Thoughts on Nature Vs. Nurture

Prospero: A devil, a born devil on whose nature Nurture can never stick, on whom my pains, Humanely taken, all, all lost, quite lost. And as with age his body uglier grows, So his mind cankers. I will plague them all, Even to roaring. ~ William Shakespeare (The Tempest).

We can thank Shakespeare for the concept of nature and nurture, as elucidated by Prospero in The Tempest about the ‘foul’ Caliban.

George Romney - William Shakespeare's The Tempest - Act 1, Scene 1

George Romney – William Shakespeare’s The Tempest – Act 1, Scene 1

During my recent author interview with Viv Oyolu at Dream Corner – which gives inspiring women a voice – we talked about my novel, The Virtuoso, life and dreams. Towards the end of the interview we discussed children and education, and Viv mentioned that as someone who doesn’t have kids she was able to look objectively at how parents raise their children.

family-holding hands

She mentioned the nature/nurture scenario and it got me thinking. The nature vs. nurture debate has long been hit about the court of public and professional opinion like an endless ping pong, so as a mum of four, with some experience of nurture, I thought I’d serve up my take on it.

From a maternal perspective nature deals the earthly hand, whereas nurture gives a helping, developing hand. It’s a team effort!

We’re born with specific physical attributes, personality traits, various talents, but our future success and happiness in the world depends largely on how nurture shapes and molds these raw ingredients that we have to work with.

dancing

Rather than asking which one is better, or which one has the most influence, I think we should consider the possibility that the two are co-dependent and therefore inextricably linked.

Max Macdowell explains the basic question of Nature Vs. Nurture:

It’s a complex interaction of genes and environment that shape who we are, and more importantly, who we can become. Nature without nurture and vice-versa means that we face greater challenges in reaching our true potential.

seven-psycho-perspect

Nurture can come from different sources, but early in life it’s predominantly from our parents or another caring adult.

I saw a fascinating and moving programme on BBC 4 Sunday evening about two identical Chinese girl twins. I missed the very start, but basically the two had been separated at birth and adopted in China at the same time by two different families, one living in Norway and the other in North America. The two families, (having met in China) only found out for sure that their adopted daughters were twin sisters six months after they have been caring for them.

Mia and Alexandra eventually met and got to know each other, distance and language challenges notwithstanding. Both are growing up in loving homes, albeit in different cultural and environmental circumstances, yet when visiting the other family their mothers noticed shared behavioural tendencies in the twin daughter.

A fun and interesting talk from experimental pyschologist, linguist and cognitive scientist Steven Pinker, about his book, Human Nature and The Blank Slate, where he focuses on the arts and parenting:

Interestingly, British runner Mo Farah, now one of the most successful athletes in the world, has a twin brother in Somalia, who he used to race against as a child before he came to the UK. Mo didn’t always win. Today Mo’s brother is a car mechanic. He may be very happy with that, but it’s obvious that environment/nurture played a massive role in how their lives and careers diverged.

Trauma in childhood can be a massive hurdle to overcome. You may have great genes, but a terrible environment. How do some people achieve and emerge victorious from their circumstances, and yet others don’t?

Earlier this year I learned the story  of Mohed Altrad, which blew me away. I recommend you read his inspiring story: From Bedouin to Billionaire.

Here is an example of a young and vulnerable boy losing his mother in a cruel twist of fate, an outcast even among the Bedouins, yet he had the strength of character to understand that school would give him the nurture he needed to escape his environment. His story strongly supports my view that nurture can also be an inside job.

If you intend to nurture your abilities and dreams the people and circumstances who can help you will show up. It reminds me of this Zen proverb:

“When the student is ready, the teacher will appear.”

On the other side of the coin I’ve heard stories of child prodigies and young musicians in particular, (Mozart is the most famous example of this), who learnt one or more instruments at an early age. Many were propelled by their parents who recognised and encouraged their musical talent and actively supported them in attaining their musical goals. In Mozart’s case his nature trump card was a brilliant mind, but it’s unthinkable that he would have been the sensation he was without some serious nurturing from his family, (especially  his father Leopold), tutors as well as wealthy and influential patrons!

It’s the same with many achievers, whether they’re athletes, dancers, entrepreneurs, artists, writers, actors and so on…they had teachers, coaches, supporters and benefactors.  I suppose the bottom line is, if you don’t have the genetic makeup (physique) to be an athlete, then no amount of coaching will get you the gold medal. It has to be a combination of both.

nature-vs-nurture

There are also stories of talented people not achieving all they could in life because they just didn’t develop resilience, persistence and self-belief, which to me is also product of nurture. Reading a book and learning from the author is nurture. You may not know that person, but they can still help you.

The backbone of being nurtured is being loved and cared for. It also encompasses education, home environment, a healthy diet, sleep, being out in nature, learning skills, enjoying hobbies, having a mentor and the desire for a better life.

But is there such a thing as negative nurture? You only have to study religious fanaticism to understand that the wrong kind of nurturing produces evil deeds.

Nature or Nurture? Through the Wormhole with Morgan Freeman explores the link between genes and poverty in studies of twins:

It seems to me they are surmising that the more nurture a person receives the more nature comes to the fore.

Yet the facts of Mohed Altrad’s life buck this trend. Whilst it seems fair to say that poverty radically decreases one’s chances of fully expressing inbuilt genetic benefits, the rags to riches stories mean you can’t write people off just because of their socioeconomic background. They have faced and overcome challenges that those in more privileged positions haven’t and so develop an inner strength that can influence everything.

Sheer intention, imagination, determination, faith and deeply felt dreams can surely elevate nature and provide nurture to any individual’s circumstances?

Sometimes a person can have everything going for them and still squander it all. Perhaps there is such a thing as too easy a life?!

Maybe there’s an extra dimension to this conundrum…

What about the human spirit/soul? Does it have a pre-set blueprint (Karma) for life on Earth? What if we assumed for a moment that it has a divine nature and exists beyond time and space? If it isn’t genetic, and it isn’t defined by its earthly environment, how does it interact in the trilogy of Spirit Vs. Nature Vs. Nurture?

I thought I’d share this wonderful lecture given by Professor Steve Jones at Gresham College, in which he explains about genes and environment and their interaction beautifully. Nature, Nurture or Neither? The View from the Genes:

In conclusion I feel I may have asked more questions than I answered! But to me, it seems that a human being born in good health, with properly functioning genes, but neglected as an infant without a shred of nurture will perish, just as an individual born without robust genetic material will either die or have health problems despite nurturing.

Ultimately, for a person blessed with a sound body and mind by nature and given enough of the right kind of nurture, the sky’s the limit!

Discussing J.M.W. Turner: A Chat over Char with Artist Claire Podesta

“To select, combine and concentrate that which is beautiful in nature and admirable in art is as much the business of the landscape painter in his line as in the other departments of art.”  ~ Joseph Mallord William Turner.

I recently had the good fortune to get to know artist and designer Claire Podesta, through my membership of the Athena Network. I plan to have one of my photos immortalised in watercolour by her soon…

The Two Claires - After Frida (mixed media)

The Two Claires – After Frida (mixed media)

We met up earlier this summer at Rumsey’s in Thame to drink tea and talk about her love of Turner and art.  As I love Turner and I admire anyone who can create a work of fine art, (my skills in that arena are confined to badly proportioned stick men), I was in awe of her skills…

She is an incredibly talented lady, and I wanted to share her love of Turner and art with you in this mostly visual blog post.

“I can’t remember a time when I didn’t want to be an artist.”

You could say that Claire started young. Drawing and painting has always been at the forefront of Claire’s life, she was fortunate to have been encouraged by her parents in exploring her passion. She took an art foundation course at Cambridge followed by a degree in Graphic Design and Illustration at Leicester Polytechnic, now De Monfort University.

Claire worked in graphic design on ‘High Life’ the British Airways in-flight magazine for about a year and then spent a few years with various design consultancies in London for clients such as Microsoft, BP, Hewlett Packard, Johnson & Johnson and other blue chip companies and organisations.

