Showing posts with label germany. Show all posts
Showing posts with label germany. Show all posts

15 January 2025

What East Germans wanted in the 1950s

Given that most of the men and women who were involved in the governmental and party structures of the newly established GDR had suffered horrendous political persecution during the Hitler years, one might have expected more resistance to the lack of democratic process within the new constitution. Here was a chance to build the better Germany many had dreamt of, why was there not more anger at the corruption of this ideal? Paradoxically, the answer lies precisely in the experiences of fascism and war, which had led many Germans to value stability and unity over pluralistic discussion. This was true East and West. Germans were exhausted and the majority wanted little to do with politics. Since 1914, there had been little respite from ideology, war, economic turmoil and rapid political change. A middle-aged German in 1949 had seen the whole spectrum of political systems in their lifetime, but none of the offerings had shown a functioning democracy. Where was a love for voting, citizens' rights and a pluralistic society meant to come from? What the German public wanted was not an array of parties on a voting slip every four years but food on the table, a restored roof over their heads and a future without war and economic disaster.

The difference between East and West was that the West delivered these things immediately while the East did not. Konrad Adenauer, the first Chancellor of the FRG, was re-elected with results that modern politicians can only dream of: in 1953 and again in 1957, when his party received an astonishing 50.2 per cent of the vote despite a system of proportional representation which usually leads to coalition governments. This enabled him to run the country without forming a coalition for the only time in its history since 1949. All of this under Adenauer's famous slogan: 'Keine Experimente' - No Experiments.

East Germans too wanted no experiments in the 1950s. They wanted peace, secure jobs, food and an opportunity to rebuild their disrupted lives...

- Katja Hoyer, Beyond the Wall: East Germany 1949-1990, 2023, p.109-110.

10 January 2025

Leibniz, polymath

[German polymath Gottfried Wilhelm] Leibniz collected fossils and conducted geological research, which eventually resulted in an innovative essay on the history of the earth. He had also begun another project, one that proved a bigger boon than any amount of efficiently extracted silver. The Hanoverian dukes were an offshoot of a junior branch of the Welf dynasty, whose long history Leibniz was commissioned to write. He never finished this compendious work—there was always a fascinating new morsel to add—but his relentless archival digging helped the duchy make its case for promotion to an electorate of the Holy Roman Empire.

Medieval history, metaphysics, and geology were not nearly enough to keep Leibniz busy in early 1686. In January, he wrote an article exposing what he took to be a notable blunder in Descartes’s physics. Descartes regarded force as the product of mass and velocity, whereas Leibniz argued that it was better seen as mass times the square of velocity. This move brought Leibniz close to the modern notion of kinetic energy. In April, he began writing a hundred-page “Examination of the Christian Religion,” and not long afterward he composed his most substantial treatise on logic. It contained a pioneering algebra of propositions, similar to the logical calculus invented in the mid-nineteenth century by the English mathematician George Boole. Boole’s creation is a large part of the basis for computer languages. When he learned of Leibniz’s precursor to his handiwork, Boole said that he felt as if Leibniz had shaken hands with him across the centuries.

- Anthony Gottlieb, ‘He Was a Genius for the Ages. Can We Give Him a Break?’, New Yorker, 6 January 2025

28 November 2024

If we take a summary, boys and girls just ain't the same

Thursday music corner: Can was a pioneering German experimental rock band chiefly active from 1968 to 1979, with members including the avant-garde and ambient devotee Holger Czukay (1938-2017) and Japanese lead singer Damo Suzuki (1950-2024). The band released eleven studio albums over a twenty-year period from 1969, including perhaps their most successful and experimental effort, Tago Mago in 1971.

The android funk track I Want More was a single and the opening track from Can's seventh's studio album, Flow Motion (1976). The single was a rare commercial success for Can, reaching number 26 in the UK pop charts and earning the band an appearance on Top of the Pops. As with most of the other six tracks on the album the music was by the four band members and the lyrics were by the band's sound engineer, Peter Gilmour.      

