Music of Fire and Water

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Yesterday, after a wonderful lunch with friends from New York City and their cousin, I went to hear a Baroque concert by the Budapest Festival Orchestra with guest conductor Jordi Savall. I think this was my first time walking down the leafy Liszt Ferenc tér; it was certainly my first time at the Zeneakadémia Koncertközpont. But those were minor firsts, relatively speaking; when it came to the music, I was in for surprises of soul.

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Bach’s Orchestral Suite No. 4 sounded fresh and alive; I was immediately caught up in it. Then came Rameau’s Les Boréades Suite, which opened up the imagination in new ways. I think I have listened to it before, but not in a long time; my favorite movement was the Contredanse en rondeau, strange and gracious at once. Here’s my favorite of the performances I found online–by Les Ambassadeurs, conducted by Alexis Kossenko–but Savall and the Budapest Festival Orchestra captured something different.

That is what happens in a concert: you become part of a special instantiation of a piece. I was sitting all the way on the left, in the fourth row; this gave me a perfect view of the French horn section (they were playing Baroque horns, I think).

Then Muffat’s Impatientia Suite was sweet perfection: seven movements in about ten minutes. I think the third movement (Canaries) was my favorite, but it’s hard to tell now; each one proceeded like a raindrop on a string. In the last piece of the program, Händel’s Music for the Royal Fireworks, the woodwinds took the concert to still another level of beauty in the first Menuet at the end. Here’s a gorgeous performance by The Academy of Ancient Music, conducted by Christopher Hogwood–but again, it doesn’t sound quite like what I heard yesterday.

Then came three encores! For the first, the orchestra played the first suite of Händel’s Water Music; for the second, the last movement of the Rameau, the Contredanse très vive, with audience participation. Then, for the last one, I think it was the Gavotte I that they played (in honor of the ticking clock). I made it to the train just in time–a hot train, with no open windows, but with a view of rain and crepuscular rays. Fire and water: a fitting end to the day.

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I took the top photo from the train and the second when walking home from the train station and looking back westward.

“Lights, lights, lights”

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The Shakespeare event took place yesterday: beautiful performances, a full house, a feeling of excitement and pride. I am still gathering my thoughts–and hope to gather some more photos and videos, since I was too focused on the performance to take very many, and most of the ones I did take were from the back of the room.

Just minutes before the performance, we faced a big technical problem: whoever had shut down the Technika Háza earlier in the day had also shut off all the lights. To turn the lights on, you need not only access to a special room but knowledge of its location. This, apparently, is a carefully guarded secret. At last one student–the one who had helped me ask the drama teacher for additional props–managed not only to get on the phone with someone who had the information, but to persuade this person to disclose the information to him. Ten minutes before our show, we had lights, and everything went gloriously from there. Fittingly, the last words of the performance were “Lights, lights, lights” (from Hamlet).

Congratulations and thanks to everyone–including the audience–who made this a gracious and moving occasion. I will say more later.

Speaking of events, this Sunday in New York City there will be a CONTRARIWISE celebration at Book Culture! If there were any way for me to attend, I would, but given that I teach on Monday, it’s too far away. It will be in my thoughts, and I will take part of that day to write and post a little review of the fifth issue.

Update: I added a video and two photos to this piece after posting it.

Speaking Shakespeare

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Shakespeare’s language may seem daunting at first (“His discretion, I am sure, cannot carry his valor, for the goose carries not the fox. It is well. Leave it to his discretion, and let us listen to the moon“). Even after reading his work for decades, you may walk into verbal thickets. Still, through these very burrs and thorns (and leaves and petals and bugs), you find out how immediate Shakespeare’s language can be.

That has been happening in these final rehearsals: everyone has been involved, whether as listeners, actors, or supporting actors (the ones who play parts in rehearsals but not in the event). This afternoon, in the classroom, I saw that someone had written on the board, “Jó munkához idő kell” (“Good work takes time”). I don’t know whether that was a comment on the performance or a remnant from a previous class, but it applies here; day by day, the language has been catching on. I sense it in the audience as they watch their classmates perform scenes and monologues for the dozenth, twentieth time. They listen, laugh, turn pages, give cues, murmur along, call out mistakes. When the main actor is not present, they step in and read parts too.

