October 18, 2011
The long-awaited 240-page volume of W.G. Sebald’s collected poetry is going to hit stores in the UK soon. Across the Land and the Water will apparently be available in the UK November 3. But according to the Amazon US website, it will not be available in the US until April 3, 2012, when both hardback and Kindle versions are scheduled to be ready. I confess that I am not an immediate fan of the cover design for the UK edition, which reeks of lost innocence and suggests nothing more strenuous than a slow row across a lake on a hazy, hot summer’s day. Perhaps Random House will develop a new cover for the North American market. Here’s the blurb from the Penguin/Hamish Hamilton website:
When W.G. Sebald died in 2001, he was internationally acknowledged as one of the most important German writers of our era. Now, thanks to Iain Galbraith’s vibrant translations, the full breadth of his poetry is available in English for the first time.
This volume brings together poems published during Sebald’s lifetime with an additional selection of those which were found in his literary archives in Marbach and never published while he was alive. Arranged chronologically, from work published during his student days in the 1960s to the longer narratives he produced during the 1980s, the poems touch on the themes which were closest to Sebald – nature and history; forgetting and remembering; borders, journeys and landscapes – and express in short, lyrical form the same distinctive insight and sensitivity that shaped his great works of prose fiction.
Back in February I wrote briefly about a new work of musical theater based upon W.G. Sebald’s Austerlitz. The production of Austerlitz: Eine Kindheitsreise by Jérôme Combier and Pierre Nouvel is now moving on to Opera Lille for performances on November 18 and 19. (Details here.)
Finally, there will be Max: A Celebration – Remembering W. G. Max Sebald: Readings, Music and Film, something of a mega-event that will be held at Wilton’s Music Hall in London (near Aldgate and Tower Hill) on December 14, 2011, the tenth anniversary of Sebald’s death. From the website:
In this unique event, many of Britain’s leading writers and artists celebrate Sebald’s life and writing in an evening of readings, music and film. Drawing from his remarkable oeuvre and their own reflections, on the 10th anniversary of his untimely death, they will honour a man whose profound and searching work has exerted an almost uncanny influence on our times. Writers taking part include the multi-award winning essayists, novelists and poets A.S. Byatt, Dan Gretton, Rachel Lichtenstein, Andrew Motion, Iain Sinclair, Marina Warner and Stephen Watts. One of the world’s greatest tenors, Ian Bostridge, will sing from Schubert’s iconic song cycle Winterreise. Award-winning filmmaker Grant Gee (Joy Division) will present an exclusive ‘landscape edit’ of his forthcoming feature essay film Patience (After Sebald), a multi-layered meditation on landscape, art, history, life and loss, and the first film internationally about Sebald. It is released in the UK in January 2012 by Soda Pictures with thanks to Artevents. Finally, it is a privilege to announce that Sebald’s UK publisher Christopher MacLehose and his editor Bill Swainson will attend and share their recollections.
A good friend of Vertigo sent me links for a forthcoming theatrical work based upon W.G. Sebald’s The Rings of Saturn. Buried in the 2012 calendar of the Cologne Schauspiel is the announcement of a new work based upon W. G. Sebalds Die Ringe des Saturn, under the direction of Katie Mitchell. The premiere performance will take place May 11, 2012 in Cologne’s Halle Kirk. Here are the details as given on the 2011/12 season program from their website.
11.05.12 / HALLE KALK / URAUFFÜHRUNG
Auf der Suche nach der verlorenen Zeit, zu Fuß. Mehrere Tage wandert er von Ort zu Ort durch die Grafschaft Suffolk, eine spärlich besiedelte, menschenferne Gegend an der englischen Ostküste, die sich südlich der Stadt Norwich erstreckt. Auf seinem Weg, seiner Pilgerreise findet er, zwischen Heidelandschaften und abgelegenen Küstenorten, „am äußersten Rand der Erde“ die ganze Welt wieder. Mit einer unsichtbaren Wünschelrute geht er durch die leere Landschaft, wo sie ausschlägt, beginnt er zu graben. Er tut einen Fund, stellt seine Fragen. Überall stößt er auf die Spuren vergangener Herrlichkeit und vergessener Schande, kreuz und quer durch Jahrhunderte und Kontinente, durch Raum und Zeit. Fundstücke und vergessene Spuren erinnern an die Aufstände der Taiping im China des 19. Jahrhunderts, an die Sklavenwirtschaft im belgischen Kongo, an die Verheerungen des Ersten Weltkriegs und an die Bombengeschwader des Zweiten.