Can - I Want More (1976)


See also:
Music: Can - Little Star of Bethlehem (1968)
Music: Can - Spoon (1971)
Music: Holger Czukay - Cool In The Pool (1979)

29 September 2024

Drei ostdeutsche Musicals / Three East German musicals

I've recently been using the film streaming site Kanopy to explore the obscure world of East German musicals thanks to a collection of restored vintage titles from the Communist-era German Democratic Republic made by DEFA, the state film bureau. All three are resolutely apolitical and are designed as middle-of-the-road crowd-pleasing entertainment. 

Revue um Mitternacht (Midnight Revue, 1962) is a light farce in which songwriters and filmmakers are kidnapped and locked up in a mysterious mansion so as to produce a hit musical on a tight timeframe, for almost no discernable reason. Some have described Heisser Sommer (Hot Summer, 1968) as East Germany's pre-saging of Grease due to its rivalry between good-looking troupes of young women and men, but it's more accurate to liken it to the wholesome family-friendly 'good clean fun' of Cliff Richard's The Young Ones (1961) or Summer Holiday (1963). And Nicht Schummeln, Liebling (No Cheating, Darling!, 1973) carries on the battle of the sexes motif to a small town in which a clever female doctor takes on the town mayor at his own game when she forms a ladies' football team to teach him a lesson for commandeering all the town's resources to support the men's football team.   

Of the three Revue is most akin to a frothy Jacques Demy musical, and the lavishness of the sets and production numbers shows the East German authorities' desire to provide an impressive film spectacle for East German viewers. There's also a touch of Busby Berkeley's ambition in some of the set pieces, such as the stage set designed to show off a dozen smartly-dressed semaphore girls, deploying their skills in such a coordinated fashion that long-serving Chairman of the East German State Council, Walter Ulbricht, would no doubt have been proud.


Heisser Sommer is an exuberant tale of perky eighteen-year-olds who hitch-hike to the Baltic coast for their summer holidays at the sea-side resort island of Rügen. A rivalry springs up between the troupes of girls and boys, initially because the girls gazump all the hitch-hiking opportunities, and exacerbated when the boys trick the girls into traipsing across a mosquito-infested swamp to get to their destination. (The mosquitos are at least partially repelled when the girls all light up and smoke cigarettes like veritable chimneys). Many of the songs, as in Grease nine years later, revolve around one-upmanship, with the boys proclaiming their prowess at boisterous 'boy things' and the girls either tearing down their arguments or simply dissing their masculinity and maturity at every opportunity.



Nicht Schummeln, Liebling, the slightest of the three films, follows a similar path, with the founding of the girls' football team to take the prideful boys' team down a peg, but adds a layer of local politics in which the town council is manipulated to honour accidental promises to give the girls the same perks as the boys - chiefly a club-house for the purposes of staging slap-up meals, plus the obligatory song and dance numbers. The girls also present the boys' captain with a live piglet, for some reason. 

Frank Schöbel (c) & Chris Doerk (r)

An idiosyncratic if memorable lyrical turn of phrase

Heisser Sommer and Nicht Schummeln, Liebling are also noteworthy for featuring the real-life husband  and wife team of performers Frank Schöbel and Chris Doerk, who were both highly-popular East German pop performers in their heyday. Both deliver almost ridiculous levels of enthusiasm, immaculate hairdos and toothy vigour, even when required to dance joyfully on cobblestones in fake rain or be pushed down a steep street in a go-kart by slightly crazed schoolgirls.

28 February 2024

The German Democratic Republic

The GDR, or The Very Shortest History of East Elbia 

East Germany didn't become different because of the Russian occupation of 1945-1989; the Russians occupied the place because it had always been different.

