tray into the kitchen, where I emptied it into the sink.

It seems a remarkable feat of strength by her, as the waterdish was over half full. It must have tipped over as she dragged at the newspaper, which lines the floor of her cage. This makes it physically easier to overturn it, and shows it was an accident. She was simply showing her strength by dragging about & tearing up the newspaper.

I have been considering asking for a copy of the photo of Benji. But before I did, I was offered one. This is available when the taker of the photograph visits. Surprisingly, the happy face of Benji in the photo, only two hours before his death, is despite his having not eaten for four days, due to two growths in his stomach.

I fell asleep for an hour and a half, soon after arriving home. When I awoke, I had no enthusiasm. I just watched television, mostly ABC, ABC2 & SBS. Little else. Perhaps television is evil. But then my viewing included Tin Tin, and I simply cannot see the bloomered Belgium lad, together with Fluffy, the Walloonian cartoon answer to Inspector Rex, as being evil.

I finished watching the the last 53 minutes of the DVD of "Parallax - The Portal Opens". It was, as before, most enjoyable. [Please refer to 17th March 2006.]

Last monday was my first day back from holidays, but B was not at home. However, last tuesday I heard two dogs barking as I approached their home; recognised B & M. When I was close enough for them to recognise me, M barked more excitedly. B turned quiet, all asudden. I said hello to each, mentioning their names. When I was at the gate, M came to me, stopped barking & wagged his tail energetically, while I told him he was a good dog.

B pointedly turned his head directly away from me, and no amount of sweet talking his name would make him turn and break his silence.

Today? B saw me, barked a little. I called his name sweetly. He turned his back on me. It is behaviour I have never struck in a Dog before. It seems he feels humiliated.

Yesterday I posted that final game mentioned last thursday. There is no better move. While the move still looks weakening, there are complications. One lives in hope.

...

Doctor Who - Hartnell Era - "The Aztecs"

"The Aztecs" was a story I did not like well as a child. Exactly why, I am not sure. However, I liked it much better when I saw it on ABC TV in 2003. And after watching this DVD, I admire it even more.

This story was written by John Lucarotti, who earlier had written "Marco Polo". The designer, Barry Newbury also designed "Marco Polo". They were both particular in their attention to historical accuracy. The Director, John Crockett was chosen by Verity Lambert in part, because he knew about the Aztecs, having studied them.

Commentary is by the producer Verity Lambert; Carol Ann Ford, who played the Doctor's grandaughter, Susan Foreman; William Russell, who played the another companion, Ian Chesterton.

The Tardis travellers dematerialise in the land of the Aztecs, pre-conquest. Here there is a severe drought, and the Gods are to be appeased by human sacrifice. Amongst the High Priests there is dispute. Tlotoxl, the High Priest of Sacrifice wants more human blood shed. Autloc, the High Priest of Knowledge doubts that this does any good.

Meanwhile, in an Aztec tomb, Barbara puts on a snake bracelet. When she inadevertently leaves the tomb, she is taken for a reincarnation of Yetaxa. She tries to stop the sacrifices and fails. However, she does help Autloc in his quest to be a better person.

The special features include much interesting background & production information; together with a number of interviews.

...

Doctor Who - Hartnell Era - "The Aztecs"

Verity Lambert: "... what strikes me when I see this ... is how truthful the acting is and how everybody takes it seriously and plays it for real. That's one of the clues to its success".

William Russell "The set does look wonderful."

Carol Ann Ford: "It does."

Verity Lambert: "She [Barbara] becomes the Yetaxa and changes. She takes on the role."

Verity Lambert: [on Tlotoxl, High Priest of Sacrifice.] "It is Richard III." ... "He has the inflections of Laurence Olivier."

Carol Ann Ford: "Your name, Ian, suddenly becomes very Aztecy. - EE-ahn."

William Russell: "Ah. Human sacrifices."

Verity Lambert: "This is a nice set, this garden. ... All the older people are allowed a life of leisure in the gardens. ... those customs they knew about are integrated into the story."

Carol Ann Ford: "I wonder how we got all these sets into the studio."

Verity Lambert: "I did have a reputation for stetching studio walls."

William Russell: [Commenting on his character, Ian's armour with trimming.] - "I have grown a lot of feathers."

They all agreed that this story is geared towards Jacqueline Hill, who plays the companion Barbara Wright & that she is wonderful in it.

They also all agreed that Daphne Dare had done great work with the costumes.

William Russell: "It certainly moves along. It really grips you. It is wonderful."

®®®®®®®®® ®®®®®®®®®

Commenting on Tlotoxl threatening to destroy Barbara, the Yetaxa:

Carol Ann Ford: "He's frightening."

Verity Lambert: "Yes, to a kid."

William Russell: "He means it."

®®®®®®®®® ®®®®®®®®®

Verity Lambert: "I think kids related to that. He [Doctor Who as played by Bill Hartnell] was not an authoritian figure."

®®®®®®®®® ®®®®®®®®®

William Russell: "This is classic Doctor Who."

Carol Ann Ford: "Yes! He twiddles his fingers as he's thinking."

®®®®®®®®® ®®®®®®®®®

Carol Ann Ford: On the Aztec Civilisation: "It's a shame. They had so much to offer. ... It's a pity that had to disappear."

®®®®®®®®® ®®®®®®®®®

On Ixta, Aztec Champion Warrior, played by Ian Cullen:

Carol Ann Ford: "He's good this guy."

