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I’m going to give up on Fantasy as a genre, I think. Even when written by authors whose other work I enjoy, I can’t get interested. I’ve read Nathan Lowell’s Trader sci-fi series, and really enjoyed the books, but Ravenwood by the same author seemed very humdrum. I got through it, but have no desire to read the others in the series. Wen Spenser’s Tinker I abandoned halfway through. Just couldn’t suspend my disbelief long enough to get through it.
In a week or so, I’ll have David Weber’s new Safehold novel, and maybe that’ll satisfy. Though from reading the snippets he’s released beforehand, it sounds like this is going to be another battle-laden tome. I struggled with the last one trying to keep track of the new characters and also the new settings. I’ve got a lot of time invested in the series, though, and I need to know what happens to Clyntahn (political significance in the choice of that name, I wonder?) and how. Supposedly there are only going to be 8 books in the series, so there has to be a lot of plot movement soon.
In the meantime, I’ve been immersed in the 19th century London musical scene, reading some of Bernard Shaw’s music criticism. Shaw was music critic for The World from 1890 to 1894, and I think anyone interested in classical music would be both amused and informed from reading these columns if they can find the books, maybe in their libraries. I bought the 3-volume set in a used book store, but I see there are a couple of sets available from Amazon for $20, which is good value for the right person. Shaw brings his good humor and breadth of knowledge to these reviews.
Reading his column dealing with the Mozart centenary in 1891, it’s clear that Mozart was a tougher sell than he is today, even. Shaw says his consummate achievement consisted of the operas Don Juan and Le Nozze di Figaro, and his 3 or 4 perfect symphonies. I doubt any Mozart music lover today would agree with such a restricted list, but using the index to the volumes and looking through all the Mozart entries, he only heard one piano concerto during the four years he was a critic, and his other Mozart experiences, except for some of the operas, were likewise pretty rare. Then, as now, the audiences were mostly interested in Romantic composers’ music, and anyway, from Shaw’s criticisms, you see that the performers, orchestras and soloists alike, were not prepared to perform his music to advantage.
Anyhow, the centenary was commemorated in London when “...the Crystal Palace committed itself to the Jupiter Symphony and the Requiem; and the Albert Hall, by way of varying the entertainment, announced the Requiem and the Jupiter Symphony.” I’m sure it was a very different celebration in London in 1991.
Jim
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