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Students have been memorizing their lines in spades–and each memorization takes the scene to another level. Yes, there are still some giggles and lapses–but even in the past two days, the performers have come far. We have practiced in classrooms large and small, in the schoolyard (as pictured in the two photos above), and in the park; each place brings out something different.

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One student urged me to ask the drama teacher for additional costumes and props. He accompanied me during a break between classes and acted as interpreter–but after the beginning, we had no difficulty communicating. She took out a veil and said, “Ophelia”; she took out a sword and said, “Polonius.” Everything was clear.

We’re just a dress rehearsal away from the performance. “You shall see, it will fall pat as I told you. Yonder she comes.”

 

Shakespeare Around the Corner

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The Shakespeare event is just three days away. A few days ago, I posted some short videos of ninth-grade rehearsals. Here are the tenth-graders (who read Hamlet this semester) heading up the stairs to our venue.

They will perform excerpts of two scenes from Hamlet: the scene where Hamlet encounters the Ghost (Act 1, Scene 5) and the scene of the play within a play (Act 3, Scene 2). Here is a rehearsal of the “dumb-show” at the start of the play within a play.

They practiced it again today (this time with the one who will play Lucianus in the actual event):

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As we approach the event itself, it’s exciting to see and hear subtleties entering the performance. Students have been figuring out their words and gestures, giving them more life each time. Some have taken on the role of assistant directors, offering ideas about the blocking, costumes, delivery, and more.

Everyone has helped out in some way. In the many rehearsals where we did not have the full cast (because the two halves of each class have English at different times), students stepped in to play the parts of those who were not there. Others helped out as audience members; they listened and watched, day after day. Many contributed drawings to the classroom wall.

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There is little more to say and much to do; the next few days will ascend the stairs.

Biking in Serbia (Almost)

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Yesterday, just before returning to Szolnok from Budapest, I thought of taking a train to another country, just for the day. It was too late in the day for that, so I decided to take the bike to Szeged the following morning (today) and bike down to Serbia from there.

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Well, biking to Serbia isn’t as easy as I thought it would be. First, there was a big street festival in Szeged, so I had some trouble figuring out which road to take. I didn’t want to ask, in the midst of these festivities, “How do I get to Serbia?” So I listened to a delightful musical duo–on the Belvárosi bridge–and then tried to wend my way south. (Here’s a short video I recorded.)

There are few border crossings; you have to know where they are. I biked for several hours down a dirt road right along the border–with the Tisza and Serbia to my left, and Hungary to my right–but saw no roads going into Serbia. A couple of times I followed a path in the Serbian direction, but the first one led to the Tisza (and no further), and the second led into a dense wood.

 

A police car came my way; the policemen told me that I was essentially biking on the border between the two countries. I asked them if this was permitted; they said yes. So I continued on, only to reach a dead end eventually. (That was where I turned onto the path that led to the Tisza; that’s Serbia across the river.) On my way back, I saw the policemen again; we waved at each other.

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Although I didn’t make it into Serbia, I could not have wished for a more glorious bike ride. I saw many storks, a spotted deer, a hare, horses, and sheep. I undulated through dirt and mud. Clouds started to tower in the sky, but not a raindrop splattered my way (or even in my vicinity).

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When I returned to Szeged, I discovered the route to Beograd–one of two ways to get to Serbia from the city. Next time I will know what to do; by the time I figured all this out, it was mid-afternoon, and I didn’t want to stretch the day too far. I watched a folk dance performance for a few minutes and then headed back to the train station.

In a week I will return to Szeged for a synagogue concert by the Budapest Festival Orchestra. Later in June, I hope to try the Serbia trip again.

Image and video credits: The map is from Google Maps; I took all the other pictures and videos today.

Update: I am not the only person who found the border crossing tricky.

“I see a voice: now will I to the chink….”