Otto the Great invaded across the Elbe in 935 AD; the Slavs threw the Germans back out in 982 AD; the Germans tried again in 1127 and over the next two centuries they largely (but never completely) succeeded in supplanting the Slavs up to the river Oder. The Teutonic Knights went further until the Poles smashed them in 1410. Prussia was born under Polish suzerainty as an act of revolt again Rome in 1525, rose to fame in battle against Sweden, was made a great power by victories between the Elbe and the Oder, then saved from abolition by the Tsar in 1807. The fatal inability of the western Germans to unite allowed Prussia to conquer them after a single great battle on the Elbe in 1866. Prussia smashed France in 1870; it thereafter dragooned the Germans into providing manpower and money for its bid(s) to settle the 1,000-year struggle with the Slavs. That struggle ended in 1945 with part of East Elbia lost forever and what was left, between Elbe and Oder, a helpless colony of Russia.

With the creation of the GDR, this rump East Elbia formally became what it had always really been: the odd German-speaking man out in a Slavic Eastern Europe. Until the wall went up in 1961, the East Germans - above all, the young and educated - undertook a new Ostflucht to West Germany at an average rate of about 200,000 year on year, about the same rate as in the Ostflucht from the 1850s onwards. If Russia's clients hadn't built and maintained a deadly barrier to stop the fugitives in the meantime, by 1989 there would have been hardly any Germans left beyond the Elbe.

- James Hawes, The Shortest History of Germany, Devo, 2017, p.199

See also:
History: Charlemagne's passion for education, 29 March 2022
Germany: NZ posters by young German artists, 30 June 2012

17 November 2023

Crushed soul, tears running

Thursday music corner: Nina Hagen (b. East Berlin, 1955), 'the Godmother of German punk', was an operatic prodigy as a child, and began her career as an actor appearing in her mother Eva-Maria Hagen's films. At age 21, her stepfather's East German visa was revoked, and she followed him to Hamburg in West Germany, where she quickly gained a record contract, formed the Nina Hagen Band, and released her first album in 1978.     

Naturträne (Nature's Tear) is one of two songs on the self-titled album solely written by Hagen, and was the album's third single, after the hit TV-Glotzer (White Punks on Dope) and Auf'm Bahnhof Zoo. The recording below is taken from a December 1978 live German TV broadcast from Dortmund's Westfalenhalle, and features Hagen's sweeping vocal range, her operatic shriek, and a high-camp sense of humour.

Hagen has to date released 17 studio albums, the most recent being 2022's Unity. In December 2021 German Chancellor Angela Merkel chose Hagen's best-known youthful East German pop tune, Du hast den Farbfilm vergessen (You Forgot the Colour Film), for her farewell military band concert.

Nina Hagen - Naturträne (live, 1978)

See also:
Music: Nina Hagen - TV-Glotzer (White Punks on Dope) (live, 1978)
Music: Nina Hagen - Du hast den Farbfilm vergessen (live, 1974)
Music: Bundeswehr Staff Music Corps - Du hast den Farbfilm vergessen (live, 2021)

13 October 2022

Tripping at the Funkhaus

Thursday music corner: 40-year-old Hamburg native Nils Frahm has been releasing solo piano works since 2005, focusing on multi-instrumental synthesiser works in recent years. He has released 14 albums and 7 EPs, and in 2015 contributed the soundtrack to Sebastian Schipper's film Victoria, which is presented as one 140-minute continuous take. 

All Melody was Frahm's ninth studio album, released in January 2018. This captivating 14-minute performance of the album's title track comes from the live concert film Tripping with Nils Frahm, which documented Frahm's live experience at the Berlin Funkhaus in 2020, enthralling a politely-grooving German audience in the round.

Nils Frahm - All Melody (live, 2020) 

16 June 2022

We advise you not to roast grenades in a barbeque

Thursday music corner: Dietmar Schönherr (1926-2014) and Vivi Bach (1939-2013) were a husband-and-wife German acting duo with international heritage - he was Austrian and she was Danish - who also released four pop albums from 1967 to 1970. Schönherr, whose acting career spanned 70 years, was most famous for his leading role as Major Cliff Allister McLane in the much-loved but short-lived and pioneering 1966 German sci-fi TV drama Raumpatrouille ('Space Patrol'). Bach also appeared in 48 films between 1958 and 1974.

