In the end the joker loses out to love

Play your hand! Charles Thibo

Do you play poker? I don’t. But I love to play a Luxembourg card game called “66”. You play it with the Nine, the Joker, the Dame, the King, the Ten and the Ace and the idea is to be the first to make 66 points. I learned it from my father when I was a boy and we would play until late at night to the despair of my mother who would have prefered me going to bed early. Nowadays I am teaching the game to my daughter and yes, she wins more and more often.

Continue reading!

The quest for identity or a fool among fools

Oranges  – the prize. © Charles Thibo

Everything is connected – isn’t that so? Whatever we do, it has consequences, big or small, harmless or deadly. Whatever we decide, it affects people around us, positively, negatively. At the end, our life is the sum of our decisions, well-meant, often misguided and mostly overrated as to their importance. A couple of things come together here.

Continue reading!

Studies in musical abstraction signed Stravinsky

stillleben-braun-weiss
Progress. © Charles Thibo

The master – a student? What could he possibly learn? He had written superb ballets, enchanted and scandalized the audience, he had proved time and again that he was one of the leading voices of his time, perhaps the paramount representative of Russian music in exile: Igor Stravinsky.

Continue reading!

A scandalous ballet with a barbaric signature

Sacre Printemps
Vitality-fertility. © Charles Thibo

The adulation of nature. Blasphemy! The sacrifice of a young woman. Horror! Music with broken harmonies, dissonance? A scandal! Paris was in uproar in 1913 after Igor Stravinsky had presented the ballet “The Rite of Spring” (Le Sacre du Printemps), the premiere almost provoked a riot in the Théâtre des Champs Elysées. “This ‘stuff’ certainly should be played on some barbaric instruments”, a critic wrote, not fully aware that he actually grasped an important aspect of the composer’s general idea: To express the idea of primitive and therefore true vitality, he wrote large parts of the piece in a fictive “barbaric style”.

Continue reading!