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We have been practicing, day by day, for the May 31 Shakespeare event–just a week away now–which will include three excerpts from A Midsummer Night’s Dream, two excerpts from Hamlet, a simple Renaissance dance, and a few introductions and interludes. The rehearsals have built and built; each time, something has improved, and the mistakes have made memories too.

It has been fun to pull costumes together; a homemade lion costume (in the works–thanks to a student’s mom), plastic wreaths and vines, a lanthorn, a not-so-thorny thornbush, a (stuffed) dog, some crowns, and other props and accoutrements.

Here’s a dialogue from A Midsummer Night’s Dream, Act 1, Scene 1 (recorded May 17):

Here’s one from Act 3, Scene 2, with a different Hermia and Helena (recorded May 22):

Here’s the Wall (“In this same interlude it doth befall / That I, one Snout by name, present a Wall….”)

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I don’t have any Hamlet photos or videos yet (aside from the drawings I posted recently), but that may change soon.

“If I should say I have hope”

amos211Most of the time I do not know the full meaning of what I and others do and say. These actions and words have many rungs; even at my strongest, I climb only a few. The Book of Ruth has something to do with these levels.

Shavuot involved many preparations. People brought food, flowers, and more; they helped with setup, cleanup, and details of the service. I prepared to lead a study session and two services (Kabbalat Shabbat and Shavuot). The Shavuot service included a Hallel (with many melodies, including Shlomo Carlebach’s “Ma Ashiv“), the Aseret haDibrot (Ten Commandments), and the first chapter of Ruth. So I was studying and practicing up to the last minute.

When preparing to chant Ruth, I came to understand Naomi’s words in new ways. She pours out grief and despair but also, without knowing it, keeps hinting toward hope.

She loses first her husband, then, about a decade later, her two sons; on the way back from the fields of Moab (where they had been living) to Bethlehem, her home, she urges her daughters-in-law, Ruth and Orpah, to go back to their mothers’ homes, since there is nothing for them here.

ח  וַתֹּאמֶר נָעֳמִי, לִשְׁתֵּי כַלֹּתֶיהָ, לֵכְנָה שֹּׁבְנָה, אִשָּׁה לְבֵית אִמָּהּ; יעשה (יַעַשׂ) יְהוָה עִמָּכֶם חֶסֶד, כַּאֲשֶׁר עֲשִׂיתֶם עִם-הַמֵּתִים וְעִמָּדִי. 8 And Naomi said unto her two daughters-in-law: ‘Go, return each of you to her mother’s house; the LORD deal kindly with you, as ye have dealt with the dead, and with me.
ט  יִתֵּן יְהוָה, לָכֶם, וּמְצֶאןָ מְנוּחָה, אִשָּׁה בֵּית אִישָׁהּ; וַתִּשַּׁק לָהֶן, וַתִּשֶּׂאנָה קוֹלָן וַתִּבְכֶּינָה. 9 The LORD grant you that ye may find rest, each of you in the house of her husband.’ Then she kissed them; and they lifted up their voice, and wept.

 
She probably does not understand, as she speaks, that her words can be heard in more than one way. Orpah hears the literal meaning of “mother’s house” and eventually obeys Naomi’s command. Ruth perhaps hears the words differently; perhaps she sees Naomi as her mother–not the mother who gave her birth, but her mother in adulthood. She insists on staying. So, both Orpah and Ruth obey Naomi, but at different levels of her words.

Before Orpah and Ruth part ways, Naomi continues to make her case (in verses 11-13). “Turn back, my daughters, go your way,” she says, “for I am too old to have a husband.” And then: “If I should say: I have hope, should I even have an husband to-night, and also bear sons; would ye tarry for them till they were grown? would ye shut yourselves off for them and have no husbands? nay, my daughters; for it grieveth me much for your sakes, for the hand of the LORD is gone forth against me.”