In 2002 Claire helped her husband, Matt, start up Podesta, a bespoke furniture business, and was responsible for the branding and marketing of the company, a role which she has recently taken on again part time.

Recently, Claire and Matt were inspired to start The English Tuck Box Company after their eldest daughter started at boarding school – they realised there was a gap in the market for fine quality tuck boxes. Claire also spent three and a half years in the challenging position of Marketing Director at Godstowe School in High Wycombe.

Throughout her career, Claire has always continued to paint, especially during the time when her three children were small, and it led her to the realisation that making art was what she really wanted to do with her life.

In 2014 the family moved to a small village near Thame in Oxfordshire and Claire took the plunge and set up in business for herself as an artist.  Her many years in graphic design have given her a creative edge in the type of art that she produces. Claire paints in her home studio.

When I asked her who her main influence in art had been, she smiled and replied immediately: “Turner.  He is timeless; he was ahead of his time. His art still looks modern.”

Claire confessed that seascapes are what really floats her boat! She loves to add her own unique flair and touches by making them abstract.

“I find inspiration in the landscape of the Chilterns, the drama of the sea, handmade objects, old family photographs and the vibrancy of the southern Mediterranean.”

I saw some of Claire’s work in the art shop/gallery ‘From’ in Thame. I particularly love her Turner-esque seascape that has been used in the header of this post.

To be able to draw and paint like Turner is an unbelievable gift!  With Claire’s permission I have included a gallery containing a selection of her work. If you would like to commission a Turner style landscape (acrylic on canvas), or if you have a favourite photograph of a beloved family pet or other memories you’d like to see on canvas Claire can accommodate you.

Claire specialises in paint, ink and mixed media pictures, as well as more ‘hands-on’ creations such as ceramics.

You can contact her via her website and on Facebook.

All images in this gallery are the copyright of Claire Podesta:

Film Review: Macbeth

“Stars, hide your fires; Let not light see my black and deep desires.” ~ William Shakespeare, The Tragedy of Macbeth

This latest film joins the ranks of earlier TV and movie adaptations, providing a realistic, gritty and modern version with a dark touch of the supernatural, which is bound to be popular.

It’s probably no coincidence that Shakespeare penned The Tragedy of Macbeth during the reign of King James I of England (formerly King James VI of Scotland), between 1599 and 1606 with characters based on real people from Holinshead’s Chronicles.

Whilst not exactly a verse for verse reproduction (as films of plays rarely are), I think it’s true to the spirit of the play. A look behind the scenes with director Justin Kerzel and his two stars:

This Film 4 production of Macbeth is an assault on the senses. It’s not just that what you see is so brutal and visceral; it’s the intensity with which it is portrayed that is so startling.

Michael Fassbender as the tortured Macbeth and Marion Cotillard as his scheming wife are in a league of their own. Worthy of mention is David Thewlis as the King of Scotland, Sean Harris as Macduff (the Thane of Fife) and Paddy Considine as Banquo.

The combination of acting talent, amazing costumes, stunning locations, a pared back text, powerful, evocative soundtrack and visual artistry make it a worthwhile watch.

To sum up Macbeth the film in a few words, I would say it’s totally mesmerising, disturbing and compelling.

macbeth2

The cinematography is as epic as the on-location highland scenery of Scotland; misty mountain moors place you at the burial of the Macbeths’ child at the start. It is cold, windy and inhospitable.

Tragedy starts it all off, and tragedy certainly ends it.

We see Macbeth (the Thane of Glamis), with Banquo and his depleted army by his side, fighting for King Duncan of Scotland against Macdonwald and his group of Scottish, Irish and Nordic rebels.

Every gory detail, every scream and pained expression is framed in slow motion; including the urgency of Macbeth to reach the traitors. In the midst of the bloody battle he sees through the mayhem and smoke, three female figures and one child. They are standing where Macdonwald was. The moment seems to last forever. Then the fighting proceeds at full pelt again and Macbeth eventually emerges weary but victorious.

Theodore Chasseriau - Macbeth and Banquo meet the witches.

Theodore Chasseriau – Macbeth and Banquo meet the witches.

As he and Banquo respectfully place their dead into a pit the witches approach them. It is the fateful moment when you just know that double double, toil and trouble will haunt Macbeth ’till the end of his days. The sinister prophecy is spoken by the ‘weird sisters’. They finish with, “All hail Macbeth,” before disappearing back into the fog.

At this point echoes of “all hail Caesar” are in my mind, and you know it’s not going to end well.

It is with these words playing in his mind that he returns to his wife and village. Soon after he is rewarded by a grateful King Duncan who bestows on him the title Thane of Cawdor as foretold by the witches, and his thoughts turns to the crown.

The spellbinding 1979 performance by Judi Dench of Lady Macbeth’s soliloquy after she hears of Macbeth’s strange and prophetic visitation:

Macbeth is persuaded by Lady Macbeth (whilst they engage in carnal pleasure), to do away with Duncan as he sleeps in his tent at their home. Sexually sated and consumed with a deadly purpose, Macbeth walks menacingly towards the king’s tent.

Torrential rain is falling and while Duncan’s body guards lay slumped in a wine induced stupor he commits regicide in a frenzied dagger attack.  Lady Macbeth later places the bloody daggers into the hands of the sleeping guards to deflect blame from her husband. Gruesome as this murder is, it’s not the most horrifying scene in the film.

The rain may have washed the king’s blood off his hands, but it’s now ingrained in his soul, the poison has already begun its inevitable journey to Macbeth’s heart. You see the glint of unbridled ambition burn in his eyes. The acting is just chilling.

A little water has not ‘cleared them of their deeds’ as Lady Macbeth suggested it would in the aftermath of Duncan’s murder, in an attempt to assuage them of guilt.

Once the ‘gold round’ is on his head Macbeth slides further into paranoia and hunger for total power. You see that he is cursed as he ponders the witches words, the fact that he has no heir and has won the royal line for Banquo’s seed. Macbeth tells his wife whilst pointing a dagger at her empty womb, “Full of scorpions is my mind”.

And so his henchmen hunt down and strike down the unfortunate loyal Banquo in an act of utter betrayal that is only slightly lessened by the fact that his son, Fleance escapes the steel blade of his father’s slayers. Distasteful as it is, it’s still not the worst scene in the film.

The weirdness of the banquet seals Macbeth’s fate. The sight of his murdered friend Banquo at the table confounds and confuses Macbeth, now racked with guilt over his treachery, causing him to react strangely and lose face among his people. Macduff begins to smell a rat and leaves.

Another visit to the witches leaves Macbeth confident of his victory, killing off his last remnants of kindness and moral rectitude. He is now dead inside and willing to stop at nothing to crush his enemies.

I’m not sure I can articulate the horrors that Macbeth goes on to commit; the grief etched on Marion Cotillard’s face show us his wife cannot believe that he is capable of it either. The latter part of the movie has some pretty haunting scenes, which prove too much even for Lady Macbeth.

In her sleep she is dreaming she’s back at the chapel of their old village with her dead child. She is tired of the power struggles and the monster her husband has become, a path that she herself pushed him onto. It makes for a poignant scene.

Here are her words taken from the text in what is Act 5 Scene 1 of Shakespeare’s play:

Yet here’s a spot.

Out, damned spot! out, I say! – One: two: why, then, ’tis time to do’t. – Hell is murky! – Fie, my lord, fie! A soldier, and afeard? What need we fear who knows it, when none can call our power to account? – Yet who would have thought the old man to have had so much blood in him.

The thane of Fife had a wife: where is she now? – What, will these hands ne’er be clean? – No more o’that, my lord, no more o’ that: you mar all with this starting.

Here’s the smell of the blood still: all the perfumes of Arabia will not sweeten this little hand. Oh, oh, oh!

Wash your hands, put on your nightgown; look not so pale. – I tell you yet again, Banquo’s buried; he cannot come o

To bed, to bed!

