Posted in Hermann Hesse, Music

Hermann Hesse Month, Part III (Hermann Hesse awards and memorials)

Since 9 August 2022 is Hermann Hesse’s 60th Jahrzeit (death anniversary), I’m devoting the month of August to a celebration of his life and works. Today we’re exploring his legacy in the form of awards, prizes, and medals named for him, as well as museums, colloquia, stamps, music, and more.

In 1956, in celebration of Hesse’s approaching 80th birthday (2 July 1957),  Fördergemeinschaft der Deutschen Kunst eV (the Association for the Promotion of German Art) in Karlsruhe, Germany created the Hermann Hesse Literature Prize. They felt it was very important to support postwar German literature, and Hesse immediately gave his consent when he was asked about it in 1955:

“I agree with the Karlsruhe Hesse Prize. Since the young poet gains something from it, it may at least be reminded of the past and tradition through my name.”

Originally, the winner got 10,000 marks. Today, it earns 15,000 Euros plus a sponsorship prize of another 5,000 Euros.

The Calwer Hermann Hesse Prize has been awarded since 1990, on 2 July, Hesse’s birthday, for international literary works in his tradition. They can be either original works or translations, and up to three people can win the award every year. The Calwer Hermann Hesse Foundation also awards a scholarship.

Thrice a year, a writer or translator spends three months in Calw, Hesse’s hometown, to provide them with literary inspiration for their work. They’re provided with an apartment and a monthly salary of 2,000 Euros. The prize itself was originally 20,000 marks, but is now 20,000 Euros.

Since 2017, Calw’s International Hermann Hesse Society has also awarded the International Hermann Hesse Society Prize.

Calw additionally shows its great love and respect for its native son through the Hermann Hesse Medal of the City of Calw, awarded since 1964. Recipients demonstrate “outstanding merit or creative work in the civic, social or scientific field or a special connection with the city of Calw.” Winners include politicians, artists, Hesse scholars, literary historians, and bookbinders.

In 1964, Calw archivist Walter Staudenmeyer created a memorial to Hesse above the city’s new archive. Some of the items were on loan from Marbach’s Schiller National Museum, and have since been returned. However, in their place, new additions to the collection were made through the purchase of Hesse’s watercolours and letters, first editions, and other treasures.

A permanent museum was created with these objects in March 1990. Other members of Hermann Hesse’s family, like his maternal grandfather Hermann Gundert, are also celebrated here. Lectures and special programmes are regularly held.

In Calw, there are also commemorative plaques at Hesse’s birthplace and residence from 1889–94, and the publishing house Calwer Verlagsverein, which both sides of his family worked for.

Hesse’s birthplace, Copyright Frank Vincentz

On 13 September 1991, German astronomers Freimut Börngen and Lutz Dieter Schmadel discovered an inner main belt asteroid at the Thuringian State Observatory Tautenberg in the Tautenberg Forest of the state of Thuringia. It was designated as 9762. Seven years later, on 8 December 1998, it was named Hermannhesse (one word).

Hesse Museum, Copyright Silesia711

In 1948, 84-year-old Richard Strauss wrote a four-song cycle based on Hermann Hesse’s poems “Frühling” (“Spring”), “September,” “Beim Schlafengehen” (“When Falling Asleep”) and Joseph von Eichendorff’s poem “Im Abendrot” (“At Sunset”). Since these were among Strauss’s final completed works, his friend Ernst Roth posthumously titled them Vier Letzte Lieder (Four Last Songs) when he published them in 1950.

Strauss thought about setting two more Hesse poems, “Nacht” (“Night”) and “Höhe des Sommers” (“Height of Summer”), to music, and started work on a choral setting of the Hesse poem “Besinnung” (“Reflection”), but abandoned the project because it was too complicated.

All the poems except “Frühling” deal with Death, which perhaps appealed to Strauss as he neared the end of his life. The musical settings of these poems are full of acceptance, calm, and coming full circle.

Strauss passed away in September 1949.

The songs are meant for a soprano, and scored for a piccolo, three flutes (the third doubling as a second piccolo), two oboes, an English horn, two clarinets, a bass clarinet, three bassoons (the third doubling as a contrabassoon), four horns, three trumpets, three trombones, a tuba, a timpani, a harp, a celesta, and strings.

Copyright Hans-juergen.breuning

Casa Camuzzi, a castle-like palazzo with an exotic, terraced park in Hesse’s adopted hometown of Montagnola, Switzerland, where he lived from 1919–31, contains a museum celebrating his life and works. It opened on 2 July 1997, his 120th birthday.