“I am too old to have a husband” (“ki zakanti mihyot le’ish”)–those words immediately bring to mind Sarah’s words–and especially God’s paraphrase of them (“Ha’af umnam eled, va’ani zakanti”)–in Genesis 18:12-13. Through this echo, Naomi suggests unwittingly that she might have a second husband (and a child) yet; in the second part of the verse, her hint grows even stronger, “If I should say: I have hope….” We know from the last chapter that she will have another child–not her own, but Ruth’s, whom she will nurse.

Naomi’s words may also carry a trace of Psalm 37, verse 25, (“I have been young, and now am old [na’ar hayiti–gam zakanti]; yet have I not seen the righteous forsaken, nor his seed begging bread”). This allusion seems likely especially given the importance of Bethlehem, the “house of bread,” in the first chapter, and given Naomi’s very gesture (mentioned in Ruth 1:6) of returning to Bethlehem because she had heard “that the LORD had remembered His people in giving them bread.”

Her words of despair in verse 13–“ki yatz’a vi yad [Hashem]” (“for the hand of the Lord has gone out [to/for/against] me”)–suggest a direct relation with God, not a state of abandonment. In her grief she feels God physically touching her. It is these relations between two–between Naomi and God, between Naomi and Ruth, between Ruth and Boaz–that bring forth unexpected joy.

In this sense, Ruth’s words bring out hidden meanings of Naomi’s own:

טו  וַתֹּאמֶר, הִנֵּה שָׁבָה יְבִמְתֵּךְ, אֶל-עַמָּהּ, וְאֶל-אֱלֹהֶיהָ; שׁוּבִי, אַחֲרֵי יְבִמְתֵּךְ. 15 And she said: ‘Behold, thy sister-in-law is gone back unto her people, and unto her god; return thou after thy sister-in-law.’
טז  וַתֹּאמֶר רוּת אַל-תִּפְגְּעִי-בִי, לְעָזְבֵךְ לָשׁוּב מֵאַחֲרָיִךְ:  כִּי אֶל-אֲשֶׁר תֵּלְכִי אֵלֵךְ, וּבַאֲשֶׁר תָּלִינִי אָלִין–עַמֵּךְ עַמִּי, וֵאלֹהַיִךְ אֱלֹהָי. 16 And Ruth said: ‘Entreat me not to leave thee, and to return from following after thee; for whither thou goest, I will go; and where thou lodgest, I will lodge; thy people shall be my people, and thy God my God;
יז  בַּאֲשֶׁר תָּמוּתִי אָמוּת, וְשָׁם אֶקָּבֵר; כֹּה יַעֲשֶׂה יְהוָה לִי, וְכֹה יוֹסִיף–כִּי הַמָּוֶת, יַפְרִיד בֵּינִי וּבֵינֵךְ. 17 where thou diest, will I die, and there will I be buried; the LORD do so to me, and more also, if aught but death part thee and me.’

 
Naomi says, essentially: “Do what your sister-in-law is doing: return to your people and your god.” Ruth replies with both a “no” and a “yes”; she asks Naomi to stop entreating her to leave, but then explains that Naomi’s home will be her home; Naomi’s people, her people; and Naomi’s god, her god. In other words, she is returning home, just as Naomi begged her to do; she is joining with Naomi so that the two will  be one.

Now the two proceed to Bethlehem, where all the city take notice of them, and the women ask, “Is this Naomi?”

Here Naomi invokes a Biblical motif of renaming; she asks them to call her not Naomi, but Marah, since the Lord has dealt bitterly with her. This request carries hubris–who is she to rename herself?–but also a recognition. To my knowledge, renamings happen only three times in the Torah: in Genesis 17, when God tells Abram that he will henceforth be Abraham and that Sarai will be Sarah; and in Genesis 32, after Jacob wrestles with God all night long, and God tells him that his name from now on will be Israel. In asking for a renaming, Naomi senses not only the presence of God but the catastrophe of the moment (“catastrophe” not only in the sense of “terrible occurrence” but also in the sense of “overturning”). The renaming does not occur, but the overturning does. A new life begins to form, but not as she imagined it.