Verity Lambert: Ian Cullen. He's great.

®®®®®®®®® ®®®®®®®®®

On Autloc, Aztec High Priest of Knowledge, played by Alan Pyott:

Verity Lambert: "He's very believable."

William Russell: "Very. Very."

®®®®®®®®® ®®®®®®®®®

Verity Lambert: "I think this is very well written."

William Russell: "There is real conflict between the characters. They are trying to do good and there are the difficulties of doing good."

William Russell: "You are convinced by the performances."

®®®®®®®®® ®®®®®®®®® ®®®®®®®®® ®®®®®®®®®

The commentators saw the Doctor put the necklace, that his Aztec fiance had given to him, with the artifacts in the tomb. But they missed that at the end, he suddenly turned back & pocketed it once more.

Cooking Corned Silverside I am, yet again! It is an inexpensive meat, but when cooked properly, both tender and very tasty.

...

Igor Stravinsky- "The Rake's Progress".

Libretto by W.H. Auden & Chester Kallman.

... ... ... ...

Opera Australia.

... ... ... ...

Conductor: Richard Hickox.

Director: John Cox.

Designer: David Hockney.

... ... ... ... ...

Truelove: Conal Coad.

Anne Truelove, his Daughter: Leanne Kenneally.

Tom Rakewell: John Heuzenroeder.

Nick Shadow: Joshua Bloom.

Mother Goose, a Brothel Keeper: Elizabeth Campbell.

Baba the Turk: Catherine Carby.

Sellem, an Auctioneer: Kanen Breen.

Keeper of the Madhouse: Shane Lawrencev.

...

... ... ... ... ... ... ...

Here is an Opera, of which I knew nothing, when I booked my 2006 subscription concerts. I chose it as Stravinsky was the composer. Its debut was in 1951, which makes it late Stravinsky, and so I expected it to be Neo-Classical. Thus it proved to be, although according to the Programme, it was his last work in this idiom.

It struck me immediately, as soon as I was aware of the Harpsicord, that it must have Classical Operatic inspiration. As the Opera progressed, there was a definite Mozartean feel to much of it, and not just because of that Harpsiord. The villainous Nick Shadow seems to have inherited much from the infamous Don Giovanni. There is also considerable influence of Mozart on the music; although the arias which Rakewell sings, whilst still in the country, have a feel of 19th century Italian Romantic Opera; while much of the London scenes have music which is more 20th century Tonal. That Stravinsky puts these disparate styles in close proximity, & yet make it sound perfectly natural, speak well of his mastery of composition.

... ... ... ... ... ... ...

The libretto is by W.H. Auden and his friend, Chester Kallman. Stravinsky asking Auden to write the libretto was very wise. He is an accomplished writer, who is is not without a certain depth. I took it that Auden admired Hogarths's "The Rake's Progress", without being able to take him completely seriously. Hence the rather tongue in cheek style. But the Programme, which I had time to read on the way home, due to an untoward wait for the train at Martin Place, suggests that the libretto has much to do with Auden's spiritual & emotional crisis, brought on by World War Two.

... ... ... ... ... ... ...

David Hockney's design, which was originally for the Glyndebourne Festival Opera, is quite astonishing! Without imitating Hogarth, Hockney creates sets with lots of lines and cross hatching, which gives a cartoon feel, but a serious one. The rural settings use mostly blue, green & red; whereas the London scenes bring in black, and when Rakewell is at his lowest, black predominates. However, the night sky is shown by solid prussian blue.

The costumes often had cross hatching, as with Nick Shadow's hat; while his coat of many colours, if we are limited to black, grey & white, was outstanding. The London whores were resplendent in their brightly coloured costumes; in contrast to the strict Hogarthian blacks & greys of the London public.

Hockney's artistic sense is magnificent.

... ... ... ... ... ... ...

The performance, as far as I can tell, was most satisfactory. The power of the baritone voice of Joshua Bloom [Nick Shadow] was impressive, as was that of soprano, Leanne Kenneally [Anne Truelove]. Of the rest of the cast, the only faults I percieved were a tendency to a noticeble lesser strength at times, in the voice of tenor John Heuzenroeder [Tom Rakewell]; and, for his very deep lines, with Conal Coad [Truelove].

... ... ... ... ... ... ...

The Programme was again most informative; a very good read!

... ... ... ... ... ... ...

...

Two chess games I posted tonight. These were games that last night, I looked at not at all. Both seem difficult in the extreme. Both ended up with the move I had long planned, not as I had much faith in it, but since there was none better.

Tonight on SBS TV was the Danish Unit One. Last night was the Austrian Inspector Rex, which was made half a decade earlier. Both stories had a man organising the murders, who was very calm & self assured, but who made simple oversights in the planning. The problem with an arrogant overconfidence. More of a coincidence, was that Inspector Rex had an attempted murder by trapping a man in a sauna, then turning up the thermostat to a lethal heat. Unit One had a murder by trapping a woman in a sauna, then turning up the thermostat to a lethal heat. One imagines that this method of murder is not unknown in the real world.

Earlier today, between leaving work & arriving home, I broke my journey in Town, and though tired on my feet, I bought two DVDs in JB-Hi-Fi. These were "Hancock's Half Hour", which I have eyed often, and "Parallax - The Portal Opens", which I saw for the first time. The former is a half recalled part of my early childhood. The latter is a show of this millenium, which I have always missed in part or full, as it is a childrens' show which screens on ABC TV too early.