Der Erzähler wird zum Grenzgänger zwischen Gegenwart und Vergangenheit, Menschheits- und Naturgeschichte, Traum und Wirklichkeit. Eine Reflexion über die Vergeblichkeit, dem Schrecken des Menschseins zu entgehen. Er berichtet von Seeschlachten und Heringsschwärmen, von Magnaten und Geheimwaffen, von Aufstieg und Niedergang großer Reiche. Den geringfügigen Rest am Wegrand bringt er mit halluzinatorisch gesteigerter Wahrnehmungsfähigkeit zum Sprechen. Jeder Stein kündet von märchenhaften und unheimlichen Geschichten, un- und überwirklich zugleich. Wo er gräbt, stößt er auf Gräber. Tod und Verfall entdeckt er, eine dem Verschwinden geweihte Welt. Andere, die vor ihm in dieser entlegenen Gegend gelebt haben, begleiten ihn wie eine Geisterschar: Thomas Browne, Chateaubriand, Swinburne und Joseph Conrad. Die englische Regisseurin Katie Mitchell, die zuletzt am Schauspiel Köln »Wunschkonzert« von Franz Xaver Kroetz und »Die Wellen« von Virginia Woolf inszeniert hat, entwickelt ihre Theatersprache in Auseinandersetzung mit Sebalds Wallfahrt weiter, diesem Buch ohne Vorbild, das zwischen Bericht und Fiktion, Autobiografie und Geschichtsschreibung eine neue, eigene Form sucht und findet.
REGIE KATIE MITCHELL / DRAMATURGIE JAN HEIN
Mitchell, whose opera and theater productions often seem to attract some controversy in Great Britain, has turned to literature before, including Chekhov, Ernst Toller, Virginia Woolf, and Dostoevsky. Last month, she won the Europe Theater Prize.
Meanwhile, on the website of London-based composer and musician Simon Allen, is the statement that “Forthcoming is a return to Cologne Schauspiel in 2012 to develop a performance based on The Rings Of Saturn.” Presumably, these two websites are referring to the same production, as Mitchell and Allen have worked before. In 2009, Allen participated on prepared piano in the production of her play Pains of Youth, described here by The Guardian (where there is an excellent 5-minute video about the collaboration):
How do you make a play sound like 1920s Vienna? By taking some high-tech digital sound effects, combining them with chamber music and doing some extremely odd things to a grand piano. Composer Paul Clark, sound designer Gareth Fry and pianist Simon Allen take us deep into the soundworld of Katie Mitchell’s evocative new production at the National Theatre.
The manner in which Allen’s work is described on his website makes it clear why he might be a good match for Sebald’s book.
Together with composition for traditional instruments the core of his activity is a search for new acoustic sounds that overlap with the digital world. Using unconventional techniques and sonic resources, these materials are developed by way of both scientific approach and very informal experimentation.
This research combined with extensive work as a percussionist in new music and the experienced study of musical cultures around the world, results in the broadest sonic palette. As a desegregated approach to material, method and function, his work shares much with visual arts practices.
Recent projects have involved the modification of deconstructed pianos with found objects to create materials that deny any trace of traditional piano sound. These elements range from the purely musical to a kind of ‘noise’ aesthetic.
There are a number of short pieces by Allen available for listening over at Soundcloud. Listen especially to the four works for theater, where bird calls and clock-like sounds become part of the instrumentation.
February 21, 2011
Over at Entartete Musik, Gavin Plumly is reporting on a new work of musical theater based upon W.G. Sebald’s Austerlitz. The work, by Jérôme Combier and Pierre Nouvel, will be performed by the Brussels-based musicians Ensemble Ictus and a single actor, the Belgian Johan Leysen, and will premiere at the Festival d’Aix-en-Provence on July 19 and 20, 2011. Subtitled Eine Kindheitsreise – Un voyage d’enfance, it will also include projections of some sort. There is further information about the concept of the opera at the Ictus website. For a few days last August, Combier and Nouvel also kept a blog as they traveled and researched for the opera. Scroll down the blog a bit and on the left side there is an audio clip of a solo violin piece composed by Combier called Noir-Gris.