Thus Naomi does not hear the full meaning of her own words; they hold more than she can know in the moment. Some might dismiss her as a complainer, as a bitter old woman, but in Hebrew her words break  the heart: “Al b’notai,” “no, my daughters.” She carries not only grief, not only hidden hope, but tenderness. I imagine her magnificence and courage. Ruth recognizes something in her; so do the people who have not seen her in years.

In the Shavuot service, as I have done before, I brought into the liturgy the melody of “Szól a kakas már” (“The Rooster is Already Calling”)–following the example of Rabbi Ariel Pollak, who leads services at Szim Salom about once a month.

This is no ordinary song. The lyrics are in Hungarian and Hebrew. According to legend, the first Kaliver Rebbe, Yitzchak Isaac Taub (1751-1821), learned and purchased it from a shepherd, who, after teaching it to him, forgot it completely. The Rebbe (once a shepherd himself) would often walk among the shepherds and learn songs from them. Because of its Messianic longing and grief, the song later came to be associated with the Holocaust. Still it goes beyond time and place. Once you have heard it, it goes where you go.

Here’s a beautiful rendition by Zalán Lehner (listen also to Márta Sebestyén and read some history and commentary).

I sang the melody only briefly; after I stopped, I could hear people still humming it. The humming lingered, turning thinner and thinner. Then it disappeared into the quiet.

I have known this for some time, but now I understood it more fully: to lead a service, you listen to it. You hear and carry what it already holds: the day and its meaning, the cadences of the text, the dimensions of the words, the people in the room, the person in front of, behind, or beside you, the hope in Naomi’s cries, the thing you awkwardly call faith (when you call it anything), and histories, melodies, losses, yearnings that go so far beyond you, on all sides, that all you can do is walk along and learn.


Art credit: Hajnalvárás (Waiting for Dawn) by Imre Ámos (1907-1945). Oil on canvas. Image courtesy of Wikipedia.

The quotations from Ruth are courtesy of the Mechon Mamre website. The interpretations are my own, but I imagine that many others have made similar points.

I have recorded Ruth 1:11-13 so that anyone interested can listen to these verses.

I made a few edits to this piece after posting it.

Birches and Books

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William Blake got something right in his ruminative “Auguries of Innocence“:

The Princes Robes & Beggars Rags
Are Toadstools on the Misers Bags
A Truth thats told with bad intent
Beats all the Lies you can invent
It is right it should be so
Man was made for Joy & Woe
And when this we rightly know<
Thro the World we safely go

What a strange and persistent poem; it seems like a long procession of lanterns. I think of it in light of the sad international news of the past few weeks, the joys in my life, the mixture of meanings everywhere.

Today many students were out of the classroom, attending a special event, so I took my eleventh-grade classes to the park, where we went in different directions, looked at something for five minutes, and then converged again to show each other what we had seen. In one session I found roses blooming upward; in another, a weeping birch in the wind.

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During this time, things have been coming along with the book, which now has a jacket design:

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To top it all off, or to lift it up from the foundation, the CONTRARIWISE copies arrived here in Szolnok today! A copy goes to each of the contest winners from my school, another one to the school, and one to me. CONTRARIWISE prevails. I will say more soon.

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Forms and Meanings of Praise

Last week, while some of my tenth-grade students were taking a make-up test, the others illustrated scenes from Hamlet, in preparation for our event. I had compiled a list of possible quotes; many students chose quotes of their own. There were drawings of Ophelia, the ghost, King Claudius, the play within a play, the slaying of Polonius, the “Words, words, words” scene, and many more.

As I walked around the room and pointed out what I saw in certain pieces, I often met with the response, “No, it’s terrible! I can’t draw!” Some students explained what was wrong with their pieces; some burst into giggles; some stared at the emerging arm on the page, erased it, and stared at the blank page. Here I saw a cultural difference between the U.S. and Hungary; while everywhere you will find students who take pride in their work and students who do not, the proportions differ, with American students being, in my experience, a bit prouder of their work than Hungarians. This difference has something to do with the messages they receive from teachers and others.