Before Unit One, I watched two "Hancock's Half Hour" episodes: "Alpine Holiday" & "Air Steward Hancock". These are still humourous after all this time.

After Unit One, I watched the first 45 minutes of "Parallax - The Portal Opens". In this DVD, all the episodes run together, without separate titles for each. The story is very good. One does not have to be a child.

Before today, this first week at work since my holidays, it was painful often, just to look at the chess positions. But last night, I managed to write out likely moves for seven Australian games & one overseas game. Yet in no way could I possibly check these moves and send them.

Tonight it all went straight forwardedly, after I had achieved an hour's sleep late this afternoon. One move I rejected, as it seems to lose rather horridly; which means that game sits & waits. There should be a better move, and I may have it, albeit it may well still lose.

Overall, my overall position in the Qualifying Tournament has improved over the last few months. Now I have some real chance of a 50% result, although this will require no foolish ill-considered mistakes! The Sendak Memorial remains a disaster.

...

Vale Benji !!

Benji was this small terrier, who lived at the bottom end of Tunks Street; an odd dog on the even side. He had this habit of barking furiously if he sensed me coming, and then, once I was there at his house, even more furiously at me with bared teeth and all! But if the gate was opened, letting him out, he went silent, & walked up to me, wagging his tail most energetically.

In short, while he was an intelligent dog, he was not very sensible. But in this, he had a personality quite unlike a dog; not really a dog at all! And I was very fond of him just the same. My last day before I went on holidays, on 24th February, he caught me coming and engaged in a furious amount of barking, which he enjoyed very much. Since the recast of the delivery runs, I have been doing the two sides of Tunks Street separately, and this means that Benji had more difficulty in sensing me coming, than when I criss-crossed the Street. Earlier in the week, he saw me go past on the other side of Tunks Street, and his barking was mixed with whining & crying; bitter with aggievement. Yet he seemed to forgive me after that last friday opportunity.

I was supposed to be back at work on monday, but on friday I was phoned from a specialist in Saint Leonards, saying that an appointment was vacant monday morning. I needed to have this appointment brought forward, so naturally I took it. When I was going there, the thought occurred to me: "I can have a coffee in Waverton, and on the way, go to Tunks Street & visit Benji." But I had much to do & anyway, I thought: "I will see him tomorrow."

Danny had been doing my run when I was on holidays. He told me yesterday, that monday had been Benji's last day; they had left it until monday as "Benji really liked me". I was tired, it was my first day back at work and I did not understand. Then today, he further explained, "It was Benji's last day on earth on monday."

I was very upset, and so I avoided talking to people that morning. Certainly, I have been tearful over cats & parrots before, but never a dog.

However, as I have written above, Benji was not really a dog at all. Rather, someone.

Tonight I was at the Correspondence Chess League of Australia quarterly meeting. I was a bit late, as I overslept my afternoon nap. But late is better than another miss. December 2005, I was too busy; while August & September 2005, I missed through confusion. It was a useful meeting, as usual. The new Rule Book could not be finalised, but it is very close. The problem is with the rating of webmaster & overseas games.

Tonight I played "Tango Jam - Volume One", a CD which I bought on a whim, as I was leaving the Sydney Opera House yesterday, following the Australian Chamber Orchestra concert. This is the Tango music of Astor Piazzolla, played by a Quintet of Richard Tognetti [Violin]; James Crabb [Accordion]; Benjamin Martin [Piano]; George Vassilev [Guitar] & Maxime Bibeau [Double Bass], and recorded live at a concert last year, which I attended. Richard Tognetti & Maxime Bibeau are both members of the ACO.

... ... ...

Unico Wilhelm Van Wassenaer:
Number 1 in G Major from the Concerti Armonici .

I had not heard of Van Wassener before. This is perhaps not surprising, as the programme says that while the six Concerti Armonici have been well known and performed often, over the last two centuries, they were attributed to Pergolesi. But in 1970 it was established that they were not his. But only in 1979, were they correctly attributed to the Dutch aristocrat & diplomat, and gifted amateur composer, Van Wassener [1692-1766].

Interesting it is the way he begins with a grave, making the four Movement work: slow; fast; slow; fast. So while is sounds overall very Baroque, it has qualities which make it distinct. Like many Dutch Baroque compositions, which have only regained exposure on the world scene in the last decade or two, he undeniably owes to the Italian & German Baroque, whilst yet being unique.

...................................................

Arcangelo Corelli: Concerto Grosso in D Major,
from Opus 6, Number One.

Delightful Corelli! This work I am very familiar with. It has six Movements, which is typical of Corelli, especially in that it is typically good. And if a Corelli Concerto Grosso may be something of a straight-jacket; yet he gets to move creatively within these strictures!

The ACO, with this piece and the previous, plus the next four, performed to their very high standards. Yet I did detect looks of some critical concern, on the faces of certain musicians. Also I noted that the applause was not quite as strong as at the previous concert. But this is merely because there are many in the audience who give the highest praise to novelty, and they had probably not heard the Oud played Egyptian style, prior to that previous concert. But then, novelty was a point of praise in the Baroque. That is why the Turkish Military Percussion instruments appeared in the Orchestras of their Austrian enemies! Myself? Novelty is far the less important than an excellent performance by the Orchestra or Ensemble!

...................................................

Georg Philipp Telemann:
Concerto in G For Four Unaccompanied Violins.