Copyright Monster4711

Another Hesse museum is located in Gaienhofen, Germany. There’s also a special cabinet in Tübingen, Germany, where he apprenticed and worked in an antiquarian bookstore.

Many streets, squares, and schools throughout Switzerland and Germany are named for him, and in 2023, the Württemberg Black Forest Railway from Stuttgart is scheduled to be renamed the Hermann-Hesse-Bahn.

In 2002, to mark his 125th birthday, Deutsche Post issued a stamp of Hermann Hesse.

The manuscripts, artwork, and other artifacts from his estate are kept in various archives and libraries in Switzerland, Germany, and Austria. Since 1977, the International Hermann Hesse Colloquium has been held in Calw every few years, and since 2000, the Silser-Hesse Days have been held in Sils-Maria, Switzerland every summer.

http://www.hermann-hesse-preis.de/ (Hermann Hesse Literature Prize)
http://www.hermann-hesse.de/stiftung (Calwer Hermann Hesse Foundation)
http://www.lieder.net/lieder/assemble_texts.html?SongCycleId=55 (German text of Four Last Songs)
http://www.hessemontagnola.ch/ (Hermann Hesse Montagnola Museum)

Posted in 2000s, Music, The Who

Remembering John Entwistle on his 20th Jahrzeit

It’s hard to believe the Earth has revolved around the Sun twenty times since John Alec Entwistle, the greatest bass player in rock history, left the material world at the relatively young age of 57, on 27 June 2002. Whereas no one was shocked by George Harrison’s passing seven months earlier, John’s untimely death was a bolt from out of the blue. He seemed in perfect health.

What made it even more shocking and heartbreaking was that it was on the eve of a huge summer tour of the U.S. And though I’ve always felt very strongly that It’s Hard is The Who’s swan song, John’s death made me wish they had put out a new album, one final musical memory of him. (To date, I’ve still not listened to the recent albums Pete and Roger made, apart from a few songs coming up on auto-generated YouTube playlists.)

It was a Thursday, and I had recently, unhappily come home to Pittsfield after graduating UMass–Amherst. While reading the day’s digest of IGTC (a Who mailing list), I saw a message from someone who said he heard John had just died. We thought it was a joke or terrible false news, but confirmation quickly came in, and multiple news and music sources began reporting it.

A big debate broke out re: whether Pete and Roger should continue the tour without John or pack it in and gracefully retire. I thought it was the right decision to play the first night as planned, since they did it in John’s memory, and Pete and Roger (famous longtime frenemies) shared a very emotional hug onstage. But after that, I felt it was wrong to keep touring without John. It’s one thing to lose a single bandmember and find a solid substitute, as they did when Moonie died and Kenney Jones joined them, but it’s an entirely different story when only half of the original band remains.

Almost no one liked John’s replacement, Pino Palladino. How does one even begin to try to fill such mammoth shoes?

Mandatory Credit: Photo by Dezo Hoffman/Shutterstock (155628xa)
The Who – John Entwistle
‘Various’ – 1960

And then we found out about John’s shenanigans with cocaine and a groupie stripper the night before, and we were so disappointed. But I’ve already said everything I needed to say about that matter in the pages of my journals over the years. John is no longer here to explain and defend himself, and we should let the dead rest in peace.

For at least a month following his untimely passing, I wrote about John and the ensuing events every single day in my journal Athena. The fan community’s emotions were so raw, and we needed time to process what had happened. Yes, we didn’t know him personally, but he still meant a great deal to us for so many years. It felt like losing a friend or relative. People who aren’t longtime passionate fans of a band will never understand this.

I said Kaddish for John every week during the period of shloshim (the first thirty days after death), possibly through to his first Jahrzeit (death anniversary). And during shloshim, I finally made the switch from saying mechayeh hakol (who gives life to all) to mechayeh hameytim (who gives life to the dead) in the second blessing of the Amidah. In the wake of John’s death, it felt so comforting to imagine the dead being resurrected in the Messianic Era.

Mechayeh hakol is Reform liturgy, which I just couldn’t get myself to abandon even after I began attending Conservative and Orthodox services. But ever since that summer of 2002, I’ve said it as automatically as I say anything else in the liturgy. Perhaps I would’ve eventually made the switch anyway, but John’s passing hastened that aspect of my spiritual growth and development.

May you rest in eternal peace, dear Junnykins, and may your beautiful memory be for an eternal blessing. I love your bass-playing, your quirkiness, your dark sense of humor, your skeleton suit, your deep Boris the Spider voice, your songwriting, your quiet one status within your band, your stoic state onstage while the other three were going bananas, your handsome face. The world is a better place because you were in it.