Molotow-Cocktail-Party appeared on Schönherr and Bach's 1970 album Wünsch Dir Was ('Make a Wish'), and was a novelty record imagining a way-out shindig populated by anarchists, terrorists and fascists, where the price of entry is a bag of explosives. Perhaps inspired by the growth of radical protest movements like West German student radicals in 1968 and the Red Army Faction, the song is too tongue-in-cheek to be considered even remotely offensive. (You can read a translation of the lyrics here, but they're fairly self-explanatory in German). It gained greater exposure in 2005 on the eccentric compilation The In-Kraut (a play on the 1965 Dobie Gray Northern Soul classic, The 'In' Crowd).

Schönherr and Bach also presented an hour-long Wünsch Dir Was variety programme on German TV in 1971, which included a mysterious mix of family competitions (speed-loading holiday gear into Volkswagens), a mock brawl followed by an identification parade game, a lively marimba performance, and a serious women's panel discussion. 

29 March 2022

Charlemagne's passion for education

[Holy Roman Emperor Charlemagne] borrowed from Roman architecture in the design of churches and palaces such as his main palace at Aachen. Mindful of the Byzantine ban on icon painting currently in force, he promoted representational Christian art through frescoes, the first Christian sculpture, and above all the production of illuminated manuscripts containing realistic depictions of Bible stories.

This touched Charlemagne's foremost concern: education. Low rates of literacy plus a fragmentation of Latin into regional dialects in the centuries following the fall of Rome created problems both for the spread of church teaching and the administration of an empire. Medieval Latin needed to be standardised into a common language for western Europe.

So to Aachen Charlemagne brought scholars from across western Europe. He funded the copying of all surviving Latin texts and the development of monasteries as centers of learning. The driving intellectual force behind Charlemagne's program was Alcuin of York, adviser at Charlemagne's court, then abbot at the monastery of Tours, which he made the foremost training ground for the clergy. Abbey schools such as Tours were not oases of contemplation but engines disseminating Christian learning to the reaches of the empire, and with this came a newly uniform Latin as lingua franca for Europe's educated classes, together with a new and quicker way writing it down using lowercase letters - the way the words are printed in this book.

- Peter Davidson, Atlas of Empires, Chichester, 2018, p.85

See also:
Blog: Precious vessels, 28 February 2011
Blog96 hours in the Eternal City, 16 October 2010
Blog: Popes & anti-popes, 5 November 2009

02 June 2020

Portrait of a drinker

Tonight's virtual film festival outing, Ulrike Ottinger's 1979 film Bildnis Einer Trinkerin / Ticket of No Return, which sees Tabea Blumenschein (who sadly died in March) as the nameless 'She' singlehandedly depleting West Berlin of all its alcohol in a singleminded campaign of surrealist binge drinking whilst decked out in ludicrously glamorous couture straight out of a Duran Duran video. It's probably indicative of an evening going majestically awry if punk poetess Nina Hagen is one of your bar buds, and you decide that crashing through a wall of flaming boxes on the bonnet of a car is an ideal post-pub activity. Absolutely no idea what the hell was going on, but had a great time not figuring it out.

Bildnis Einer Trinkerin can be viewed temporarily on the Youtube channel of the We Are One international film festival.








See also:
Blog: Two films by Walter Ruttman, 21 October 2014
Blog: Alles klar, Dick?, 1 June 2014



03 April 2018

Marlene Dietrich's 1929 screentest for The Blue Angel

Last night's viewing was Emil Jannings & Marlene Dietrich in Josef von Sternberg's Der blaue Engel (The Blue Angel). The 1930 film produced in both German and English-language versions made Dietrich a trans-Atlantic star and landed her a hefty Hollywood contract with Paramount, which desperately needed some European glamour to rival MGM's Swedish star, Greta Garbo. And when this is your screen-test - replete with its feisty, unconcealed disdain for the risible material - why wouldn't you get the gig? The 1929 screentest was thought lost for decades until it turned up in Austria in 1992, just before Dietrich died. Unfortunately I can't find a version that will permit embedding, but just follow the link below.
 