There’s knocking at the gate: come, come, come, come, give me your hand. What’s done cannot be undone. – To bed, to bed, to bed!

And thus, she never wakes up. Meanwhile an inconsolable Macduff and Malcolm (the elder son of Duncan), return from England to Dunsinane to wreak revenge on Macbeth for their murdered loved ones.

Fire now rages beyond the walls of Dunsinane and Macbeth goes defiant into battle once more. In one on one combat he has his sword at Macduff’s throat – believing he cannot be harmed by a man born to a woman – when Macduff splutters that he was untimely ripped from his mother’s belly.

Macbeth seems only now to fully comprehend the evil empty promises that the witches have instilled in his mind and the hatred he felt for Macduff evaporates into the red smoke that fills the screen, as the camera hones in on their darkened bodies and grubby, agonised faces, the outer sign of their troubled souls.

Macbeth then allows Macduff to strike him down on the battlefield. The final scene shows a courageous Fleance pulling Macbeth’s sword from the scorched earth and running into the distance like a child warrior.

This film is a very human tale of seduction, deceit, quest for political power and betrayal. My sympathy for Macbeth only returned at the very end; a broken, pitiable figure when he recognises the tyrant he has become and what it has cost him.

It’s gut churning action and powerful soliloquys from beginning to end. All in all, a gripping film, even if the turn of events are hard to watch at times. I emerged from the cinema into a cold rainy night somewhat traumatised!

A must see for Shakespeare connoisseurs and Bardolaters alike…

“To-morrow, and to-morrow, and to-morrow,

Creeps in this petty pace from day to day,

To the last syllable of recorded time;

And all our yesterdays have lighted fools

The way to dusty death. Out, out, brief candle!

Life’s but a walking shadow, a poor player,

That struts and frets his hour upon the stage,

And then is heard no more. It is a tale

Told by an idiot, full of sound and fury,

Signifying nothing.” ~ William Shakespeare, Macbeth

#SundayBlogShare – Hearing the Heart 💗

Heartfelt verses to sweeten your Sunday!

Hearing the Heart

The Heart and the Head are sometimes at odds,

But the Heart wields the ultimate power.

It is the Heart that has a mind of its own; not in my control,

My Heart: a field of pure love than emanates towards you.

The Golden Hours - Lord Frederick Leighton c. 1864

The Golden Hours – Lord Frederick Leighton c. 1864

All housed in a squidgy mass of pulsating muscle,

Keeping me alive, yet drawing me to you, like a magnet,

Encompassing everything it means to be human.

An eternal passion pumps and swirls within its red chambers,

Heart - Alie Ward

Heart – Alie Ward

Forcing blood through my veins; expressing my soul,

Its true purpose is giving meaning to the biology of existence.

Without a heart we would be mere machines,

Alive, but not living, not in love with life.

Lawrence Alma-Tadema - An earthly Paradise c. 1891

Lawrence Alma-Tadema – An earthly Paradise c. 1891

And in giving new hearts life, it burgeons with joy,

Connected hearts are the music of the cosmos.

My Heart is strong and resilient, driving gallons of crimson fuel,

But the paradox remains: it is also fragile.

Sir Frank Bernard Dicksee - Romeo & Juliet c. 1884

Sir Frank Bernard Dicksee – Romeo & Juliet c. 1884

It can shatter into a million pieces and still breathe life,

But the shards stab with a pain not of this world.

I listen, but I must also hear…

The message is clear. Without love, I cannot live.

By Virginia Burges

Survival Archetypes – Their Role in the Collective/Personal Psyche; and Why You Should Know About Them (Part 2)

“Archetypes are typical modes of apprehension, and wherever we meet with uniform and regularly recurring modes of apprehension we are dealing with an archetype, no matter whether its mythological character is recognised or not.” ~ Carl Jung

VICTIM Archetype: this archetype is all about self-esteem.

It’s not just individuals but whole industries (unscrupulous insurance companies and law firms that spring to mind), that tap into the various victim archetypes’ fears. It’s the demanding of ‘rights’, taken too far. They thrive on a culture of blame and exploitation.

Steve Maraboli - victim mindset

We are all victims. How much we are victims depends on whether we allow the energy to flow through us or hold onto it. There always has to be a villain, someone or something that has done something to you; however the strongest villains are our thoughts, emotions and fears.

I’m ashamed to say, a few years ago I made a bad decision whilst in the Victim Archetype and it proved to be a costly mistake. I was ‘persuaded’ by a company preying on vulnerable people like myself – whilst looking for a solution to a certain predicament – that they were the answer to all my problems. They promised me spectacular results, and in a moment of incredible naivete I actually believed them.  Not only did they fail to deliver (and at this point I buried my head in the sand), they eventually went bankrupt with £3,000 of my money that I could ill afford to lose. It was a hard lesson that I’m still coming to terms with. I almost drove myself mad with ‘if only I’d…’

Lesson: to move from blame to victory.

Victim Types:

  • The Patient – always ill and craving attention, does not take responsibility for healing
  • The Doormat – allows themselves to be used, claims love, support, acceptance and friendship
  • The Prisoner – cannot escape bondage, claims revenge, justice and right to anger.
  • The Hider – hide behind their inadequacies and lack of confidence as an excuse not to do something
  • The Idiot – claim lack of intelligence to avoid responsibility
  • The Accomplice – allow themselves to be manipulated, claims leniency, ability to blame others
  • The Long Sufferer – always complaining, wants sympathy, attention and support
  • The Robot – victim to past patterns and programming ‘that’s the way I’ve always done it’, can become disconnected, judgmental and superior
  • The Weakling – overwhelmed, feels helpless, suffers from inaction and confusion, claims rescue and help
  • The User – concerned with scarcity, it’s all down to money, have to get it as cheap as possible, deficiency, dishonesty/theft. Claims charity and handouts
  • The Righteous Victim – must endure trials and tribulations, afflictions and misfortunes; can be puritanical, it’s their lot to have a hard life. Crave respect, rewards, fame, adulation and compliments.

Language

Watch out for phrases such as: You don’t respect me, I don’t have boundaries, I don’t have a choice, it’s not my fault, it’s always my fault, I don’t want to be hurt, (but consciously deciding not to be hurt by a partner for instance is OK). No-one understands me, this always happens to me…

Dalai lama - suffering

Recognising Victim behaviour

In the victim archetype we get something from the juice of suffering. It can manifest as the need for constant distraction, blaming yourself and others, playing the hermit, either withdrawal, or cannot bear to be alone. Living in the past/future. All forms of addiction are rooted in the Victim Archetype.

Pierre Teilhard de Chardin

Sometimes we have to go to rock bottom (I can attest to that), before we can move on.

An immensely helpful talk on anger, fear and resistance by Dr. David R Hawkins:

“We cannot change anything until we accept it. Condemnation does not liberate, it oppresses.” ~ Carl Jung

SABOTEUR Archetype: betrayal and choice is at the crux of this archetype.

It embodies the fear of change, resistance of our personal truth, shying away from personal opportunities, fear of taking responsibility for ourselves and what we create. That’s why we project onto others what we don’t want to face.

Lesson: to become courageous, develop instinct and intuition.

To overcome the challenges of this archetype we must learn to balance the three parts of our brains:

  • Reptilian brain – listen to gut instinct
  • Limbic brain – emotional centre, represents feelings
  • Rational brain – analysis and rational thought

We must allow hunches to be accepted by the rational brain which gives us the choice to respond to them. In some ways this is the hardest of the survival archetypes to master, because it challenges us with different ways to undermine and betray ourselves.

Shadow

This manifests through self-destructive behaviour. Creates the desire to undermine others to avoid facing our own failures.

An everyday example of this is if someone pays us a compliment, but instead of responding with a “thank you” we deflect those kind words and sabotage our self-esteem/respect. That resistance stops us from moving into the best we can be.