Posted in 1940s, Music, Ukrainian culture, Ukrainian history

The Ukrainian Quintet of Borys Lyatoshynskyy (Український квінтет Бориса Лятошинськия)

Borys Mykolayovych Lyatoshynskyy (22 December 1894/3 January 1895–15 April 1968) was born into an intellectual family in Zhytomyr. His father, Mykola Leontiyovych, was a renowned history teacher; his mother, Olga Borysivna, was a pianist and singer; and his paternal grandfather was a famous doctor.

From a young age, Borys showed himself a musical prodigy, particularly with the violin and piano. However, he didn’t start taking music seriously until he was at gymnasium in Zlatopol (where his dad was director). He played in the school orchestra, studied violin, and at age fourteen wrote several compositions.

In 1918, he graduated from the Faculty of Law at the University of Kyiv, and in 1919, he graduated from the Kyiv Conservatory. From that point on, he was almost constantly composing. He also was a professor at several conservatories including his alma mater. 

A great honour came in 1939, when he was elected chairman of the board of the Union of Composers of Ukraine. Another triumph followed in April 1941, a concert of his music being performed by the Kyiv Philharmonic to great success. Borys himself conducted.

Following the Nazi invasion of June 1941, Borys was evacuated to Saratov, where he taught at the relocated Moskva Conservatory. This city was also the location of the underground Ukrainian partisan Taras Shevchenko radio station, which broadcast from 23 November 1941–10 March 1944. Borys and his wife, Margaryta Tsarevich, regularly participated in these broadcasts. He also was instrumental in rescuing Ukrainian musical manuscripts and transporting them away from danger zones.

Borys wrote many compositions during the war and arranged more than eighty Ukrainian folk songs. Among his musical output was the work which became his central focus of these years, the Ukrainian Quintet, for which he received the Stalin Prize in 1946. The version he débuted in 1945 is a bit different from the later revised version.

The Quintet harnesses melancholia, renewal, pessimism, decadence, despair, anxiety, revitalization, modernism, atonality, polyphonic writing, folk motifs, and a vital driving force.

This version was recorded by Lyashynskyy’s own students!

During the summer of 1944, Borys returned to his homeland and moved into an apartment in the Rolit Writers’ House in Kyiv, where he lived until his death in 1968. He continued to compose just as prolifically as ever, and was awarded the title Merited Artist of the USSR and the medal For Valiant Labour in the Great Patriotic War 1941–1945 in 1945, and another Stalin Prize in 1952.

Several music schools and streets have been named for Borys, and his beautiful music is still enjoyed and appreciated by people of all generations.

Posted in 2010s, Music, The Monkees

The Monkees’ perfect swan song album

Copyright Rhino Entertainment; image used solely to illustrate the subject for the purposes of an album review, and consistent with fair use doctrine

The Monkees’ final album, Good Times!, was released 27 May 2016 and instantly became a huge surprise hit. Many other bands who release albums so far past their peak of popularity, and without having made any albums regularly for a long time, can only dream of such commercial and critical success. Almost all reviewers had a very positive opinion of it, and lauded it as The Monkees’ finest in years.

The album was #1 on the U.S. Billboard Vinyl Albums chart, #10 in New Zealand, #14 on the U.S. Billboard 200, #20 in Australia, #24 in Scotland, #29 in the U.K., #57 in Switzerland, #58 in Ireland, #83 in Belgium, #95 in Canada, and #130 in Japan.

Rhino executives John Huges and Mark Pinkus suggested the idea of an album to celebrate The Monkees’ 50th anniversary, and hired Adam Schlesinger of the band Fountains of Wayne as producer. A few of the songs were written back in the Sixties, but never released, not even on rarities collections. The leading track incorporates an old demo by Harry Nilsson, and to represent Davy, they used an alternate version of “Love to Love” with new backing vocals by Micky and Peter.

Prior to the release of Good Times!, on 28 April 2016, a music video for “She Makes Me Laugh” was released. This was a great choice for the first sneak preview. The song very much evokes their Sixties sound, and the video is so sweet, fun, and adorable. You’d never guess Micky was anywhere close to 71 when it was recorded! He truly is one of the most criminally underrated male vocalists in rock.

The next song to be released prior to the album’s début was “You Bring the Summer,” which is also a really fun, quintessentially Monkees’ song.