I thought I had heard most of the variety of Telemann, yet this composition is very different. The programme says that he specifically states that it is for four Violins only, marking the score "without Basso Continuo". It seems that even if the Basso Continuo were not specifically scored, the assumption that it would be there, meant that it would be created. So Telemann is very firm as to what he intends!

And I understand on hearing it, as to his insistence. Using just this quartet of Violins, allows him to achieve a greater range of emotion. He initially plunges almost into despair; gradually rises; finally in the Vivace, soaring with joyous melody. I have the impression: this was no mere commission, but a composition with a considerable personal feeling within it.

...................................................

Luigi Boccherini: Cello Concerto In B Flat Minor,
Arranged by Friedrich Grüzmacher.

Soloist: Emma Jane Murphy.

I had no idea, before reading the programme tonight, that this is not actually a Cello Concerto by Boccherini himself, but rather an arrangement by Grüzmacher. The latter actually put together movements from different compositions of Boccherini, rewriting signifcant parts of them, then added his own cadenzas to give the final result. This was quite a common habit in the late 19th century, although it would be frowned upon today.

I feel myself a twinge of astonishment, if not a little horror. However, I am prepared to accept K.P. Kemp's advice in the programme, to "push those considerations aside and just enjoy the music".

Enjoyable, it certainly was.

...................................................

Interval

...................................................

Richard Meale: Cantilena Pacifica.

This piece is a reworking for String Orchestra, by the composer himself this time, of the final Movement of his String Quartet Number 2 [1980].

It is lyrical & almost ephereal; yet still retaining musical fibre. I enjoyed it! And I was glad I liked it, as I had booked a ticket for his Opera "Batavia", in my Opera Australia subscription for this year. Now I know I will not be disappointed with the musical style.

Precis from the Programme: Meale was born in Sydney in 1932. From 1960, he gained fame as an atonal composer. However, with that 1980 String Quartet, he moved into tonality. " ... working mostly with atonality was cramping his style. There were things he wanted to express that he found impossible without 'tonal' harmony."

...................................................

Felix Mendelssohn: Oktett In E Flat Major for Strings, Opus 20.

I write "Oktett" rather than "Octet", as that is what was written on the back of the musical scores. Sitting in the front row, I am able to detect such detail. Mendelssohn was 16 years old when he wrote this "first undisputed masterpiece" [Meurig Bowen - Programme]. He could achieve so much at that age; yet I can achieve so little at mine?

Let that thought pass. No doubt he had a clearer vision; better personal fortitude.

In any case, he shows great ability in his composing, even at this young age.

...................................................

This is from Chapter 7 of "Sanditon" by Jane Austen.
It is read by Norma West for Isis Books.

...

Wolfgang Amadeus Mozart - "Die Zauberflöte".

Libretto by Emanuel Schikaneder.

... ... ... ...

Opera Australia.

... ... ... ...

Conductor: Richard Hickox.

Director: David Freeman.

Designer: Dan Potra. - Lighting Designer: Damien Cooper.

Choreographer: Debra Batton.

... ... ... ... ...

Tamino: Jaewoo Kim. - Pamina: Emma Matthews.

Queen of The Night: Amelia Farrugia. - First Lady: Sarah Crane.

Second Lady: Catherine Carby. - Third Lady: Sally-Anne Russell.

Papageno: Warwick Fyfe. - Papagena: Taryn Fiebig.

Sarastro: Stephen Richardson. - Monstatos: Kanen Breen.

Three Boys: Robert Adams, Harrison Collins, Nathan Greentree.

The Speaker: Jud Arthur. - Priest: Graeme Macfarlane.

Two Armed Men: Andrew Brunsdon, Richard Anderson.

Night Creatures & Animals: Legs On The Wall.

...

A new production. My previous two Magic Flutes with Opera Australia were the "same production", in the sense that they had the same set & costume design, plus most of the same cast, although of course they were in different years. I had no problem with having such continuity; yet it is interesting to have a new set. Die Zauberflöte, The Magic Flute, is shown so frequently, by popular demand, that there is a need for set change every so often. It is a balance between production cost & the potential for audience boredom. Mind you, this Opera never bores me!

... ... ... ... ... ... ...

The stage in the first half, Acts 1 & 2, was very reminicent to me of a set in "Vengeance On Varos", a Doctor Who story, with Colin Baker as the Doctor. This scene is the Purple Zone in the Punishment Dome, with a extremely poisonous vine blocking the way. This vine was effected with lots of tangled ropes hanging down.

In this Opera, there were simliar ropes in great masses, mostly in greens and blues. Also, there were ladders and wide strips of cloth hanging down. The lighting beyond the spotlighted "centre of action" was low key, with blue-green lighting I think, and, as is clear in hindsight, the floor was mostly in darkness. The effect of a dense forest was well achieved. This was accentuated by the "Legs On The Wall" troupe, who were acting as the animals of the forest, and in this role they engaged in energetic climbing & dangling from the heights.

... ... ... ... ... ... ...

In the second half, Acts 3 & 4, there was strong lighting on the floor, which showed it to have the appearance of a coloured marble, as if it were in an 18th century palace. A wall of similar style was placed across the stage, cutting off the rear two thirds. This wall had various drawings of masonic symbols set in it. At centre stage, a door opened in the wall. This lead to a small room in which Tamino & Papageno were shut up, to aid them to keep their vows of silence. This room could be rotated in a complete vertical circle. The chairs were carefully constructed, allowing the men to be tied into them, and thus rotated with the room. At one stage, Papageno runs inside the room as it rotates.