Language

Do you ever hear yourself or others say: I don’t know what to do, I’ll do it tomorrow, I’ll wait until…, I know what I should do but…, if only…?

Recognising Saboteur behaviour

Setting new plans in motion only to end up undermining them. Beginning a new relationship and then ending it because you begin to imagine a painful outcome. Starting the day with a positive intention e.g. around food – and giving in to temptation by lunch. I better do away with my secret stash of chocolate!

Ignoring your inner voice out of fear of what others will think (peer/societal pressure). Resisting opportunities to expand and develop yourself. Making excuses as to why you can’t do something you feel “called” to do. Feeling paralysed about making a decision because your world will change if you do. Being a coward.

MarianneWilliamsom-Quote

If we can act with courage and intuition and believe that we can make a difference to the world we can follow new paths and opportunities creating a life of adventure and wonderment.

PROSTITUTE Archetype:  this powerful archetype helps us to develop faith, self-respect and integrity.

We tend to think of the ‘prostitute’ in the usual negative cultural sense, but in broader terms it means selling either our integrity, ideas, body or soul for survival. We compromise morals and ethics for financial gain. Those who have succumbed to bribery and corruption are caught up in this archetype. Whole governments and organisations are stuck here to the detriment of their citizens and people.

The film Indecent Proposal highlights a perfect example of this, in terms of the characters played by Woody Harrelson and Demi Moore selling out their marriage for money.

It is a misuse of talents or any other expression of the Self as well as seduction for power, money and control.

Lesson: the development of soul qualities.

Through this powerful archetype we develop honesty, integrity and qualities of the soul such as faith and truth.

Language

I will if you will…, what would you like me to do? How much is it worth? What will you give me in return?

Recognising Prostitute behaviour

Remaining in a relationship or job purely for financial protection, selling out to people or organisations that you don’t like or believe in, compromising other people in order to gain power over them (e.g. the Mafia, dictatorships), buying someone’s loyalty or support or silence to have your way, not being able to say no, or thinking yourself better than others.

This scene from the Godfather highlights the Prostitute Archetype perfectly:

For those who’ve seen the movie, you know what’s coming…a later scene showing the Hollywood producer receiving the ‘offer he can’t refuse’ is really shocking, no matter how many times you watch it!

We have won when we are strong enough to say no to anything/anyone that would compromise the whole of who we are.

There is no right and wrong with any of these archetypes, it just a question of awareness. I can recognise many of my past (and some current challenges) in these archetypes at one time or another.

Robin Sharma

My call to action this week is to observe when you find yourself resisting something and look at what archetype you may be unconsciously stuck in. NEVER make a decision when you are in one of your archetypes; only when you are truly yourself.

This is a massive subject, and I’ll tackle the other twelve main archetypes in a later post.

 “Who looks outside, dreams; who looks inside, awakes.” ~ Carl Jung

Survival Archetypes – Their Role in the Collective/Personal Psyche; and Why You Should Know About Them (Part 1)

“Everything that irritates us about others can lead us to a better understanding of ourselves.” ~ Carl Jung

I’m a beginner in the field of psychoanalysis, but as a writer I’m immensely curious about people and I wanted to provoke some ideas, thoughts and reflections in you that have recently been stimulated in me; thanks to a wonderful lady who is helping me to understand more about myself and others.archetypes - Jung

I hope that by the end of this blog the next time someone ‘pushes all your buttons’, you will be able to step back and witness your reaction and perhaps understand the unconscious behaviour they are exhibiting which is exactly the ‘shadow’ part of yourself that you have been resisting.

Working on ourselves is the only answer, we cannot change another – EVERYTHING comes from within.

In any given relationship between two people there are multiple personalities at work – no wonder life gets so…interesting!

Light and shadow

There are four survival archetypes that everyone on the planet shares: CHILD, VICTIM, SABOTEUR and PROSTITUTE. There are another twelve predominant archetypes that many of us will work through in our lifetime, but beyond that they are probably limitless. I’ll explore the Child Archetype more closely in this post, and the Victim, Saboteur and Prostitute archetypes in part 2.

It’s important to note that the archetypes themselves are impersonal; each contains an element of light; what we know, the positive aspects of that archetype, and an element of shadow; the perceived darker part that we don’t acknowledge, know about or integrate. The point is there is light and shadow in each of us.

Wonderful talk by Alan Watts about Carl Jung on accepting the darkness of Self and others:

Being aware of what we don’t want to look at and are resisting in ourselves absolves us from judging others; we learn to observe, rather than react to the unconscious behaviour they are mired in. The moment someone offends us it means we have gone into an archetype.

As our understanding grows, we ‘see’ how we have ‘acted out’ in the past when confronted by other people’s archetypes, as well as dealing with our own!

Insight and hindsight can bless us with foresight…

“Knowing your own darkness is the best method for dealing with the darknesses of other people.” ~ Carl Jung

Conscious and Unconscious mind

The Conscious and Unconscious mind has been compared to an iceberg: what we see above the surface (conscious mind), is but a fraction of what lies beneath it (unconscious). Ninety five percent of our thoughts and actions stem from the Unconscious. When we think and act consciously were are responding, but when we act beneath our conscious level we are reacting, and we react according to the archetypes that we have failed to integrate. Patterns become the foundation for our personality.

Dominant Archetypes

Dominant Archetypes

Archetypes are the language of the Unconscious. When we aren’t aware of why we’re doing something the archetype takes over and transparent beliefs and holding patterns drive us. Like a robot we operate on our default behavioural settings.

“There is no coming to consciousness without pain.” ~ Carl Jung.

Collective Unconscious  

According to Jung, the Collective Unconscious is the sum of all human experience from the beginning of time. Therefore, whatever happens to an individual, group or nation also affects us as a species. We are not separate from the recent disaster in Mecca or the unfolding humanitarian crisis in the Middle East, or to the suffering stemming from trauma, past and present. It all goes into the primordial ‘shared’ mind and we all draw from it.

Fairy tales and literature

Hamlet & Ophelia by Dante Gabriel Rossetti c. 1866

Hamlet & Ophelia by Dante Gabriel Rossetti c. 1866

There’s a reason that fairy tales are so prevalent in Western Culture (and the habit of passing on stories in other cultures), because they help children to understand themselves.  Characters such as Peter Pan, Snow White, Sleeping Beauty, the Wicked Step Mother, the Prince, the Free Spirit, the Damsel in Distress, along with iconic archetypes penned by Shakespeare and modern tales/films such as Lord of the Rings and Star Wars filled with heroes, villains, sages and mentors, all of which we can relate to as they exist at the substrate of our psyches.

Our task for our time on Earth is to understand these fundamental human questions:

  • Who am I?
  • Why am I here?
  • What am I supposed to be doing?

Power

There are two types of power: control over others and internal power (when we move from ego into soul power). Our spiritual task is to master personal power. We see the legacy of misery and suffering that exists in the world when individuals and groups seek to wield power over others. Personal power requires us to live with integrity, self-respect and self-belief so that in expressing our truth we can benefit others.

In order to do this we must integrate all parts of ourselves, the light and shadow. Free-will and choice are inherent to the Conscious mind and allow us to respond rather than react.

As James Hillman comments, Archetypal Psychology focuses on the soul and the intrinsic patterns that shape our psychological development “the fundamental fantasies that animate all life”.

Wonderful lecture from Dr. James Hillman about myths and archetypes:

The four survival archetypes common to all of us

CHILD Archetype: represents innocence and sets up our perceptions of life. The themes are safety, loyalty and family.

Lesson: to move from dependency to responsibility.

Within this archetype there are five categories:

Orphan Child

Harry PotterLight – Usually features heavily in children’s stories. Don’t feel part of the family, have a fear of being alone and probably had to develop independence early in life. Constructs an inner reality based on judgement and personal experience. The orphan represents the fear of surviving alone in the world.

Shadow – An inability to grow up. Suffer from feelings of abandonment. Does not develop independence and needs a tribal union, e.g. joining unsuitable groups.

