The arch-villain is not only the inverted double of the hero, but, whereas the hero builds up a moral axiomatic system, the arch-villain undermines it by chipping away at its weak points and its fissures, delighting in the ruses of contradiction, inconsistency, paradox. Beyond these kinds of villains, there is a special type-the arch-villain. ![]() But not all villains are alike-some just want the simple things in life (money, power, love), while others take on villainy as a form of therapy. But, as he says in the middle of his elaborate speculations, you really would need to know the plot in detail to follow his argument.It has become a truism that superhero narratives are interesting not for the morally upstanding virtues of the heroes but for the critiques of those virtues put forth by the villains. He rapidly launches into a detailed discussion of its elements of comedy and tragedy, the connotations of the word "charlatan", the true but not necessarily obvious significance of some of the major characters. I'm going to conduct it now for the second time. When I ask whether the piece is light or serious, Yinon gives a delighted laugh. Maybe people who are used to the Second Viennese School and the sophisticated music from after the war will say this is very primitive. He used rhythm in a very beautiful way, and he's very folkloristic in this opera, a lot of folklore influence. "You can hear that it's music which belongs to the first third of the century, definitely. maybe he was too young to be established, but he knew what was going on in the musical world surrounding him. One can hear that Haas was quite well established. "One can hear influences of Janacek, his teacher, definitely. It's music from the mid-1930s, nothing too hard for us. For other people it may sound in a way modern. For me it's not anything modern, just something very easy coming and easy going. Of course, there is some lightness in the sound, lightness in the mood, like in Smetana. But I am influenced by knowing he was Czech. How, then, would Yinon characterise the music of this little-known composer, whose posthumous fortune has taken such a dramatic upward turn? "You know, the interesting thing is, that when I listen to the music, I can characterise it as Czech. Nevertheless, I asked myself, who is this composer, because his music seems to have some quality. I mean, it is a nice thing to do, once a year, in some sort of ceremony, but nothing to do professionally. But I said to myself, it would be a total mistake to interpret a composer just because he's been in a concentration camp. It took 50 years to come back to his music. So maybe without him we would never have got to the music of Haas. A musicologist, Lubomar Peduzzi, wrote a book about Pavel Haas, and he was pushing his music. ![]() "He never wanted to conduct that piece again. "It was performed in the ghetto under Karel Ancerl, a very famous Czech conductor who survived the concentration camp - alone, all his family was gone. Nevertheless, it was interesting, when I conducted this Study in 1992, I thought the piece was very good. This was the only information which I had at the beginning. The first work I heard by him was the Study for string orchestra, which was performed in the concentration camp of Theresienstadt. I came to him because of his fate, because he was murdered by the Nazis. He studied under Janacek in a master class. "The composer Pavel Haas was Czechborn, from Brno. Settled with a cup of coffee in front of him, he became sharply focused when he came to talk about exactly how he had come to Sarlatan and its composer Pavel Haas. The Israeli conductor Israel Yinon was in Dublin early in September, to rehearse the orchestral programme of Haas, Schulhoff and Dvorak he'll be conducting during the Wexford Festival.
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