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“The point where hubris takes over had been reached by 1936. Germany had been conquered. It was not enough. Expansion beckoned. World peace would soon be threatened. Everything was coming about as he alone had foreseen it, thought Hitler. He had come to regard himself as ordained by Providence. ‘I go with the certainty of a sleepwalker along the path laid out for me by Providence,’ he told a huge gathering in Munich on 14 March. His mastery over all other power-groups within the regime was by now well-nigh complete, his position unassailable, his popularity immense. Few at this point had the foresight to realize that the path laid out by Providence led into the abyss.”
― Hitler
― Hitler
“Surely at the very least, the group would have walked past the stump of an old tree near the camp laundry. Today it still sits on the very same spot, ash grey and deeply furrowed. On a recent, visit I found its heartwood almost entirely obscured by stones placed in accordance with the Jewish tradition of symbolically marking the graves of the dead to signal that they had not been forgotten. This stump is what remains of Goethe’s oak. In the end, Metamorphosen’s upwellings of grief, its spiralling of sorrows, its network of links to Beethoven’s sublime music of mourning are all gestures akin to the placing of such stones; for this too is music of farewell, a pebble on the grave of German culture’s utopian dream, adapting the language of the Goethe poem that still beats somewhere far below the rippling surface of this music. What it is, what it was, what it could have been. In memoriam.”
― Time's Echo: The Second World War, the Holocaust, and the Music of Remembrance
― Time's Echo: The Second World War, the Holocaust, and the Music of Remembrance
“We forget everything. What we remember is not what actually happened, not history, but merely that hackneyed dotted line they have chosen to drive into our memories by incessant hammering. I do not know whether this is a trait common to all mankind, but it is certainly a trait of our people. And it is a vexing one. It may have its source in goodness, but it is vexing nonetheless. It makes us an easy prey for liars.
Therefore, if they demand that we forget even the public trials, we forget them. The proceedings were open and were reported in our newspapers, but they didn't drill a hole in our brains to make us remember — and so we've forgotten them.”
― The Gulag Archipelago 1918–1956
Therefore, if they demand that we forget even the public trials, we forget them. The proceedings were open and were reported in our newspapers, but they didn't drill a hole in our brains to make us remember — and so we've forgotten them.”
― The Gulag Archipelago 1918–1956
“Mahler’s “Ich bin der Welt abhanden gekommen”—“I am lost to the world”—a beautiful song that forms its own shelter from the flow of linear time, closing with words that bespeak the radical loneliness of attachment to a celestial ideal: “I live alone, in my heaven of love, devotion, and song.”
― Time's Echo: The Second World War, the Holocaust, and the Music of Remembrance
― Time's Echo: The Second World War, the Holocaust, and the Music of Remembrance
“Above all, Sibelius's music concerns itself with the relationship between a melancholic yet ebullient mind and the wider world outside it; with the function of emotions, the imagination and the intellect in human life; with how art can survey, scrutinize and give meaning to the strangeness of existence.
“Frequently, therefore, not only do the abstract and the programmatic coalesce in Sibelius; the elemental - fire, earth, air, water - are also attached to the psychological. Nature painting in his music is never mere sonic landscaping but a penetrating examination of human mental processes, as well as insecurity and instability. The dark forests of Tapiola (1926) are the gloomy forests of the mind; the harsh, stark landscapes of the Fourth Symphony (1911) are soundscapes of spiritual, cerebral and ecological anguish; the erotic thrills and dangerous liaisons of Kullervo (1892), Lemminkäinen (1896), and the First Symphony (1899) serve as prophetic warnings not just about psychosexual licentiousness but environmental debauchery too.
“In his extraordinary symphonies and tone poems, Sibelius explores the stimulating forces and shadowy agencies lurking behind the locked doors of nature, the dense layers of myth and the misty windows of the soul. His is a captivating and increasingly pertinent musical mind we would do well to heed.”
― Sun Forest Lake: The Symphonies & Tone Poems of Jean Sibelius
“Frequently, therefore, not only do the abstract and the programmatic coalesce in Sibelius; the elemental - fire, earth, air, water - are also attached to the psychological. Nature painting in his music is never mere sonic landscaping but a penetrating examination of human mental processes, as well as insecurity and instability. The dark forests of Tapiola (1926) are the gloomy forests of the mind; the harsh, stark landscapes of the Fourth Symphony (1911) are soundscapes of spiritual, cerebral and ecological anguish; the erotic thrills and dangerous liaisons of Kullervo (1892), Lemminkäinen (1896), and the First Symphony (1899) serve as prophetic warnings not just about psychosexual licentiousness but environmental debauchery too.
“In his extraordinary symphonies and tone poems, Sibelius explores the stimulating forces and shadowy agencies lurking behind the locked doors of nature, the dense layers of myth and the misty windows of the soul. His is a captivating and increasingly pertinent musical mind we would do well to heed.”
― Sun Forest Lake: The Symphonies & Tone Poems of Jean Sibelius
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Jay’s 2025 Year in Books
Take a look at Jay’s Year in Books, including some fun facts about their reading.
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