Wounded Child

Light – Have been abused, neglected or suffered trauma and are likely to invite dysfunctional relationships. Usually compassionate towards others (life’s future therapists). It’s the path to forgiveness.

Shadow – An abiding sense of self-pity, a tendency to blame parents and resistance to moving on through forgiveness.

Magical/Innocent Child

Light – Believes that everything is beautiful; the part of us that is enchanted and enchanting to others.  Ann Frank was a great example of this archetype. She embodied the qualities of wisdom and courage in the face of overwhelming difficulties. Demonstrate the power of imagination and the belief that anything is possible.

Shadow – Retreating into fantasy. Depression and pessimism arises when dreams are thought foolish by adults. Miracles are no longer possible.

Nature Child

Light – Loves to be outdoors, can balance tender, emotional qualities with inner toughness and the ability to survive. Has a great communication and rapport with animals.

Shadow – Cruelty to animals and disregard for nature, such as the destruction of the rainforest.

Eternal Child

Light – Determined to remain young in mind, body and spirit.

Shadow – Refusal to grow up and embrace adult responsibility e.g. Peter Pan. Become dependent on others for physical security, inability to accept the ageing process. Joan Rivers at least made us laugh about this aspect of the archetype! Plastic surgeons cater to this group…

Language

If you catch yourself saying, or hear anyone saying these phrases (or variations of) you know that you/they are operating in CHILD:

It’s not Fair! Nobody loves me, I don’t deserve it…

Recognising Child behaviour

Wanting to be pitied, self-pity, pouting, child-like stance, avoiding eye contact, always wanting to be the centre of attention, refusal to take responsibility and wanting someone else to undertake a task you are perfectly capable of doing.

“The debt we owe to the play of imagination is incalculable.” ~ Carl Jung

The Great Virtuoso Violinists/Composers of the 17th Century: Vivaldi (Part 2)

Having covered the more factual parts of Vivaldi’s life and music in part 1, you can sit back, relax and enjoy the maestro’s music…

Antonio Vivaldi portrait

‘L’estro Armonico’ (Harmonic Inspiration) Opus 3

This is a set of twelve concertos for one, two and four violins composed by Vivaldi in 1711.

“Perhaps the most influential collection of instrumental music to appear during the whole of the eighteenth century.” ~ Michael Talbot

It’s impossible to highlight so few works out of such an incredible oeuvre but here, in no particular order is a selection of some of my favourites from this opus for your listening pleasure!

Violin Concerto in G major, Op. 3 No.  6, (RV 310) performed by Elizabeth Wallfisch and Tafelmusik:

The amazing harpsichord version transcribed by Bach (BWV 978) played by Chiara Massini:

Violin Concerto in A minor, Op. 3 No. 6, RV 356 by Elizabeth Wallfisch:

Concerto for two violins, strings & B.C in A minor, RV522 Op. 3 No. 8 by Tafelmusik:

Concerto for four violins in B minor, Op. 3 No. 10, RV 580 by Il Giardino Armonico:

The astonishing performance of Bach’s transcription for 4 keyboards (BWV 1065), Argerich, Kissin, Pletnev, Levine and a host of top notch violinists! I challenge you to listen to this and not feel happy afterwards!

Concerto for 2 Violins, Cello, Strings and B.C. in D minor Op. 3 No. 11, RV 565 by Tafelmusik:

Il cimento dell’armonia e dell’inventione (The Contest Between Harmony and Invention) Opus 8

Written between 1723 and 1725 and published in 1725, Vivaldi’s Opus 8 consists of twelve violin concertos which he labelled ‘Il cimento dell’armonia e dell’inventione’, of which the first four concertos were his famous The Four Seasons.

The Four Seasons: Opus 8 Nos. 1-4

Had it not been for the Turin collection The Four Seasons may have never been resurrected from their archive, dusted down and brought back into public awareness. Although ‘Le Quattro Stagioni’ were not among the Turin find the excitement about the discovery meant they were granted a new lease of life.

Vivaldi - manuscript Inverno

Score for L’Inverno (Winter)

The first four Opus 8 concertos are now the most widely recorded pieces in classical music history repertoire. Since the very first recording made by Alfredo Campoli in 1939 there have been over a thousand different recorded versions.

Vivaldi - I-Musici-Felix-Ayo-Vivaldi-The-Four-Seasons

With records, CDs and digital downloads to sell and with so many versions of such a popular work it’s crucial for artists to emulate a critical business practice: differentiation.  There’s an array of classical and period baroque instruments, chamber groups, orchestras and ensemble styles, giving licence to the soloist and musicians to embellish, alter the tempo and put their personal touch to it,  in order to distinguish them from other recordings and performances.

Vivaldi - Alan Lovbeday AOSMITF 4 Seasons

The seminal 1969 recording by the Academy of St. Martin-in-the-Fields featuring violinist Alan Loveday under the baton of Sir Neville Marriner, reputedly catapulted the piece from its recondite realm to that of mainstream consumption.

The third movement from ‘Winter’ of that album:

Nigel Kennedy’s 1989 recording of The Four Seasons with the English Chamber Orchestra sold over two million copies, becoming one of the best-selling classical works ever.

Vivaldi - Nigel Kennedy 4 seasons

Gil Shaham and the Orpheus Chamber Orchestra recorded The Four Seasons as well as a music video for the first movement of ‘Winter’ that was featured regularly on The Weather Channel in the mid-1990s.

Today, it seems unthinkable that Vivaldi could have been forgotten and overlooked by history.

Personally, I love to play The Four Seasons and find ‘Winter’ by far the hardest to master, being written in the key of F minor.  I love the hashtag (sharp notes) but four flats haunt me…

I recently learnt that Vivaldi actually wrote sonnets to accompany the Four Seasons, which the music relates to perfectly. It’s an early example of programme music, a genius of descriptive musical storytelling that conjures up vivid scenes in your mind…

Vivaldi - Perlman IPO 4 Seasons

Between 1718 and 1720 Vivaldi left Venice and travelled to the countryside of Mantua; where it is believed he absorbed the setting and inspiration for his most ‘nature oriented’ work!

La Primavera (Spring) RV 269

In the first movement the birds are represented by the most sublime trills, and the gentle melody that evokes the murmur of the brook, followed by the semi quavers which indicate a quick storm, followed by the birds again as the air clears…

Itzhak Perlman and IPO strings delight:

L’Estate (Summer)  RV 315

The first movement in particular gives me a sense of a sweltering, bleak and languid environment. I can feel how hard it must be for Vivaldi to breathe, his asthma aggravated by the humidity. It’s written in G minor, which is considered to be the ‘darkest’ key. Overall the feel of the second movement is listless. It fills me with torpor…until the third movement he unleashes the storm to end all storms!

Julia Fischer and the strings of The Academy of St. Martin-in-the Field perfectly capture the deeply suffocating spirit of this concerto:

L’Autunno (Autumn) RV 293

The third movement seems to poke fun at the hunters; I think Vivaldi was definitely a member of the anti-hunting lobby!

The dotted quavers  signify the plodding hooves of cruel men on their clumsy horses. As the tempo increases you can hear the prey running for its life. The chords begin to raise a semitone with each phrase, increasing the pressure on the animal as the hunters and dogs close in. Gun shots ring out, the animal finally gives up its struggle and you imagine you can hear the dogs laughing… The final insult occurs after the main theme returns at the end of the finale signifying the hunters going about their deathly business.

I love Giuliano Carmignola and I Sonatori de la Gioiosa Marca’s interpretation:

L’Inverno (Winter) RV 297

The opening movement sounds very metallic and visceral, (thanks to the use of the bow very close to the bridge). You can definitely hear teeth chattering!

This performance by Il Giardino Armonico sends chills down my spine!

Arrangements of The Four Seasons

Vivaldi actually re-scored his ‘Spring’ allegro for use in the opening overture and chorus of his opera Dorilla in Tempe, thus setting the trend for future transcriptions, covers, remixes, adaptations and mashups.