... ... ... ... ... ... ...

Then there is the cast of course, which altered considerably from the previous production. However, Warwick Fyfe was once more Papageno, which suits his superb comic acting skills, including his acute sense of timing. Others may perhaps sing the role better, but none, I am sure, could act it better.

The versatile Taryn Fiebig, as Papagena, was also exceptional. Her voice is very good and her comic acting skills match well those of Fyfe.

The Three Ladies [Sarah Crane, Catherine Carby & Sally-Anne Russell] were brilliant; the best I have witnessed in singing especially, but also in acting. They were very chic, each in a silver breastplate; trousers covered with a mail skirt, which was clearly metal, as it jangled; plus thigh length black boots with bright red heels. On their first appearane they had veiled faces, but these white veils were soon pushed aside.

Amelia Farrugia, who played the Queen Of The Night, has a very powerful voice. She did, however, have to slow noticeably to reach those top Cs, and they were less powerfully sung than the other notes. So she is not as adept as the Goddess, Cyndia Seiden, who just nails the top Cs every time. Farrugia did have the disadvantage in her first aria and her final appearance, of standing on a moon, which was moved on ropes. For her second Aria, she was standing four square on the floor, and that was her best aria. I thought so, and by the applause, so did most others.

Emma Matthews was superb as Pamina, in both singing and acting; while her partner in song, Jaewoo Kim as Tamino was also good. Kanen Breen impressed with evil as Monstatos. Stephen Richardson fluently sang that difficult deep Aria as Sarastro, with surprising strength & projection.

No-one else in the supporting roles, whom I have not mentioned, was in anyway inadequate. Or I would have mentioned it. The three Boys sang in key, as also happened in the previous Opera Australia Magic Flute performance which I saw; but sadly, not in the case of one Boy in my first ever Magic Flute.

... ... ... ... ... ... ...

The Programme was very good this year, and there has been a clear effort to give it greater substance; which is what would expect for $15.00. I had always thought that the Queen of the Night was meant to be the Empress Maria Theresa. But rather, she represents the Asian Freemason Lodge, who were mystics; and thus opposed by the the Sol Invicta, who were the main rational Freemason Lodge. This dispute was ended when the Emperor Joseph banned all secret societies, including the Freemasons, despite the Emperor sympathising with them.

... ... ... ... ... ... ...

...

I was up at 5.08am, the last weekday of my holidays. It was before dawn, so I had the light on, making the Budgies happy, as they listened to 2MBS-FM. It is overcast, with the sun arising hidden by clouds, so it was not until 6.44am that I switched the light off.

Doctor Who - Hartnell Era - "The Aztecs". I watched one of the DVD extras: "Designing The Aztecs". This is a long & interesting interview with the designer, Barry Newbury. He was just rostered on for the job, but attacked it with verve. His moment of classic terror came on the last day of filming, which was oddly on a sunday. He wondered where the set was, to be told by workmen that it had been destroyed. Fortunately, he found he had enough in storage to create a passable set, if the painted backdrop cloth still existed. It was at length found, with footprints all over it. As it was a sunday, no BBC artist was available to repair it. The footprints, fortuitously, although they were easily visible to the naked human eye, were quite invisible when they were filmed, with the studio lights on them.

An interesting point for me, was that the distance of the perceived background could be altered for the purposes of the filming, by simply altering the lighting.

Whilst I was engaged in this, there was noise of various kinds, electronically produced. I listened to three Steptoe And Son stories on CD: "The Wooden Overcoats"; "Sunday For Seven Days" & "The Piano". "The Siege Of Steptoe Street", the first story, I listened to last night. These are BBC Radio Dramatisations, following the scripts of the television series.

Steptoe And Son was a show which, as a child, I often watched on television. I imagine I must have enjoyed it; although, strange as it seems, I cannot really remember. Listening to it now, I only laughed a couple of times, in the final story. But the enjoyment of the show would go beyond a mere belly laugh register! The characterisation of Alfred, the Father, as a common but not stupid man, who is passably honest, is well achieved. The characterisation of Harold, the Son, is brilliant. He is very sad & pathetic; a small insignificent man, who wants to be of some importance; a single man, who desperately wants to have a family; a social buffoon, who desperately wants to be cultured.

Yet, I simply am unable to enjoy the show. Harold Steptoe is just far too sad a person.

Later tonight, I played the first of two CDs, of the Chivers Book Reading of "Sanditon" by Jane Austen; read by Norma West. As I was working away, I missed much; but still enjoyed much. Jane Austen requires close listening to catch all the little nuances.

My first visit to Glebe this year, and possibly for six months or more. Mostly I wandered up & down Glebe Point Road; in & out of bookshops & foodstores, without actually buying. At one point I went suburban, down Wigram Road, but I could not find Hereford Street, where I had once lived for a few days. I had no map.

The high point was my first ever visit to the Glebe Branch of the Sydney City Library. What I borrowed was yet another DVD: Doctor Who - "The Three Doctors" - Jon Pertwee Era, but with Patrick Troughton and William Hartnell also! I know this story well, and it is most agreeable. There are weak points in the script; the special effects are a bit ordinary at times; the Physics is woeful, "a little bit of knowledge" and so on. But the dialogue between Patrick Troughton & Jon Pertwee is brilliant; like two squabbling siblings! Due to illness, William Hartnell's appearances were brief. Short they may be, but they are exquisite cameos, as he chides his two other selves, like a stern but benevolent elder statesman.

