Reunited in Music

I have a rather nice nineteenth century carriage clock which sits on my mantelpiece and I often wonder about the history of its ownership; for whom was it originally made, through whose hands has it passed  –  and if only it could speak, what stories it would tell one of the past; the trials and tribulations of its owners and of the world at large.

The possessions of the Romanov Imperial family, including many fine objects made by Carl Fabergé, have also had an interesting history.  Since the chaos of the Russian Revolution of 1917 and the seizure and sale of these items by the Bolsheviks in subsequent years, some items which were intended to be kept as a set became separated.  This was certainly the case with the Diamond Trellis Egg and the hidden “surprise” which was originally contained within it.

An announcement was made in October of last year that a small automaton elephant, originally made as the surprise inside the Diamoned Trellis Egg (made by Carl Fabergé and commissioned by Tsar Alexander III in 1892), had been discovered at Buckingham Palace by Caroline de Guitaut among items of the Royal Collection Trust, of which she is curator.  An excellent example of the lapidary work of Carl Fabergé, this little elephant is indeed a treasure.  The elephant has a small gold tower on its back which is decorated with rose-cut diamonds and the sides of the elephant are covered in precious stones.  The superlative workmanship employed in the making of this little toy certainly pointed to it being the work of Carl Fabergé and the maker’s label confirmed this to be the case.  To Caroline’s delight the mechanism of the toy still worked  – they wound the key and the elephant started to walk and nod it’s head for the first time in many decades.  You can see a video of the moving elephant at the bottom of this  news report.

The tiny elephant, by all accounts, was acquired by King George V in 1935.  The Diamond Trellis Egg itself, originally a gift for the Empress Maria Feodorovna, was looted during the Russian Revolution of 1917 and eventually found its way to America where its now remains on display at the Houston Museum of Natural Science at the behest of its owners, Artie and Dorothy McFerrin.  It would be fascinating to know the exact details of the egg’s journey from Imperial ownership to its present day location.  Like countless objects of beauty and vertu it has its own story to tell which reflects the turmoil of the world around us and the varying fortunes of its owners.

How wonderful it would be if these two treasures could be reunited once again, if only for a short time, and put on display for the benefit of all those who love the work of Carl Fabergé.  The diamond Trellis Egg has been separated from its surprise for anything up to a hundred years.  But I have attempted to reunite them here in music in the next movement of my little Fabergé Suite.  In this piece of music I have attempted to reflect the strange, other-worldliness of the semi-translucent pale green jadeite used to make the egg as well as the gently shimmering rose-cut diamonds with which it is lined.

Listen out also for the toy elephant which is wound and brought to life as the track progresses!  As always, listen with headphones if you are using a laptop, since the sound is far superior.

One Memorable Day

I think most people would agree that however glamorous one’s life may be (or may not be), one day really does roll into the next for the most part.  But then there are those days which one will remember forever.  I had such a day yesterday.  Given my current fascination with the work of Carl Fabergé it was a rare privilege to be invited by Geoffrey Munn (of the BBC Antiques Roadshow) to see items of Fabergé he has at the London shop, Wartski.  Wartski has been famous over the decades, not only for supplying beautiful things to the rich and famous, but also for being the main dealer in England for important and rare items of Fabergé.

Naturally, I was shown quite a number of beautiful objects of vertu and every item I saw was exquisite in its own way  –  but there were highlights! One was a large aquamarine and diamond brooch (pictured below), an engagement present from Nicholas II to Princess Alix of Hesse, and known to have been taken from the Empress just before she and her family were shot on July 17th, 1918.  I held it in my hands as Geoffrey recounted the brooch’s illustrious heritage and its place in history.  Another was one of the treasures Geoffrey showed me which was not by Fabergé  –  a splendid tiara, set with a number of large sapphires and numerous brilliant diamonds (pictured below).  This was a gift from Prince Albert to Queen Victoria.  Queen Victoria is even pictured wearing this very tiara (or coronet, as she referred to it) in a painting by Henry Richard Graves of 1874.  I held it carefully in my hands for as long as five minutes, spellbound by the knowledge that I was touching a very special piece of history as well as an extremely beautiful object.

Geoffrey was kind and generous  –  and gave me his undivided attention for a whole hour.  Days like this are never forgotten.  My visit to Wartski has also re-doubled my passion for Fabergé and I am now working full steam ahead on the next movement of my Fabergé Suite, dedicated to the Diamond Trellis Egg.