Marlene Dietrich's Screen Test for Josef Von Sternberg's The Blue Angel from Justin Bozung on Vimeo.

17 August 2017

Die kleinen Gesichter

Live on German TV programme 'Beat-Club', a pacey 10-minute set by the Small Faces at the height of their powers, with four numbers including All Or Nothing and Whatcha Gonna Do About It, and plenty of would-be German mods in the audience attempting to keep up. That might be British DJ Dave Lee Travis of later BBC fame doing the intros there - he hosted the programme from 1966 to 1969.

14 June 2017

21 October 2014

Two films by Walter Ruttmann

One advantage of enjoying films from the archives of silent cinema is that those films are often available online to share with others. Such is the case for the two German films I saw last night at the Film Society screening in Wellington. The two 1920s 'portrait' films shown, both by the Frankfurt-born Walter Ruttmann, were the global gazetteer Melodie der Welt (Melody of the World) from 1929 and the Berlin-glorifying Berlin: Die Sinfonie der Großstadt (Berlin: Symphony of a Great City) from 1927. Both were 'half-length' features, with Melodie running 49 minutes and Berlin just over an hour. Each has its own Germanic charms.

Melodie is hugely ambitious and must have taken ages to shoot, with its multitude of film imagery from all over the globe offering a hopeful view of human endeavour and the similarities amongst peoples. It's a hectic journey. For example, the film's third act contains parallel scenes including the start of a pampered, upper-class woman's day in Germany compared with that of a peasant worker in Southeast Asia, and illustrating how a geisha's hair is prepared, before hurrying on to a survey of languages of the world (with a smattering of humour in a moderately bizarre cameo from George Bernard Shaw asking some chap for directions to St Albans), meals of every type, dance and music, and the toil of work followed by the joy of returning home at the end of it. (Note if you're viewing the clip, the film does have a soundtrack - it's just the first few minutes that are silent).

The more focused Berlin is so busy and lively it should have been an inspiration for Richard Scarry's 'Cars & Trucks & Things That Go'. Berlin under Ruttmann's lens is a pumping, thriving mega-machine, churning out heavy industrial produce and shunting thousands of denizens in every direction through its massive train stations. It's a great example of documentary film-making and a wonderful record of a day in the life of a proud city before the 1929 stock market crash and the coming war swept so much away.



Ruttmann died in 1941 from injuries sustained during front-line action as a war photographer.

See also:
Movies: The Famous Five in German, 1 June 2014
Art: NZ posters by young German artists, 30 June 2012
Blog: My top 5 museums in Berlin, 24 June 2011

01 June 2014

Alles klar, Dick?

How often do you get the opportunity to watch the Famous Five in German? Julian, George, Dick, Anne & Timmy all just happen to speak German in this well-put together kid-film with a surprisingly comprehensive budget, filmed in Thailand. Where everyone else also happens to speak German. Funny, that. Also, I always suspected that George was actually quite hot.

23 March 2014

The City - Becoming & Decaying

Today I took a relatively rare trip over to the Wairarapa for a first visit to Masterton's museum and gallery, Aratoi, for an exhibition of German photographers. Called 'The City - Becoming and Decaying', the exhibition is by members of Germany's Ostkreuz photo agency, and captures perspectives on urban life across the globe. Sponsored by the Goethe-Institut, which also does great work in supporting the Wellington Film Society, the exhibition runs for six weeks until 12 April 2014. It's a decent-sized collection of photography, and the gallery space is impressive given the size of the town. (It's a great counterpoint to the small Hedspace gallery behind the Hedley's bookshop in Masterton's main shopping street, where I saw the Sukita / Bowie exhibition in 2012).

