Lale Andersen sings Lili Marlene, 1939

Without any doubt the most popular song of the Second World War was Lili Marlene. Recorded by Danish cabaret artiste Lale Andersen in 1939 under the title Das Mädchen unter der Laterne (“The Girl under the Lantern”), the song sold a mere 700 copies on release and faded into obscurity.

There it might have remained had not a soldier, working for the German forces radio station in occupied Belgrade, been sent to scour Vienna for some records to broadcast to General Rommel’s Afrika Korps. One of the records he found in Vienna was Lale Andersen’s recording of Das Mädchen unter der Laterne, and it was first played over the air on 18th August 1941.

It became an instant favourite with Rommel’s men, and for the next three years Radio Belgrade played it almost every night at 9.57pm, as the closing record. It also became a huge hit throughout Nazi-occupied Europe and was soon picked up by the British Eighth Army in the desert. It also soon assumed its simple alternative song title, Lili Marlene (sometimes spelled Lili Marleen, Lilli Marlene etc).

In his memoir, British soldier Fitzroy Maclean describes the song’s effect in the spring of 1942 during the Western Desert Campaign: “Husky, sensuous, nostalgic, sugar-sweet, her voice seemed to reach out to you, as she lingered over the catchy tune…”

The next year, Maclean was parachuted into the Yugoslav guerrilla war, and the song once again played its part:

Sometimes at night, before going to sleep, we would turn on our receiving set and listen to Radio Belgrade. For months now, the flower of the Afrika Korps had been languishing behind the barbed wire of Allied prison camps. But still, punctually at ten o’clock, came Lale Andersen singing their special song, with the same unvarying, heart-rending sweetness that we knew so well from the desert…Belgrade was still remote but, now that we ourselves were in Yugoslavia, it had acquired a new significance for us. It had become our ultimate goal, which Lili Marlene and her nostalgic little tune seemed somehow to symbolise. ‘When we get to Belgrade…’ we would say. And then we would switch off the wireless a little guiltily, for the Partisans, we knew, were shocked at the strange pleasure we got from listening to the singing of the German woman (sic) who was queening it in their capital.”

It’s not hard to imagine the Tommies, and Jerries alike, crowded round their “receiving sets”, smoking fags and dreaming of Lili Marlene…

Lale Andersen

Alfred, Lord Tennyson’s Charge of the Light Brigade, 1854

It’s 25th October 1854, and the Battle of Balaclava, one of the pivotal battles of the Crimean War, is in full flow. Lord Raglan, commander of the British forces, has sent a message ordering the approximately 600 horsemen of the British light cavalry (the “Light Brigade”) to pursue and harry a retreating Russian artillery battery. Disastrously, however, due to a miscommunication in the chain of command, the Light Brigade is instead sent on a frontal assault against a different artillery battery, one very much well-prepared and defended.

The Light Brigade comes under withering fire from three sides, is badly mauled, and is forced to retreat in chaos. The assault ends with very high British casualties, no decisive gains, and the event goes down in history as one of the most woeful of military blunders…

Just six weeks after the event, Alfred, Lord Tennyson published his narrative poem “The Charge of the Light Brigade”. Its lines emphasise the valour of the cavalry in bravely carrying out their orders, regardless of the obvious outcome. The poem bequeaths to us the famous phrase:

Theirs not to reason why,
Theirs but to do and die

Nowadays, we casually use the phrase “ours not to reason why” to shrug away a dubious managerial decision. In the poem, however, we are left in no doubt as to what the soldiers were committing themselves to:

Cannon to the right of them,
Cannon to the left of them,
Cannon in front of them
Volley’d and thunder’d;
Storm’d at with shot and shell,
Boldly they rode and well,
Into the jaws of Death,
Into the mouth of Hell
Rode the six hundred

The metrical scheme of the poem lends itself to the desperate charge of the horsemen, the breathlessly short lines, drummed out like hoof-beats, creating a dramatic immediacy. Phrases like “jaws of Death” and “mouth of Hell” vividly depict the hopelessness of the assault.