First of all, in American schools, just about anything may go up on the wall. Teachers are required to display student work on bulletin boards around the classroom and in hallways–so anything from a Venn diagram to an algebra proof to an essay can end up in public view. Second, there’s an underlying belief that all student work–at least in its final form–should be celebrated. Every student has talent and a voice, according to popular wisdom; all voices should be seen. (I am channeling Pyramus here: “I see a voice.”) Here in Hungary, from what I have seen, not everything gets displayed and celebrated; overall, student work receives more criticism than praise. There’s a basic assumption that all students need to improve (and that they have a long, long way to go). There are exceptions to this–but that’s the overall tendency, at least in comparison with what I have seen in the U.S.

I see promise and problems in both ways. The American attitude (or collection of attitudes) can become too blithe and exuberant, too fixated on the “wonderful.” (When everything is “wonderful,” there’s not much more you can say.) The Hungarian attitude (or collection of attitudes), in contrast, can leave some students thinking that they can’t draw, write, etc., at all. Yet both approaches hold a possible middle way: looking at what is actually going on in the students’ work and considering how to challenge it. Here, in this class assignment, I found an abundance of interesting things. (All the pieces that appear here are posted with the students’ permission.)

Consider the clowns: I am struck by the symmetry between cross and spade, the contrast between the standing and sitting clowns (one big, one little; one with spade, the other with flower); the solemnity of their faces, the colors, and the quote itself. Or the two praying scenes–how did those stick figures become so evocative (in the first) and the crown and cross so luminous (in the second)? Or Hamlet and Horatio: Hamlet with his eyes closed, as though he were seeing a world no one else could see, and Horatio, troubled, looking askance. Or the ghost scenes, ordered and unnerving. Or Ophelia, her thoughts full of water.

If I were an art teacher, I would have more to say, possibly, about the proportions, shading, and so forth–but I am bad at drawing and have little sense of how to improve it. Rather, as a language and literature teacher, I would take cues from the pictures and devote lessons to Shakepeare’s clowns and ghosts. Here, given our time constraints and upcoming event, I have worked to incorporate “pictures” into our rehearsals–that is, to help students imagine and work out the details of the scenes, with attention to every word in the text.

What kind of praise is appropriate in the classroom? Those of the “growth mindset” persuasion often say that teachers should praise students for effort, not for ability or accomplishment. That strikes me as too rigid; different situations call for different kinds of praise. Sometimes students do need to hear that they have a particular ability or that their work stands out. What matters is that the teacher praise and criticize thoughtfully, not automatically, and that she avoid using praise (or criticism) as a way of exerting control. When students depend too much on teachers’ praise or take it too much to heart, they lose their own critical sense. A teacher’s praise should help students find their way.

Praise, like criticism, can do good or harm; what matters is that both teacher and student keep it in perspective and turn it toward the good. It is not an ultimate decree. A teacher can point out what she sees without claiming the last word.

Image credit: The eight drawings are by students in class 10C at the Varga Katalin Gimnázium in Szolnok; they are posted with the students’ permission.

Happy Volume 5, CONTRARIWISE!

VOL 5

Last Thursday I received word that the fifth issue of CONTRARIWISE had just arrived at Columbia Secondary School! Soon we will receive copies here in Szolnok. At that point I will have more to say; for now, congratulations to the writers, editors, faculty advisor, and everyone who brought this about. The journal thrives.

As many readers know, Barnabás Paksi  (Varga Katalin Gimnázium, Szolnok, Hungary) won first place in this year’s CONTRARIWISE International Contest; Gábor Medvegy (also from Varga Katalin) shares the second place with Hakan Urgancıoğlu (Sainte Pulchérie Lisesi, Istanbul, Turkey). Their pieces appear in this issue.

There will be a CONTRARIWISE event at Book Culture (536 112th St., New York City) on Sunday, June 3, at 3 p.m. If you are in the vicinity, go! It’s an incomparable experience. Here are photos from the 2014, 2015, and 2016 events (at Word Up, Bowery Poetry, and Book Culture).