January 26, 2011
The Guardian has posted the previously announced video piece of their writer Stuart Jeffries in conversation with filmmaker Grant Gee. At 4:33 it’s a mere snippet and doesn’t provide much foreshadowing of Grant Gee’s new film Patience (After Sebald), which premieres in two days.
There’s better reading in The Guardian‘s interview with Patti Smith, who will play a concert this coming Saturday night
where she will improvise work based on WG Sebald’s poem After Nature. She has spent the morning reading him, and “listening to Polly Harvey’s new song – she has this new song, The Words That Maketh Murder – what a great song. It just makes me happy to exist. Whenever anyone does something of worth, including myself, it just makes me happy to be alive. So I listened to that song all morning, totally happy.”
Even better, skip all the journalism and watch the music video of PJ Harvey singing the song mentioned by Patti Smith, The Words that Maketh Murder, from her recent CD Let England Shake.
September 1, 2010
Located in the beautifully-named town of Snape Maltings, Aldeburgh Music is planning a weekend of film, music, conversation, and walks devoted to W.G. Sebald from January 28-30, 2011 called After Sebald – Place and Re-Enchantment: A Weekend Exploration. Aldeburgh Music is a permanent performance center that has emerged out of the Aldeburgh Festival established in 1948 by Benjamin Britten, Peter Pears, and Eric Crozier. (In his recent book The Rest Is Silence, music critic Alex Ross made a brief but strong connection between Sebald and Britten.) Below are some of the details of the weekend, which I’ve extracted from the organization’s website. Additional details can be found at Aldeburgh Music’s website under the individual events. Here’s the link to the main page, but to find each event I think you have to scroll through the Coming Up pages of the site’s What’s On section for the specific dates. [Thanks to Christopher and Grant, who both let me know about this event.]
Friday 28 January
Patience (After Sebald) – World Premiere
Written and directed by the award-winning filmmaker Grant Gee, Patience (After Sebald) is a multi-layered essay film on landscape, art, history, life and loss. It offers a unique exploration of the life, work and influence of W.G. Sebald (1944–2001) via a long walk through coastal East Anglia tracking The Rings of Saturn. Visually and aurally innovative, Patience features contributions from Tacita Dean, Robert Macfarlane, Katie Mitchell, Rick Moody, Andrew Motion, Chris Petit, Iain Sinclair and Marina Warner. After the screening, Grant Gee will be in conversation with prize-winning writer on place, Robert Macfarlane (The Wild Places).
Saturday 29 January
Towards Re-Enchantment – Symposium
A day-long enquiry into the landscapes of Suffolk, the spirit of place and its various meanings, taking Sebald as its foundation. Presentations, discussions
and readings with Robert Macfarlane and other leading writers.
Saturday 29 January
Max: A Tribute by Patti Smith
Internationally renowned for her visionary creativity and commitment, the iconic musician, poet, writer and cultural activist Patti Smith needs no
introduction. In an exclusive concert created for this weekend, she will respond to Sebald’s book-length poem After Nature in an intimate evening of song and spoken word performance.
Sunday 30 January
Orford Ness Walk
This singular landscape has inspired many artists, including Sebald, whose visit, recorded in The Rings of Saturn, captures perfectly its unsettling presence and buried past. Take advantage of a very rare opportunity to explore this haunting location in the heart of winter.
Tickets. Weekend tickets (best tickets, excluding Walk and Lunch) are available at £55. Only Weekend tickets will be available from Wednesday 1 September; booking for individual events opens Monday 18 October.
More on Grant Gee’s film:
Grant Gee’s film Patience (After Sebald) is part of a new series of commissions from a group called artevents as part of their project The Re-Enchantment:
The Re-Enchantment is the first national project exploring culture and the rural through original artistic commissions. This ambitious project seeks to interrogate the various meanings of ‘place’ in the twenty first century. At a time when globalisation, the implications of extreme environmental change and the multiple alienations of modern society all threaten our sense of belonging, the importance of ‘place’ to the enhancement of identity and creative possibility in life and art cannot be underestimated. The Re-Enchantment aims to deliver an imaginative response through art, live performance, film and writing to one of the most pressing issues facing the contemporary world.
Note: On Saturday September 11, Gee will talk about his film with writer and critic Chris Darke and apparently will show clips at The British Library, as part of a one-day program Landscaping: Artists, Maps and Britain.