Read it in full (as you listen to it here)

 

The Charge of the Light Brigade

I
Half a league, half a league,
Half a league onward,
All in the valley of Death
Rode the six hundred.
‘Forward, the Light Brigade!
Charge for the guns!’ he said:
Into the valley of Death
Rode the six hundred.

II
‘Forward, the Light Brigade!’
Was there a man dismay’d?
Not tho’ the soldier knew
Someone had blunder’d:
Theirs not to make reply,
Theirs not to reason why,
Theirs but to do and die:
Into the valley of Death
Rode the six hundred.

III
Cannon to the right of them,
Cannon to the left of them,
Cannon in front of them
Volley’d and thunder’d;
Storm’d at with shot and shell,
Boldly they rode and well,
Into the jaws of Death,
Into the mouth of Hell
Rode the six hundred.

IV
Flash’d all their sabres bare,
Flash’d as they turn’d in air
Sabring the gunners there,
Charging an army, while
All the world wonder’d:
Plunged in the battery-smoke
Right thro’ the line they broke;
Cossack and Russian
Reel’d from the sabre-stroke
Shatter’d and sunder’d.
Then they rode back, but not
Not the six hundred.

V
Cannon to right of them,
Cannon to left of them,
Cannon behind them
Volley’d and thunder’d;
Storm’d at with shot and shell,
While horse and hero fell,
They that had fought so well
Came thro’ the jaws of Death,
Back from the mouth of Hell,
All that was left of them,
Left of the six hundred.

VI
When can their glory fade?
O the wild charge they made!
All the world wonder’d.
Honour the charge they made!
Honour the Light Brigade,
Noble six hundred!

Tennyson
Painting by Richard Caton Woodville, 1894

 

Survivors of the charge

Ilya Repin’s Barge-haulers on the Volga (Volga Boatmen) (1873)

Just as in France where painting and sculpture were controlled and influenced by the Salon, in 19th century Russia, the equivalent was the Imperial Academy of Arts in St. Petersburg. And just as in France, where the Impressionists rebelled against the conservatism of the Salon, in Russia a group of artists who became known as the Peredvizhniki (Itinerants or Wanderers) rebelled against the Academy’s classical tendencies. Instead of the mythological theme proposed for the annual painting competition in 1863 (“The entrance of Odin into Valhalla”), the Peredvizhniki were far more interested in exploring themes of real life in Russia: the Russian peasantry, the Russian landscape, the Russian clergy. Thus, the Itinerants broke away, created their own group, and painted as they pleased.

A leading member of the Peredvizhniki was Ilya Repin (1844-1930), and here we look at his sublime masterpiece, the Volga Boatmen. Repin takes the physical labour and fatigue of the common man as his subject, and it’s hard to imagine a more physically demanding and oppressive labour than that carried out by burlaks, the men (and women) who hauled barges along the river Volga.

The eleven figures in the group have been called metaphors for Russia itself, and there is allegory aplenty for art scholars, but the piece is powerful enough on a straightforward reading: Life for the downtrodden is tough; and there is no hope…

…or is there? In the middle of the dark and beaten-down figures of the haulers, a young man has lifted his head and is staring off out of the picture. His is the only visage to be illuminated. The meaning is clear: he is raising his head in an act of defiance, a symbol of hope and the promise of a better future.  With the benefit of hindsight it might even be seen as a foreshadowing of the Revolution that would free the proletariat nearly fifty years later.

For a little extra atmosphere, how about listening to this 1936 recording of Russian opera singer Feodor Chaliapin singing the dirgy folk song, Song of the Volga Boatmen?