[I am now up to the borrowing limit of five DVDs, all Doctor Who! The others
are, from the Kings Cross Branch: "The Seeds Of Death" - Troughton Era &
"Spearhead from Space" - Pertwee Era; from the Customs House Branch:
"The Aztecs" - Hartnell Era & "Vengeance On Varos" - Colin Baker Era.]

Last night I was defrosting the fridge, as I had noticed it was well overdue. It seemed wise to cook the raw Corned Silverside I had there. Never before had I cooked this, and despite not having the full list of condiments, it came out very tender & tasty. Home cooked Silverside is much superior to the bought pre-cooked versions.

In the way that I re-read "Maigret Mystified" by Georges Simenon to savour it, as mentioned yesterday, so I has hoped his 1931 novel: "Maigret And The hundred Gibbets" [published by Penguin in Tony White's translation]. The latter is almost as good. However it is due back tomorrow, and with an unfortunate PC disaster, I in no way have the time. At a later date, I will re-read it. His early novels have much less of the family & police ambience surrounding Maigret than the later novels, but the psychology is very sharp!

I came home from shopping at Double Bay today, to find Beethoven's pastoral symphony playing on the radio, to an appreciative vocal approval from the Budgies.

Late afternoon and evening saw me listening to the 3CDs, often lying down and othertimes doing little, as this 2006 allergy was playing up terribly. At times, I sounded as if I were "dying", as Vanessa M. would say.

This was "Strong Poison", another Lord Peter Wimsey story by Dorthy L. Sayers; again 3 CDs [but 3 hours & 50 minutes]. Here I am on more practiced ground, than with last wednesday's mystery. "Strong Poison" I read last year, and had read before then in the late 1980s. Earlier still, I had seen a televised adaption. Whereas with "Five Red Herrings", I do not recall having ever read it, although I do remember seeing it televised, although that was the odd decade ago.

"Strong Poison", is another "BBC Radio 4 Full Cast Dramatisation", originally broadcast on 21st June 1976. It is also superbly done! Once more Ian Charmichael is Lord Peter Wimsey, and Peter Jones is Bunter. Anne Bell is Harriet Vane, the accused woman, who is not pretty, yet very attractive. Gabriel Woolf is Chief Inspector Parker, who becomes Lord Peter's brother-in-law not long after the story ends.

As the darkness descended & the night wore on, I was exhausted from lots of keyboard activity, recreating part of what I lost inadvertently last night! Lots of rest, while I played CD1 of a book reading: Arthur Conan Doyle's "A Study In Scarlet". The Budgies were restless, except Valkyrie, who is young and still attempts to sleep at night despite the light, as that is what her instincts tell her. Wolfgang, Amadeus & Ludwig have well shaken this ancient conditioning off.

They were at length placated, when, after the SBS TV News, I put on a DVD of Pink Floyd "Live At Pompei", the original film.

This morning I finished a novel from 1932: "Maigret Mystified" by Georges Simenon. I had read it through earlier, very quickly, in two days, finishing it on 8th January this year. My re-reading, to savour the writing itself, albeit in translation by Jean Stewart*. This was more intermittent, understandably, covering a period of nearly two months. It was a very satisfying experiment. The writing itself, the psychology of the main characters and the structure of the plot, with Maigret's slow, difficult unravelling of "this family melodrama".

The following is a link to a page of mine, which discuss more this short, brilliantly achieved novel. My recommendation is that you find and read the novel, before going to this page, as by necessity it is exposing much of the plot. For enjoyment! Or, if pleasure is not your goal in reading, so that you may dispute my views. Unlike the character in Whit Stillman's film "Metropolitan", I do not imagine that one can ever get the view's of the writer, through that of the reviewer.

[The edition I read is a Penguin 1976 reprint a 1964 edition.]
[See also My Occasional Thought for 8th January 2006..]

...

Doctor Who - Troughton Era - "The Seeds Of Death"

For a change, this Kings Cross Library borrowing is not due in the very close future. Rather, I just decided I wanted to view the last three episodes with commentary today. That is the joy of being on vacation, however briefly.

Commentary is by Frazer Hines [who played companion, Jamie]; Wendy Padbury [who played companion, Zoe]; Terrance Dicks, the Script Editor & Michael Ferguson, the Director].

It is a planned invasion of the earth by the Martian Ice Warriors, using a T Mat [i.e. transmat] station on the Moon to send Biological Warfare weapons to Earth.

DVD 2 contains lots of background material on the Ice Warriors & their costumes; plus various interviews; and recently recovered clips from lost Troughton Era stories. This was good watching for a fanatic like me.

...

Doctor Who - Troughton Era - "The Seeds Of Death"

Wendy Padbury: "Strangely enough it's a much better story than I remember it being and I think it holds up really, really, really well."

Frazer Hines: "I'm amazed because we're so far into space, but they've still got those very old fashioned clipboards!" ... "He's got a briefcase! Nowadays people have little personal organisers."

Terrance Dicks: "It stood up better than I thought. It's got a good story."

Michael Ferguson: "It's all very satisfactory, because it all works like a jigsaw coming together."

®®®®®®®®® ®®®®®®®®®

All were impressed by the acting of Terry Scully as the cowardly Fewsham; also Harry Towb as Osgood, Louise Pajo as Gia Kelly, and Ric Felgate as Brent. Michael Ferguson on Alan Bennion as Slaar, commander of the Ice Warrior invasion spearhead: "an excellent actor".