The fact that so many improvisations have been possible is testament to Vivaldi’s skill as a composer.

In 1765 French organist and composer Michel Corrette arranged ‘Spring’ as a choral motet for choir and orchestra: Laudate Dominum de Coelis, subtitled “Motet à Grand Chœur arrangé dans le Concerto de Printemps de Vivaldi”. The words of Psalm 116 are set to the music with vocal soloists performing the solo violin parts.

Vivaldi’s inventiveness paved the way for Beethoven to write the ‘Pastoral’ symphony in 1808 also featuring drunken peasants and a storm.

In 1969 the Swingle Singers did an a cappella cover from their album the Joy of Singing.

In Argentina Ástor Piazzolla published Estaciones Porteñas, ‘The Four Seasons of Buenos Aires’ in performances by various artists since 1970.

Jacques Loussier and his jazz trio covered the ‘Four Seasons’ in this wonderful performance:

Vanessa Mae was the first violinist to use an electric violin on her crossover version of the Presto from ‘Summer’ and following in her footsteps there have been various arrangements for harp, electric guitar, choral and rock remixes.

I particularly like this choral version of ‘Winter’ by the Accentus Chamber Choir:

Arrangement for Flute of ‘Winter’ by Jean-Pierre Rampal & Franz Liszt Chamber Orchestra:

A gorgeous second movement from ‘Winter’ for the oboe with Albrecht Mayer and New Seasons Ensemble:

In 2012 composer Max Richter created a postmodern and minimalist re-composition released as ‘Recomposed – Vivaldi The Four Seasons’. Working with solo violinist Daniel Hope, Richter discarded around seventy five percent of the original source material. A live recording with the composer at Le Poisson Rouge in New York:

There’s even a flamenco/tango arrangement of Spring by Gustavo Montesano and the Royal Philharmonic Orchestra!

Opus 8 Nos. 5 – 12

Here are three of the remaining eight works that follow The Four Seasons in the Opus 8.

Violin Concerto ‘La Tempesta di Mare’ in E-Flat major, Op. 8 No. 5 RV 253 by Giuliano Carmignola and the Venice Baroque Orchestra:

Violin Concerto in C Major, ‘Il piacere’ Op. 8 No. 6, RV180 – Andrew Manze and the Academy of Ancient Music:

Concerto No. 7 in D minor, ‘Per Pisendel’, Op. 8 No. 7 RV 242 by Giardino Armonico:

Other Violin Favourites

I love the way Anne Akiko Meyers plays all three parts in his Triple Violin Concerto in F Major RV 551:

Il Rosignuolo – Concerto for violin, organ, strings & B.C. in A major, RV 335a by MusicaAdRhenum:

Violin Concerto in E Major, RV 271 ‘L`amoroso’ played as a tender love song by I Musici:

Violin Concerto in E minor, Op.  11 No.  2 ‘Il Favorito’ (RV 277) first movement by Giuliano Carmignola & I Sonatori de la Gioiosa Marca:

´La Stravaganza` 12 Violin concertos Opus 4, by Rachel Podger and Arte Dei Suonatori:

Violin Concerto in A Major, ‘The Cuckoo’ (RV 335) with Giuliano Carmignola:

Violin Concerto in D Major, ‘Il Grosso Mogul’ (RV 208) by Il Giardino Armonico:

Sonata for 2 violins & B.C. in D minor, Op. 1 No. 12 (RV 63) ‘La Follia’ by Il Giardino Armonico:

Transcriptions and Arrangements

Violin Concerto in D, Op. 3 No. 9 (RV.230) – arr. for trumpet, violin, cello and harpsichord with Alison Balsam:

Bach Sicilienne from Concerto in D minor, BWV596 after Vivaldi RV 565, Alexandre Tharaud:

The largo of the Lute Concerto in D Major, RV 93 performed on classical guitar by John Williams always transports me to a place beyond words:

Trio Sonata Op. 1 No. 12 ‘La Follia’ by the Barrios Guitar Quartet:

Concertos for other instruments

This one really pulls my heart strings! Adagio from the Cello Concerto No. 1 in C major RV 398 by Rostropovich:

Heinz Holliger on form in the second movement of the Oboe Concerto in C major, RV 452:

Piccolo Concerto in C major, RV 443 – Il Giardino Armonico:

Flute Concerto in G minor, ‘La Notte’ RV439 with Fabio Biondi & Europa Galante:

Examples of sacred music

I don’t think there’s any doubt about Vivaldi’s faith when you listen to his sacred works. Here is a selection of some of my favourites, but there are many I have yet to discover!

Gloria in Excelsis in C Major, (RV 588):

Motet Nulla in mundo pax sincera (RV630):

“Et in terra pax hominibus” with Emma Kirkby, Michael Chance & Tessa Bonner:

Dixit Dominus was rediscovered in 2005 by Australian scholar Janice Stockigt. (RV807):

Nisi Dominus (RV608) by the Academy of Ancient Music and Christopher Hogwood:

Modern Catalog of Works

Although both CE (Complete Edition) and Fanna numbers (F.) have been used in the past, the modern catalog of numbers attributed to Vivaldi’s multitudinous works was created in the 1970’s by Danish musicologist Peter Ryom and take the prefix RV – “Ryom-Verzeichnis” or “Répertoire des oeuvres d’Antonio Vivaldi”. They do not necessarily follow in consecutive order with adjacent works.

The end in Vienna

Although Vivaldi lived a comfortable life in Venice, (he made around 50,000 ducats in his lifetime) changing musical tastes meant his music was no longer in demand so he sold off a chunk of manuscripts to finance his last trip to Vienna.

He planned to serve as a composer at the imperial court of Emperor Charles IV and perhaps stage operas. Unfortunately his patron died soon after his arrival in the city, leaving Vivaldi without an income and he died penniless. Not a fitting end to such a magnificent career. His funeral took place in St. Stephen’s and he was laid to rest next to Karlskirche.

I have come to the conclusion that Vivaldi lived his life with as much exuberance as his music arouses in the listener. The sheer volume of his output is unmatched to this day; a feat of such unbridled passion for music as will probably never be seen again…

The Great Virtuoso Violinists/Composers of the 17th Century: Vivaldi (Part 1)

“There are no words, it’s only music there.” ~ Antonio Vivaldi

Listening to Vivaldi’s music always conjures up such joy and serenity in me. His lively, melodic allegros are uplifting and life affirming, whereas his soulful adagios have a transcendental quality. It strikes me that he must have possessed an unrelenting zest for life. He certainly made the most of living with a fertile mind trapped inside a sick body.

Famous for his evocative ‘Four Seasons’ concertos and sometimes referred to as “il Prete Rosso” (the Red Priest), due to the colour of his hair; he lived, performed and composed his immortal music almost entirely in Venice.

Antoni Vivaldi portrait2

Vivaldi is now considered one of the key figures of the baroque era. However, his work and reputation only started to garner attention and gather steam in the early 20th century. Since then the flamboyant Venetian maestro has more than made up for lost time…

Knowing how much I love Vivaldi’s music, I can see it’s going to be a challenge for me to exercise brevity in this post! Because of the volume of his work I have decided to dedicate two posts to him.

Antonio Lucio Vivaldi (4 March 1678 – 28 July 7141)

I think it’s fair to suggest that Vivaldi was the ‘rock star’ of his day. Although he was a priest he refused to say mass and was suspected of being involved in a ménage à trois with two teenage girls.

His music was passionate, dangerous, dramatic and yet ethereal. His creativity produced a massive body of violin sonatas and concertos, as well as concertos for a range of other instruments, operas, arias and sacred music. It’s thought he wrote nearly 800 compositions during his lifetime.

His main contemporary, the grand-daddy of them all, JS Bach, was influenced by him and incorporated some of Vivaldi’s works into his own repertoire for harpsichord, thus keeping his work alive in Europe, known only to a handful of musicologists and scholars.