Five favourite images from the exhibition (not online, sorry):

  • Jörg Brüggemann - Ushuaia series: Capturing the vibrant and diverse youth scene of the isolated corner of Argentina that stakes a claim to be the world's most southernmost city. (It's at 54° 48′ South - see map)
  • Pepa Hristova - Tokyo Electronic Town: Hristova's pictures of weird Akihabara cafe culture are typically interesting, but my favourite was a night-time portrait of a presumably wealthy Tokyo resident showing off his two enormous dogs on an Ebisu park bench. Where would he find the space to house them in one of the world's most crowded cities?
  • Dawin Meckel - Detroit: The expected signs of urban decay are present in Meckel's photos, but my favourite was the one of an elderly black gent with two-tone shoes, pausing momentarily to have his picture taken outside the Fox Theater en route to a concert. (The venue is soon to feature a Hendrix tribute night featuring Buddy Guy, Jonny Lang and Dweezil Zappa). 
  • Anne Schönharting - Auroville: Images of a planned spiritual settlement near Chennai in India that houses 2000 people, mostly Europeans and Indians, focusing on the golden sci-fi dome of the Matrimandir spiritual centre.
  • Thomas Meyer - Dubai: Exploring the ultra-planned, sterile streets of the Gulf entrepot, Meyer came across a shop selling only stuffed pink camel toys. A wonderfully surreal image. 
Aratoi is also worth a visit for its small exhibition on Wairarapa history, which is presumably a permanent feature.

See also:
Photography: Dark Cloud / White Light, 22 September 2013
Photography: Wildlife Photographer of the Year, 20 January 2013
Photography: World Press Photo 2012, 22 August 2012

30 June 2012

New Zealand posters by young German artists

New Zealand will be the guest of honour at this year's Frankfurt Book Fair, which is the largest and most important trade fair for the book industry. This is, as you might imagine, quite an impressive opportunity to showcase New Zealand literature and the country in general in a hugely influential and cosmopolitan market. It's not just a book fair for German writers and readers - everyone under the sun goes to Frankfurt. For a few days each October the city is overtaken by several hundred thousand visitors - buying, selling and snooping out the latest publishing treasures, all in search of the next breakthrough text. And each year one nation is chosen as the fair's showcase country, to highlight its national literary culture. New Zealand writer Paula Morris spoke to the German media recently at the launch of the New Zealand campaign in Frankfurt, and attempted to define New Zealand's way of writing:

Our national literature has all the necessary ingredients for a feast: a rich history, political dissent, social problems, identity crises, an evolving society – and a sense of humour. New Zealanders and New Zealand writers don’t live in a state of splendid isolation. We look back. We look forwards. We look outwards. Like all writers everywhere, we like to complain, and joke, and investigate, and to try to make sense of what we experience and observe around us.
While my recent first visit to Frankfurt came several months before the book fair, I did stumble on one of the byproducts of the New Zealand literary showcase. On the south bank of the Main the Museum für Angewandte Kunst (Museum of Applied Art) turned out to be holding an exhibition of New Zealand-themed posters designed by young local artists. It was an interesting opportunity to see how German artists perceive New Zealand and how they would choose to represent the New Zealand-themed book fair showcase to the German public. At least two artists adopted the motif of adorning the local hero, the philosopher Goethe, with a moko. There's some really great work in here from students in Darmstadt, Mainz, Offenbach and Wiesbaden, and two of the best will be posted around Frankfurt in September in the lead-up to the fair. Here's a selection of the ones that took my fancy.

Note that all images were taken by me but the artworks remain the property of the artists and/or the gallery. Please contact me in the comments to this post if you are connected to the artworks and would like them removed.

Damla Bulut


Susanne Henlein, Mona Happel


Sarah Klingenberg


Andra Stritter


Anna Platschek


Andreas Knapp


Franziska R[?]