Track listing:

“Good Times” (written by Harry Nilsson; sung by Micky and Harry)
“You Bring the Summer” (written by Andy Partridge; sung by Micky)
“She Makes Me Laugh” (written by Rivers Cuomo; sung by Micky)
“Our Own World” (written by Adam Schlesinger; sung by Micky)
“Gotta Give It Time” (written by Jeff Barry and Joey Levine; sung by Micky)
“Me & Magdalena” (written by Ben Gibbard; sung by Mike and Micky)
“Whatever’s Right” (written by Tommy Boyce and Bobby Hart; sung by Micky)
“Love to Love” (written by Neil Diamond; sung by Davy)
“Little Girl” (written and sung by Peter)
“Birth of an Accidental Hipster” (written by Noel Gallagher and Paul Weller; sung by Mike and Micky)
“Wasn’t Born to Follow” (written by Gerry Goffin and Carole King; sung by Peter)
“I Know What I Know” (written and sung by Mike)
“I Was There (And I’m Told I Had a Good Time)” (written by Micky and Adam Schlesinger; sung by Micky)

Bonus tracks on various editions (none of which I’ve yet heard):

“Love’s What I Want” (written by Andy Partridge; sung by Micky) (Japanese edition, Barnes & Noble 7″ vinyl, and and 10″ vinyl Record Store Day [RSD] Black Friday Exclusive)
“A Better World” (written by Nick Thorkelson; sung by Peter) (FYE edition, B&N vinyl, and RSD)
“Terrifying” (written by Zach Rogue; sung by Micky) (digital download and RSD)
“Me & Magdalena” (Version Two) (digital download and RSD)

My favorite tracks are “Me & Magdalena” (so gorgeous!), “She Makes Me Laugh,” “Love to Love” (though was the Davy vault really that dry they had to use an alternate version of an already-released song?), and “Wasn’t Born to Follow.”

Posted in Music, The Monkees

In loving memory of Michael Nesmith

Robert Michael Nesmith slipped the surly bonds of Earth on Friday, 10 December 2021, and joined his Monkee brothers Davy and Peter in the great beyond. Everyone in the fan community is in shock. Though Nez was 78, would’ve turned 79 on 30 December, and had been suffering with heart problems, no one expected to see that news. He hadn’t been publicly sick for a long time, and he and Micky just completed their final farewell tour.

Though Davy has been my favorite Monkee since I fell in love with the band during the 1986 revival, I strongly suspect Nez might’ve been my fave rave had I discovered them as an older teen or adult. Once I moved past the childish idea of choosing a favorite bandmember based on how cute he was, I began gravitating towards the deep, serious, sensitive, complex ones.

My love, respect, and admiration for Nez have grown so much since I became an adult. At first I was really surprised to discover how popular he was among the other ladies I met on my estrogen Who lists (many of whom were also second-generation Monkeemaniacs). As a child, I thought of him as the boring, serious, adult one, not as fun as the other three. My negative opinion wasn’t helped by how my mother explained his absence on the 1986 tour, that he had a job he considered more important than The Monkees.

Now I realize he was the only one with a wide-ranging, diverse career outside of The Monkees, like pioneering the country rock genre, writing songs for other artists, being a music producer under his own record label, forming the Pacific Arts Corporation, helping to create MTV, working as a film executive producer, and so much more. Obviously, the other three had working lives outside of The Monkees too, but their notoriety is tied much more strongly to the band.

Though Nez didn’t always have the greatest interest in participating in reunion tours and albums, since he wanted to be remembered as more than just a Monkee and do other things with his life, he did eventually make peace with that part of his legacy and came to be proud of it. Doing that final tour pushed him to stay alive and make the fans happy, after so many years of seeing The Monkees as an inevitable, inescapable duty.

At last, he saw things from the perspective of the lifelong fans in the audience, many of them second- and even third-generation. Nez understood how beloved the band is, and that they’ve long since gained mass artistic and critical respect (even if that élitist ass Jann Wenner is still keeping The Monkees out of the Rock and Roll Hall of Fame). Not only that, he also genuinely grew to love their music himself. The fans’ love and joy reflected back on him so powerfully.

Nez was the one who fought first and hardest for The Monkees to revolt against their handlers and start writing and playing on the majority of their own material. Probably all serious fans are familiar with the story of how he punched a hole through the wall when he told Screen Gems lawyer Herb Moelis he’d quit if he didn’t get more of a say in the band’s music, and Mr. Moelis told him in a very condescending way to read his contract. Nez screamed that that could’ve been his face.

Many of my favorite Monkees’ songs are now Mike’s, like “Writing Wrongs,” “You Told Me,” “Sweet Young Thing,” “You Just May Be the One,” “The Door into Summer,” “Love Is Only Sleeping,” “Tapioca Tundra,” “Listen to the Band,” and “Me and Magdalena.”

May you rest in peace, dearest Mike, and may your beautiful memory be for an eternal blessing. Another part of my childhood is gone forever, but I’ll love, respect, and admire you forever. It was a great honor and privilege to share Planet Earth with you for just shy of 42 years.