However, unlike Bach and Händel whose memories and music survived their mortal reign, after Vivaldi’s death, his music fell from favour and Vivaldi himself was remembered more for being an eccentric violinist and cleric than as a prolific composer. He was very nearly a Venetian nobody instead of his rightful place as the Venetian Master.

Early life 

Vivaldi was born in Venice, the eldest of 6 children. Just as the legend of the storm that raged in Vienna the moment Beethoven passed away has proliferated, so goes the story that Vivaldi was born during an earthquake in Venice. It’s a romantic notion that would support his often visceral, elemental music, whether true or not.

He was born with severe asthma, which as you can imagine, in the late 17th century would have proved fatal in most cases. Little Antonio’s mother may have done a deal with God, that if he spared her first born then she would dedicate his life to the church.  Asthma plagued Vivaldi all his life, however he did become a priest, but is only known to have actually said mass for about a year after being ordained.

Vivaldi & Son

Before Johann Georg Leopold and Wolfgang Amadeus Mozart, there was Giovanni Battista and Antonio Lucio Vivaldi; an enduring and successful father and son partnership. Giovanni was a successful musician, performing with Vivaldi as well as peddling his music manuscripts on the streets and generally helping his son’s career wherever he could.

Career

Thankfully for us Vivaldi followed his heart and his real passion – music. Those that heard him play commented on the ferocity of his technique. Only a violin virtuoso could write such demanding music for his instrument!

Ospedale_della_Pietà - VeniceIn 1703 Vivaldi was assigned to the Ospedale della Pietà, an orphanage for abandoned and illegitimate babies. The unfortunate infants were passed through a hole in the wall, which had a warning issued above it from Pope John Paul urging parents to keep their children if they were able to care for them. In Vivaldi’s day there could be as many as four babies deposited a day. Sadly, before the orphanages opened many were tossed in the canals as unwanted appendages.

The boys were taught trades, such as stone cutting and weaving, whereas the girls were tutored in music and singing. It was the perfect vocation for Vivaldi, as master of violin he was able to write music for his students (approximately two concertos a week), and his young female protégés performed in a small section of the Pietà behind a decorative grille.

Venice became popular as a tourist destination after its position as a trading centre and economic power had waned, hence Vivaldi and his ensemble of young ladies were added to the list of the city’s attractions!

The tradition of the students giving concerts at the Pietà continued long after their first and most famous composer passed on and in 1770 the French philosopher, Jean-Jacques Rousseau, after seeing a performance commented:

“I have not an idea of anything so voluptuous and affecting as this music; the richness of the art, the exquisite taste of the vocal part, the excellence of the voices, the justness of the execution, everything in these delightful concerts concurs to produce an impression which certainly is not the mode, but from which I am of opinion no heart is secure.”

Imagination and inventiveness

The three movement style (fast – slow – fast) became firmly established in Vivaldi’s concertos, and the first movement generally consisted of five tutti (ensemble together) and four soli (soloist). He was influential on the sonata form and the creation of the classical concerto of the 18th century.

Professor Livanova remarks that his concertos, as distinct from Corelli’s Concerti Grossi, are characterised not only by:

“free development of orchestral texture,…but also by the singling out of the concertante solo of the solosist’s principle part, which would be executed with the brilliance of virtuosity. It was in the violin concerto that they found the most direct expression for instrumental virtuosity, analogous to the aspiration for vocal virtuosity in the operatic aria of the time… However, in the first stages of development the violin concerto had not yet sacrificed its artistic meaning to external virtuosity.”

Love

When he was 48 years old Vivaldi fell for singer Anna Giro, a sixteen year old girl who was to be his muse and companion for the rest of his life. Her older sister Paolina was her chaperone, thus many spurious rumours began to spread about the nature of their relationships. What is known is that Anna lived with him, featured in most of his operas and she was with him when he died in Vienna in 1741.

Giovanni Battista Tiepolo - Girl with a mandolin

Giovanni Battista Tiepolo – Girl with a mandolin

This brilliant article (Saint or Sinner?) by Susan Orlando investigates his character and relationships more closely.

Obsession with Opera

Vivaldi claimed he had written 94 operas, but only 50 of them have been discovered. Being an opera impresario was more of a side line for Vivaldi, and although he had limited success it was his ‘thing’. I haven’t even scratched the surface of his operatic output, let alone the many arias that comprise them. His skill at setting music to a story probably stood him in good stead when he composed the Four Seasons.

Here is an impassioned rendition from contralto Sonia Prina of ‘Vedrò con mio diletto’ from Giustino:

Viva Vivaldi! A fabulous selection of arias from mezzo-soprano Cecilia Bartoli:

Vivaldi’s personal archive (the Turin manuscripts)

Sometime after his death, Vivaldi’s private collection of handwritten manuscripts were sold to the Genoese Count Giacomo Durazzo (1717 – 1794), the Austrian ambassador in Venice who was a patron of Gluck. Perhaps as an act of charity on behalf of Durazzo, around half of the collection was gifted to a Salesian monastery in Piedmont.

Vivaldi - Gloria image Miles Fish

Vivaldi – Gloria Manuscript – Turin Image credit – Miles Fish

Hidden in a musty store room, ensconced among 97 volumes of music scores, Vivaldi’s music lay gathering dust for two hundred years at what is now the Collegio San Martino near Turin, until they were re-discovered unexpectedly in 1927 by Alberto Gentili, a professor of music history at the University of Turin, who was called in to value the collection so that it could be sold.

National University Library Turin

National University Library Turin

Gentili soon reaslised that he had an amazing find on his hands, and wanted to keep Vivaldi’s original autographs in the city of Turin. However, after careful sorting it became apparent to Gentili that only half the works were present, and he suspected the missing scores were still owned by descendants of the Durazzo family. His hunch turned out to be correct and eventually after tracking down the Durazzo heir, the remaining manuscripts (along with the original find) were purchased by local businessmen Roberto Foa and Filippo Giordano respectively, in memory of their sons, for the Turin Library.

I would so love to visit Turin just to see this collection! On an upper floor of the Turin National University Library, safely on display, are Vivaldi’s original manuscripts consisting of 450 works: 110 violin concertos, 39 oboe concertos, over a dozen operas and a substantial selection of sacred music.

Manuscript of the Gloria RV 589 - image credit Miles Fish

Manuscript of the Gloria RV 589 – image credit Miles Fish

What is striking is that the notes appear to have been transported straight from Vivaldi’s brain onto the paper, with very little crossing out and no sketches. The mark of a genius!

In part 2 I’ll be focusing on the Opus 3 concertos, the Four Seasons and some other gems from his vast musical legacy.

The Dangers of ‘Labelling’

“The ability to observe without evaluating is the highest form of intelligence.” ~ Jiddu Krishnamurti

Before you click on the X button, let me swiftly assure you that I’m not going to bang on about how sharp needles are these days or pontificate about how life threatening sewing can be!!

Rather, I’ll be musing about the human tendency to give everything and everyone a label or name, category or judgement.

labels are for clothes

Our creator kind of stacked the odds against us when he bestowed on us such amazing cognitive faculties. Yes, you read that right.  The mind is both a blessing and a curse – the ultimate dichotomy.

We learn how to ‘label’ as a necessary activity to process information and to understand our environment, but if taken too far it can be damaging to ourselves and society. A purely cerebral existence is no existence at all. We must learn to balance it with our emotions, which emanate from the heart.

Mastery of the mind will be the single biggest challenge that any of us will ever undertake.  It all starts upstairs, so to speak. Foes we face are the ego, indoctrination, trauma and old habits just for starters.

George Bernard Shaw - quote-on-changing-our-thinking

I read some fantastic bios on Twitter, but no matter how many labels we give ourselves we are so much more than that. We are powerful, creative, spiritual beings learning how to remember who we really are. Words and labels are just insufficient and insignificant to describe the sentient being that is you; but, clumsy as it is, language is our main tool.