Lisa Steinhauer


Marcel Franke


Felix Fischer


19 May 2012

The single most successful German ruler

Grand Duchess Catherine, 1745
(via WikiCommons)
One real oddity was the continuing attractiveness of the little German states as sources of marriage partners. For much of the time really big partners were more trouble than they were worth (most famously perhaps Louis XVI's marriage to Maria Theresa's daughter Maria Antonia). In a pre-industrial era when quite tiny states could potentially be more than rich enough to bring in jewels and some nice hunting territory, there was much to be gained for one of the major rulers in tracking down some broad-minded, micro-state-bred creature who could proceed to fill a Schloss fairly reliably with children without causing diplomatic damage.

The Hanoverians, once they had become rulers of Britain, were brilliant at this and indeed have, with only two exceptions, followed an unvarying rule of provoking squeaks of baffled delight from princesses and their imperious mothers in tiny states up to the present day. In order, from George I onwards they have married a duchess of the Braunschweig-Celle family, a margravine of Brandenburg-Ansbach, a princess of Saxe-Gotha, a duchess of Mecklenburg-Strelitz, a duchess of Braunschweig-Wolfenbüttel (the unfortunate Caroline, beating fruitlessly on the doors of Westminster Abbey to be allowed in to attend her estranged husband's coronation), a princess of Saxe-Meiningen, a prince of Saxe-Coburg and Gotha, a princess of Schleswig-Holstein-Sonderburg-Glücksburg and a princess of Teck. This unvarying German choice partly came from the important role the British royal family had in German life, a link that only frayed with the First World War, but also from the peculiarly narrow requirement that the bride had to be Protestant as well as upper class, thereby cutting out great swathes of potentially less frosty and more enjoyable Mediterranean partners. The kaleidoscope of small German states however always meant that there was plenty of choice, that is until the kaleidoscope was put away in 1918 with the German revolution and all the princesses vanished into dodgy coastal hotels around Europe. This was part of the backdrop to Edward VII's disastrous decision to marry a Maryland divorcee and his younger brother's cleverer choice of the steely youngest daughter of a Scottish aristocrat. The current queen took us back to the good old days by marrying another member of the Schleswig-Holstein-Sonderburg-Glücksburg family, much to everyone's relief.


I go on about this, partly because it is funny and curious (both the facts and the names), but also because these little territories had potentially very considerable power and prestige and the most bashful beginnings could end in glory. In a sort of asteroid belt of low-grade German princesses and narrow, petty, moustachioed princes, there was enough room for something really surprising to happen. Most absolutely alarming in this respect was pretty little Sophie Augusta Frederica of the laughable territory of Anhalt-Zerbst, a place so small it could hardly breathe. Her father was a Prussian field marshal and as a helpless pawn in plans to boost Prussian-Russian relations in the 1740s Sophie was shunted off to Russia where, after several ups and downs, she married the Grand Duke Peter, learned Russian, became Russian Orthodox, had Peter killed and wound up as Catherine the Great, devastating the Ottomans, the Swedes and the Poles and carving out immense new territories from Latvia to the Crimea. Indeed, a case could be made for her being the single most successful German ruler of all time, albeit not one ruling Germany.

- Simon Winder, Germania, London, 2010, p.243-5.   

24 June 2011

My top 5 museums in Berlin

My most recent European adventure was a five-day visit to Berlin at the end of May, which was a great success. It had been an age since my only other visit to the German capital, so a return journey was definitely called for. I stayed in the excellent Wombats hostel in the former East Berlin; the nearest U-Bahn station is still named in the Cold War style, after Rosa Luxemburg, a co-founder of the precursor of the German Communist Party, who was murdered in 1919. 


The Museuminsel - the island in the Spree river that holds a collection of the world's finest museums - was definitely at the top of my Berlin agenda, and I managed to see nearly everything it had to offer. In fact, my Berlin visit turned into a museum and gallery extravanganza. Here's a rundown of my personal top five, in no particular order.