Repin, Self-portrait

Canteloube’s Baïlèro, sung by Victoria de los Ángeles (1969)

Chants d’Auvergne (English: Songs from the Auvergne) is a collection of folk songs from the Auvergne region of France, arranged for soprano and orchestra by French composer and musicologist Joseph Canteloube in the 1920s. The songs are in the local language, Occitan (also known as Langue d’Oc, hence the name of the former province of southern France, Languedoc). Canteloube’s family had deep roots in the Auvergne region, and his arrangements are a labour of love borne from an eagerness to immortalise the folklore and beauty of his home region.

The best-known of Canteloube’s collection is Baïlèro, and this recording, by the Spanish soprano, Victoria de los Ángeles, is surely the most beautifully delivered version of it.

The song is achingly wistful. It evokes a sense of longing, for what – homeland, lost love, lost youth? – it matters not. Victoria de los Ángeles speaks directly to the heart of the listener and perhaps her Catalan background, connected as it is with the peasant traditions of the wider area sometimes known as Occitania, lends itself to the rustic charm.

I heard it years ago on a compilation CD and fell for it instantly. I feel the sense of landscape, of affinity with one’s roots, of being connected to one’s environment, and at the same time the plaintive feeling of separation and yearning that pervades the piece. It all adds up to a wellspring of emotional power.

I only recently looked up the Occitan words and their English translation; they are pastoral in tone (unsurprising given that they are peasant folk-songs), and feature a call-and-response pattern between the singer and her shepherd love.  Of course, it doesn’t matter what the lyrics are; it is the feel of the music and the voice that count, but to some extent the sense of longing and separation is corroborated by the lyric:

Pastré couci foraï,
En obal io lou bel riou
Dio lou baïlèro lèrô…

Shepherd, the water divides us,
And I cannot cross it,
Sing baïlèro lèrô…

I am presenting the music here with some imagery of the mountains, lakes and cascades of the Auvergne, but really you are as well to listen with eyes closed, feet up, in a quiet, pleasant environment, and a large glass of wine in hand. Enjoy…

 

Occasional Glimpses of the Sublime

Greetings, and welcome to my blog!

Here’s where I introduce the theme of my blog, following which, depending upon whether or not your curiosity is sufficiently whetted to continue reading, I will meet you again at the end of the week with my first post proper!

So, what’s it all about, and what’s with the title? Let me explain…

In the history of aesthetics, the idea of “the sublime” has a long pedigree, and its meaning has been debated throughout the centuries by generations of artists, writers, poets, musicians and critics. These days, however, the word “sublime” has a pretty straightforward definition; in everyday language it simply means “excellent” or “exceptional” and can be applied to almost anything that can be refined to the highest point…such as a perfectly executed goal in football, or an exquisitely cooked meal.

In this blog, I will take as my lead this modern sense of “exceptional”, and apply it to the varied worlds of art, music, film, television, theatre, opera, and literature (anything you can see or hear and which I can embed or link to, basically). I will choose examples that I think stand out from the crowd (“occasional glimpses”) by virtue of their excellence or cultural significance, and write about them, hopefully in an interesting way, and by so doing, share them with you.

To give you an idea, here are, in no particular order, some sublime creations slated for upcoming posts: Barbara Bonney’s rendering of Schubert’s Ave Maria; the use of Rachmaninoff’s 2nd Piano Concerto in Brief Encounter; Jan Van Eyck’s Ghent Altarpiece; Tennyson’s poem The Charge of the Light Brigade. However, the sublime is represented in popular culture, too: also upcoming are pieces on Jack Nicholson’s portrayal of Badass Buddusky in The Last Detail; Jimi Hendrix’s influential performance of The Star Spangled Banner at Woodstock; and Cook and Moore’s comedy sketch Pete and Dud at the Zoo!

Of course, such things are subjective and you are under no obligation to agree with me! We all have our individual opinions and tastes, after all. However, my selections will most usually be tried and trusted gems of high artistic quality that are widely admired or acknowledged. Join me in my “occasional glimpses of the sublime”, and see if you agree…

Commentaries on excellence in art, music, film, and literature