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Quasi na Fantasia places in which you have never stayed, but whose towns and cies are familar. Even when you ate no expert in the geography of the regions you ate traveling through, you can guess the sequence of the stations simply from the atmosphere of each place name, which seems to suggest how close it isto, or distant from, other placesin the same region. Fulda: the next station has to be Erfurt, since its aura suggests that i lies between Hesse Cassel and Thuringia. You then expect Weimar, which does indeed lie in the fantasy realm of Thuringia, but, unlike Hall, far from being so clearly located in a state witha Saxon dialect If you then stop over in Halle and Erfurt these differences may cally shrink and the people and cities may turn out to be very similar. Only when you have looked at the map and constructed the constellation which all these owns form together docs the ‘original picture reimpose itself. What is needed is a precise ‘overview of the Straussian province. Even more, you have t0 have left it behind you in order to discover once again the chemical, highly industrialized and neonslt character of his Ar Nouveau that was once advertised by the name Fakir. 1929) 36 Commodity Music Analysed Gounod's Ave Maria: an Englishman has proposed this formula for musi hall: Pu thee half-naked girs on a revolving age. Then flay he organ. This recipe is foreshadowed inthe Mediation Its | piece of sacred pop music featuring one of those Magdalenes notable equally for their penitence and their seductivences, Overcome with remorse, they reveal all, Thus saccharined religion becomes the bourgeois cloak fora tolerated pornogra- phy. You say Bach, but you mean Gounod, You have the rigorous prelude, but what you really respond to isthe soulful melody. On the organ for preference, but withthe violin obligato nthe Vocal part. tis the birth ofthe Wurlitzer from the spirit of Faust archetypal cinema muse Its basic gesture is supplication in pious selabandonment. “The soul delivers itself into the hands of the Almighty with uplifted skirt. This is how Henny Porten pleaded for mercy (One of her earliest films was The Paron’s Daughter, It ended in death, ‘The music rides roughshod over the words. Where they are felt obe inadequate, they ae repeated. Thereisno proper place 2 Lene as deta 3, Hen Poem (18001060) vy a acres of te German set sen, ceed Torr vot ied nae 7 Quasi una Fantasia forthe ‘ructus ventrs tui. Ie acquires that dubious imitative {quality which the words blessed be the fruit of thy womb’ had in childhood, But there sone word the music penetrates tits co Itis'peceatoribus’. Ifthe soaring note of redemption is prepared for by the restraint ofthe ‘Ora pro nobis so that you can bear ‘wellin advance just how high thas to go, then the Latin ablative tending isthe springboard that propels the sinners into the next world: It ison peceatoribus’ thatthe skirtraising gesture fall "The dese that bears her aloft reveals her thigh. But the upward sweep isso overwhelming that even the moment of our death is powerless before it. The climax comes, God alone knows why. ‘wth the “horas once the ‘peccatoribus’ have experienced their moment of bis, itis irelevant to ask where they have been transported o. The upward surge carries the hora mortis along with it and, without leuing you catch your breath for even 2 ‘moment, it culminates joyously in the superfluous Amen’. Since the mage of utopian happiness has vanished from great muss is preserved only by inferior music, but in eariatured form, perfect illusion as prayer. Rachmaninov’ Prelude in C-sharp minor: there are passages Familiar from pieces for children nd from school concerts which are marked “grandioso’ Tiny hands execute the gesture of Strength. Children imitate grown-ups, perhaps even the virtuosi ‘who have been swotting up ther List. I sounds tremendously