John Witty did the voice-over for the computer, and it was very cleverly done, giving a whole range of personality. It was delivered in a monotone, but with pitch variation; rising and falling.

Patrick Troughton was especially praised by Frazer Hines & Wendy Padbury for his comic acting & his great sense of timing. They all agreed he was a very adaptable actor, equally at home in comedy & tragedy. Just after he left Dr Who, Patrick Troughton played the Duke Of Norfolk in the BBC production of Henry VIII.

The Doctor was unconscious early in Episode 3, continued so in Episode 4, and was conscious again at the beginning of Episode 5. This occurred because Patrick Troughton was on holiday. The unconscious Doctor, who did appear occasionally, was played by Tommy Laird. This information was from Michael Ferguson, who provided much detail of the casting throughout the story.

®®®®®®®®® ®®®®®®®®®

Wendy Padbury apologised for smiling broadly, quite out of character, during a scene in Episode 6. Patrick Troughton's splendid comic acting was the cause. The smile was not that obvious, as she was partly obscured, and you only see it if you know when to look. No doubt that is why the shot was left as is.

®®®®®®®®® ®®®®®®®®®

On one script flaw towards the end of Episode 6:

Michael Ferguson: "I'm glad you spotted that."

Terrance Dicks: "It's only thirty-four years later!"

®®®®®®®®® ®®®®®®®®®

There were some doubts about the sets, with the main problem being that the Moon T Mat Station looked too similar to the Earth T Mat Station. With the rapid switching between the two, the audience could become confused as to where a scene was set. Wendy Padbury thought that there were aspects of the sets which did stand up well, and even now still looked futuristic. Frazer Hines picked up on the flaws, see at top.

The uniforms of the T Mat men were not considered a success. But the Ice warriors worked, despite having to have their costumes bolted on.

The seed pods were a problem for Terrance Dicks: "No! It looks like a balloon".

Frazer Hines said that the foam used, for when the seed pods burst, was actually a bit toxic. It left a red rash where it touched the skin.

®®®®®®®®® ®®®®®®®®® ®®®®®®®®® ®®®®®®®®®

Myself, I agreed the story is good, while I was willing to overlook the set & design idiosyncracies, except I was unimpressed by the way the rocket's exterior & movement. The difference between Earth & Moon T-Mats was not problem for me, as easily identifiable Fewsham was only ever on the Moon. At the time when I first saw it I was very impressed with the beauty of Zoe. I still am!

At 4.00am I awoke, found the pocket radio in the darkness, and tried to locate either ABC NewsRadio or ABC Radio National, but I could locate neither. However, near where they should have been was an AM New Zealand Radio Station. A man was giving the weather for that country: Chatham Islands, Dunedin and so on. This signal only lasted until about 4.15pm.

Following this I was up, and soon at housework. But the swelling on my left shoulder, from yesterday's injections, seems needing of rest. I lay down several times, whilst taking in the TV or the DVD, which can just be seen from my bed. But I fell asleep twice: half an hour; then an hour. The DVD I watched when awake: "The Beginning" [Doctor Who - Hartnell Era], Disc 3 - "The Edge Of Disaster" & "The Brink Of Destruction". I have seen these many times, but it is good to see them once more. The "production notes" subtitles were very interesting. Finally credit is given to Peter Brachacki, who designed the original Tardis interior, with the hexagonal Console & the roundels in the walls. It is credit well deserved.

[This DVD Box Set is the one I bought last sunday, at the Doctor Who Club meeting in Drummoyne.]

Following this, I returned to the Jane Austen talking book: CD4; the 2nd CD of "The Watsons". It is highly entertaining, but as I am working on 2 PCs at the same time, I am sure that I am l missing things, although it is not as tricky as "Lady Susan". Still, I must listen to it once more at some time.

It is a shame that she did not finish it. The central character is Emma Watson, who has lived since childhood with her childless Aunt & Uncle, and with full expection of being an heiress. But her Uncle dies, her Aunt soon remarries an Irish Army Captain, and moves to Ireland. Emma is sent home, penniless, to a family she hardly knows.

Emma Watson to Lord Osborn: "Human economy can do a great deal, my Lord, but it cannot turn a small income into a large one".

"Mozart's Masterpieces"

The Sydney Symphony Orchestra [SSO].

... ... ... ... ... ... ...

8.00pm, at the Concert Hall, Sydney Opera House.

Conductor: Gianluigi Gelmetti.

... ... ... ... ... ... ...

Wolfgang Amadeus Mozart:
Symphony Number 40 in G Minor, K550.

This Symphony I have heard many times: on CDs; on the radio; and several times at concerts. The SSO played it more slowly, than when I heard it in recent years, with the Australian Chamber Orchestra & Australian Brandenburg Orchestra. This was not only in the opening and closing Allegros, although it was most marked there, but also in the Second Adagio & following Menuetto. Yet the SSO's pace was no less than that of my CD, of which I am very fond indeed, of the Vienna Philharmonic under Karl Böhm, recorded in 1969. So it the SSO was still of a good pace, and not slowed to the obscene crawl of many recordings of the 1940s & 1950s.

In the Adagio, the Wind often gave the effect of a person walking down steps. I suppose this effect is not possible if this movement is played more quickly. Even if it was not actually intended by Composer, unlikely as this may seem, it is most impressive.