Why is it the arts have endured over millennia and speak to our souls so deeply? Long gone civilisations, movements and individuals that have defined a zeitgeist and had a rich cultural expression are still studied and admired to this day.

They reflect back to us the best of ourselves.

Music, drawings, paintings, sculpture, architecture and literature are a manifestation of our creative impulse, our divine origin.  Two people from different countries not speaking the same language or having anything in common can listen to the same piece of music together and be bonded through how that music makes them feel.

barenboim-quote

Music connects us to our common heritage – our humanity.

Art and culture are an enduring legacy of what mankind can achieve when following passion and harnessing experience rather than looking at what is wrong with the world and others.

The paradox of thought

We are labelling all the time in our thoughts. Only just this morning during my first violin practice in weeks, my thoughts were tuned into how rusty and awful I was until I finally let them go and just enjoyed the feeling of being at one with my instrument (even if it would have made dogs howl and cats run in  terror)!

Humanity’s intellectual and conceptual abilities have propelled us from caves and spears to modern homes, technology and weaponry. But, as Dr. Martin Luther King Jr. pointed out, (rather worryingly), our technology is more advanced than our spiritual capability. The implications for self-destruction are all too apparent.

The mental acuity we use to solve our problems is usually the very thing that has created the situation in the first place.

As Einstein said:

“We can not solve our problems with the same level of thinking that created them.”

Internal map of representation

When we’re born our minds are blank canvases waiting to be filled. A baby feels no prejudice. Is your canvas a lovingly crafted masterpiece or a collection of quick and clumsy sketches?

We all use compartments to try to make sense of the world, to determine our own personal sense of reality. The danger is that we create divisions, which can easily fester and before you know it you’re facing a rift valley on the scale of Kenya’s!

As we are growing up we have experiences which shape our beliefs and judgments, so that we can formulate our internal map of representation. “I like to eat sweets, but I don’t like going to the dentist.” “I’m good at English but not Maths.”

After wearing a red dress and being teased one might develop negative associations with the colour red.

Over a lifetime billions of images, perceptions, thoughts and ideas enter into the grey matter to be processed. We are all computer programmers!

Perception

Talk about a picture speaking a thousand words. The heart breaking image of drowned 3 year old Aylan Kurdi really affected me. As a mum I couldn’t help but feel devastated for that family. Those boys will never have the chance to reach their full potential and live in peace, which is all they ever wanted. Isn’t that what we all aspire to? The opportunity to lead happy and worthwhile lives?

Until that desperate image was beamed around the world, the perception of ‘migrants’ and the challenges they face was very different.

Labels colour perception and close us off to our true nature and essence. Such labels only serve to dehumanise people. This is where the media have a responsibility to step up to the plate. They have the power to shape our perceptions on a huge scale.

William Blake - perception

When we witness the true suffering of another we can’t close off our hearts. If history can teach us anything it is that.

This talk by Holocaust survivor Elie Weisel at the White House is all too appropriate to the current humanitarian crisis arising from events in the Middle East.

The Perils of Indifference:

When we view anyone as anything other than a fellow human being, just like us, only with different upbringings, beliefs and experiences, it separates us. It means we have the justification to commit evil acts.

jiddu-krishnamurti-violence-is-not-merely-killing-another

The ones being labelled BECOME their religion or ethnic group, colour or sex. We don’t look past the categories we have placed them in to see the divine spark within them. After all, many faiths teach that we are all ‘one’ at the soul level.

Religion

“Religion is bad because it causes war. ” Let’s examine that provocative label shall we? Religion is neither good or bad. It’s simply a way that humanity organises and practises its different interpretations of faith. The true intention of religion is to offer guidance.

Dangers arise when more labels and judgements come in to play. My God is better than yours. God is punishing us. Infidel!

The cause of war is humans using religion to support their own self-righteous cause or agenda.

“When you have the choice between being right and being kind just choose kind.” ~ Dr. Wayne Dyer

Islamic State is the perfect example of this. The perpetrators were maybe once decent human beings until something went very wrong in their heads.  To coin a Star Wars phrase, they became seduced by the ‘dark side’. They subscribed to a virulent, hateful and evil doctrine stemming from a twisted, puritanical interpretation of Islam, turning it to suit their own ends: power and control.

The sanctity of life means nothing to them. They do not view anyone who holds a different belief to them as being worthy of keeping their head and seem to take pleasure in torturing others. It disgusts me. There is no tolerance, no love and their sick ideology seems to infect weak minded individuals who are angry. It gives them a way to vent their spleen and to feel important.

It’s the same with any religion. Christianity has done its fair share of torture, rape, pillage and plunder in the name of the Lord.

Dalai Lama - love-is-the-absence-of-judgementCatholic priests tend to get a bad rap these days, due to the terrible acts of abuse by some; but back in the days of my ‘black dog’ I was fortunate to meet a ‘good’ Father who helped me. He listened to me and didn’t judge me. I didn’t view his faith as a barrier to our discussions, and he didn’t use it to put me on a guilt trip over the mess my life was in, he just accepted me. I will always be grateful to him.

You can’t tar everyone and every religion with the same brush!

Over the centuries civilised people all over the world have been fighting against narcissistic despots, dictators, slavery, ignorance and exploitation. And it all started with what seemed like an innocent label.

We need to look past people’s appearance, sex, beliefs, religion and circumstances and see the being beneath. Removing these labels and judgements enables us to communicate from heart to heart and not head to head. Of course, as a species we are drawn to those individuals we feel a natural affinity with, but it would certainly facilitate more understanding.

I know that I have many flaws, but one thing I won’t do is care if someone is Christian, Hindu, Muslim, Buddhist, aetheist, agnostic or any other denomination. I will try and interact with them how I would want to treated: with common human decency, not with bigoted views and labels.

Labelling has its place – but that’s only on clothing and consumer goods. We should not let it define who we are: ineffable, eternal, powerful beings.

Advaita/Nonduality

I love this easy to understand explanation of Advaita/Nonduality.

If we could all see ourselves as one big family, born of the same parent, as spiritual siblings, the world would have more compassion, less war, less racism, less ageism, sexism or any other ism!

A very interesting and down to earth lecture by scientist David Bohm about the effects of thought and fragmentation:

Our daily challenge is to get our mind out of the way; to look, listen and interact with our hearts. The mind will then do our bidding and not the other way around.

“A mind at peace, a mind centered and not focused on harming others, is stronger than any physical force in the universe.” – Wayne Dyer

#SundayBlogShare 🌎☀🌛🌠 Boundaries…

“Poets utter great and wise things which they do not themselves understand.” ~ Plato

In a rare moment of courage and lucidity, a strange urge came upon me; I attempted to write poetic verses:

Boundaries…

The air we breathe suffuses and inflates our lungs,

Intoxicated with life, desire for nature’s abundance.

Elegant, rasping rhythms of filling and emptying,

Nourishing cells in primordial chemical dance.

I have form, I have a mind. But it is the soul that defines…

 

Where do I begin? Where do you end?

Do our immortal boundaries overlap?

Separate yet whole, like yin and yang,

Energies mingling in etheric joy without gap.

Distance annihilated, in the eternal now of spirit.

 

Your essence entwines with mine, even if hearts beat apart…

Eyes cannot see what the soul feels,

Defining limits is impossible, for each blurs into the other.

Edges soar among firmament; physicality exquisitely denied,

Our connection is real – solid as the earth, sea, wind and sky.

 

Burning with the searing intensity of the sun,

Even the elements cannot contain it…

Form is but walking death, a fleeting vessel of expression,

Oh beautiful barrier, you trap the delights and torments of flesh.

Why must our earthly boundaries elude each other?

 

Love and life will find a way, forever seeking,

Like flowers pursuing arduous paths through concrete,

Unfolding their challenged petals, blossoming into divine vision.

Should your soul depart, mine will scatter throughout the universe;

No longer tethered in union: its boundaries…broken.

By Virginia Burges