Diamond and Aquamarine Brooch

Queen Victoria Sapphire Coronet

The Tsar, Fabergé and the Russian Rebel Spirit

The_Coronation_Egg

A little while ago I said that I wanted to compose a suite of pieces inspired by some of my favourite Fabergé eggs. I have now completed the first movement of this suite which is based on the Imperial Coronation Egg  –  arguably the most famous of these eggs, commissioned by Tsar Nicholas II of Russia and made by Fabergé in 1897.

The Imperial Coronation Egg is one of the most sumptuous and unapologetically luxurious eggs made by Fabergé. The egg itself is made of gold and decorated with translucent lime-yellow enamel on a guilloché field of starbursts. The decoration is in reference to the cloth-of-gold robe worn by the Tsarina at her coronation. The egg is trellised with bands of greenish gold laurel leaves mounted at each intersection by a gold imperial double-headed eagle enamelled in opaque black and set with a rose diamond in its chest. This pattern is also drawn from the coronation robe worn by the empress. A large portrait diamond is set in the top of the egg within a cluster of smaller brilliant diamonds.

As we all know, the Fabergé eggs always contained an enchanting surprise within. The “surprise” in this case is an exact replica of the imperial coach which carried the Tsarina Alexandra to her coronation at Uspensky Cathedral. Made in gold, platinum and strawberry guilloché, it is crafted in intricate detail.

I am predominantly inspired by the visual qualities of this most beautiful work of art. The coalescence of a superlative quality of workmanship together with the use of the most expensive and luxurious materials of gold, platinum and diamonds make this, for me, both a feast for the visual sense as well as an inspiration in terms of musical texture and sound. I have attempted to replicate in sound and musical texture the resplendence of this egg and the surprise contained within it. I have enjoyed experimenting with sounds which are new to me with such evocative names as “Orbital Pad” and “Glacier Point”, often dovetailing the sounds as one would do the flutes and clarinets orchestrally.  I have also experimented here, as I did in my last composition, “Gold I”, with a sort of micro-canon produced by layering a Sibelius audio file with a midi file placed into Cubase. The Sibelius audio file begins playback a split second later than the midi file, creating a sort of micro-canon which creates a texture I like somewhat. Central to the composition is the quotation of fragments of a melody from music that most is recognisably Russian – the opening bars of “Pictures at an Exhibition”, by Mussorgsky.

Although predominantly inspired by the visual beauty of this egg, one cannot cast totally from one’s mind the historical and political context in which these eggs were made and gifted. It is no accident that these eggs were made of the most expensive materials known to man and that so much expense was lavished in their creation. The Fabergé eggs have, for many people I think, come to symbolise the obscene wealth of the Romanovs and of the prevailing social inequality of the time.  The opening music in this composition alludes to an impression in my mind of the coronation procession itself. In my mind’s eye I see the coronation coach and the crowds lining the streets (listen out for the sound of horses hooves, used incidentally as much for their rhythmic properties as their representational value). The music is suggestive of imperial power but also has an undercurrent of discontent and a hint of the eventual downfall of the tsar. Who could have foreseen that not twenty years after this coronation procession revolution would break out on the streets of Petrograd (now St. Petersburg) and Tsar Nicholas II would be forced to abdicate his throne? Further still that the entire Romanov family would be executed a year later, in 1918?

The Russian Revolution of 1917 is an example of what historians in this field refer to as a “bunt”. A Russian bunt is basically defined as social pressure not relived by peaceful actions, finally triggering a self-destructive revolution. It is said that Tsar Nicholas II missed opportunities to prevent his downfall because he allowed the tsarina to blind his judgement and paralyse his will. One timely gesture from the tsar might have saved Russia and changed the course of history. The time came when even the tsarina herself saw “the writing on the wall”, so to speak” – but it was too late. As Rodzianko, president of the Duma, said himself at the time, “It is too late to talk concessions; it is time to abdicate.”

The Russian revolution of 1917 has been the only opportunity in modern times for this kind of “bunt” – but one wonders about the eventual fate of President Putin.  There is a history in Russia of high approval ratings for leaders until suddenly, without much warning, the leader is quickly brought down by revolution. There is a theory that the reason Putin has avoided this fate thus far is because he himself, in his actions on the world stage, has taken on the persona of the Russian rebel, with such moves as the annexation of the Crimea, thus subduing the rebel spirit of the people which might otherwise express itself in more self-destructive ways.

All these thoughts feed into this first movement of my Fabergé Suite, thus making it as much an expression of thought about the present as of the past. But I think it is also important to say that, despite the association the Fabergé eggs have with the extreme wealth of the Romanov dynasty and the inequality of the time, I think we can allow ourselves, in 2015, to enjoy their aesthetic beauty in abstract from their historical context.

My next challenge is the composition of the final movement (the inner movement will be composed last) inspired by the Trans-Siberian Railway Egg, and I am working on this now.