.. ... ... ... ... ... ...

Wolfgang Amadeus Mozart: Concerto For Two Pianos, K365.

Piano Soloists: Michelle Campanella & Monica Leone.

The Pianos were stored on the floor of the auditorium, with seats having been removed for this. I was moved from D31 to D37, which was fine, except that I was at the end of a row, and these new row ends had no arm rest. I had nowhere to place my right arm & was often moving its position.

Circular tiers had been added on to the stage, for the musicians furthest from the conductor. This was a trial, in an attempt to fine tune acoustics.

Mozart's orchestration is very interesting. Usually it alternated, with the Orchestra playing at some volume, while both Pianos were silent. Then the Orchestra was silent, while one Piano took the lead, followed by the other Piano. This was repeated several times, after which both Pianos played together equally, with finally the Orchestra rejoining.

The Piano virtuosi parts, with the Orchestra silent, had to my ear, lots of clipped short notes, with almost a staccato feel.

At the end of the work, with the interval upon us, I learnt how they got the Pianos on and off the stage. Part of the floor can be raised, like a low level lift, to the level of the stage. Thus the Pianos were moved, one at a time, down on to the floor, at the place where the seats had vanished.

... ... ... ... ... ... ...

Interval

... ... ... ... ... ... ...

Maurice Ravel: Daphne And Chloë, Suite Number 2.

Ballet music is usually the least characteristic music of any composer. For example, Igor Stravinski with "The Firebird Suite" and Piotr Tchaikovsky with "The Nutcracker Suite" are very untypical of their usual compositions. And so it is with "Daphne And Chloe". There is far more subtlety & softness than I normally expect with Ravel. It is one work of his I have long liked. I have it on CD, with the SSO conducted by the late Stewart Challender.

"Daphne And Chloe" has lots of long, languid sliding notes, with great emphasis on the Winds & Brass; an unusually quiet Brass for Ravel! I expect that this final work for the evening was selected, as a contrast to the Mozart Double Piano Concerto's almost staccato feel.

... ... ... ... ... ... ...

Tonight the Violins were opposed, with the 1st to the audience left. The Cellos were next to the 1st; the Violas beside the 2nd. The Double Basses were up on the highest tiers behind the 1st. From my front row seat, D37, I could not see entirely see how the Winds were arranged, despite the tiering, although I heard them very clearly!

In my shoulder I have this isolated lump of tissue, near my left shoulder blade, which moves about. First that I noticed it was April 2004. Initially it gave no trouble, but after six or so months, it began to pinch a nerve at times, which was unpleasant indeed. It also has restricted my use of my left arm to about 70%.

Dr Seit of Neutral Bay, between 2pm & 3pm had two surprises. One that this lump was the size of tennis ball; rather bigger than I had imagined. Like an iceberg, it is mostly hidden. Secondly, he could inject it there and then, in an attempt to liquify the fat over a period of many weeks. This was 11 injections, which after a few minutes left my left shoulder a bit sore, and after an hour, very swollen. Both effects were promised by Dr. Seit.

So I felt in no way like going out tonight, and did not. I had nothing booked, but it was my last chance to see "Loveplay" by Moira Buffini at the TAP Gallery, presented by The Factory Space & directed by Roz Riley.

I did have the presence of mind to switch on ABC-FM, but I was late in doing so, thus missing the first two Movements of Mozart's 41st Symphony, performed by the Australian Brandenburg Orchestra, & broadcast live from Angel Place. However, I did hear the last two Movements, which were the most affected by my seating problem, last saturday.

Around noon I played a CD, which I have not listened to at all recently, but which is most wonderful. It is Elizabeth Batiashvili [violin] and Milana Chernyovska [piano] playing Sonatas by Brahms, J.S. Bach & Schubert. Even the Brahms is wonderful!

Most of this afternoon I spent strolling through the Botanic Gardens at Farm Cove. Both Queensland Bottle Trees [Brachychiton sp.] I found, even though I was not looking for them. They are easily recalled from a distant childhood, as they are unmistakable, with their vast swollen trunks, topped with a foolish looking little tuft of branches and leaves!

The Australian Cypress or White Cypress [Callitris glaucophylla] I eventually found. There seems only one, and this rather slight, taking a Cypress shape, rather than sprawling as they are wont to do in the Pilliga Forest. Not far from it were four magnificent tall, bright green Coastal Cypress [Callitris columnella]. These are from a region centred on Moreton Bay.

The Australian Cypress is a tree which grows straight. Its timber is completely Termite resistant & one can build an entire house with it .

Kings Cross Library! A few days ago I was there once more; borrowing, borrowing. ... As if I have enough time to read and listen to and watch them all!

But today I heard the entire 3 CDs [3 hours & 20 minutes] of "Five Red Herrings", a Lord Peter Wimsey story by Dorthy L. Sayers. This is "a BBC Radio 4 Full Cast Dramatisation", originally broadcast on 22nd February 1978. It is superbly done! And so it should be with Ian Charmichael as Lord Peter Wimsey, Peter Jones as Bunter, Miriam Margoyles as Mrs. Mcgregor and John Graham as Inspector Dalziel. This last is always correctly pronounced as "De-el". Perhaps this character later inspired the Inspector Dalziel of a later television series, albeit with a transplant form Scotland to Yorkshire, and with the pronunciation of the surname rather more varied.

[I attempted the first CD last night, but fell asleep almost at once after lying down; so tired I was.]