Märkisches Museum


The first museum I visited was the appealingly low-key yet interesting Märkisches Museum, which provides an overview of the history of Berlin since its founding in the Middle Ages. Located in a red brick monastic-like building, the museum displays a wide array of items from the city's past, including a great selection of old toys - Germany was once the world centre of expertise for toymaking - and a fascinating range of consumer products from previous generations. I couldn't overlook the annex containing medieval weaponry and armour, with racks of swords and a cumbersome full suit of plate armour. I also spent a while admiring the images in the venerable Kaiser-Panorama, an elegant circular polished wood booth with more than a dozen viewing windows. Each window displays a different stereoscopic photograph, and the whole set rotates every 30 seconds or so, enabling a viewer to take in all the photos from their seat without moving. There were some lovely crowd scenes at a Zeppelin launch and at political rallies in Unter den Linden, which just shows that stereoscopic photography is still as much of a novelty as it was a century ago.

'You can have anything you like, as long as it's tiny'

Kaiser-Panorama

Cash register, c.1910.



Bode Museum


Part of the thrill of visiting the Bode Museum, which occupies the northern tip of the Museuminsel, is soaking up the glorious building itself. Its semi-circular neoclassical front caps off the island beautifully, and once inside visitors are immediately confronted with an extraordinarily palatial setting, with marble staircases, gold trimmings everywhere and a triumphant regal statue as a centrepiece. The collections are equally impressive, with a huge number of artworks from the years before photography came along and complicated everything. The Bode is particularly strong on religious artworks. My favourite was probably the lively and charismatic statue of the Virgin and Child from the 1460s in which the baby Jesus is wriggling furiously and draping himself in Mary's cloak, while she tries to keep him under control. And a bust from two centuries later, a Mater Dolorosa from Seville in the 1670s, is an amazing feat of verisimilitude: the anguished expression is augmented by the superbly lifelike crystal eyes and the two tears rolling down her cheeks.   

Bode Museum

Virgin & Child From Dangolsheim, c.1460.

Mater Dolorosa, c.1670.



Pergamon Museum


My 1997 visit was marked with torrential rain as central Europe was beset with the worst flooding for 50 years, but I still had an enjoyable time exploring the wonderful history of the city. The highlight of the whole visit for me was touring the splendid Pergamon Museum on the Museuminsel in the river Spree, and basking in the glory of its key exhibits: the great altar from Pergamon in Asia Minor, the reconstructed Ishtar Gate from ancient Babylon and the Roman Market Gate of Miletus. In my 2011 visit I was determined to revisit the museum to take in its superb sights once more - this time with my D-SLR in tow. 


The wonders of the British Museum are of course universally admired, but not even a visit to the Parthenon Sculptures gallery can prepare you for your first sight of the magnificent Pergamon Altar, which is the centrepiece of the museum and the first thing you see once you enter. The sharp, polished steps climb to the holy space atop the altar, which affords a fine view of the highly detailed and well-preserved sculptures in the frieze depicting warring gods and monsters, which runs around the altar and continues along the walls of the museum. The next room is extra-tall to house the soaring facade of the Miletus market gate, a Roman construction from around 120AD, held aloft by graceful narrow pillars and flanked by regal statues. And beyond that lies the reconstructed minor gate from the great and ancient city of Babylon: the Ishtar gate, with its vibrant blue-glazed tiles depicting fearsome monsters with eagle claws and scorpion tails. This is only the smaller of the two gates that guarded the entrance to the great imperial city of antiquity, but it still towers majestically.



Pergamon Altar

Detail of Pergamon Altar frieze

Miletus market gate


Ishtar Gate
Ishtar Gate detail




Neues Museum


This substantially rebuilt museum reopened in 2009, and contains the strongest selection of Egyptian artefacts in Berlin. Its most famous exhibit is the immaculate Nefertiti Bust, which sits resplendent in its own dedicated room, gazing down a long corridor of other lesser riches. Alas, no photographs are permitted of this one exhibit, but there are plenty around on the net. I did photograph many other exhibits, including a depiction of Nefertiti herself with her royal husband Akhenaten - two slender faces gazing out serenely from their glass case, as in life side by side. The statues from the 18th Dynasty are approximately 3350 years old. Another statue, of the head of an 18th Dynasty princess, is a remarkably accomplished piece, with elegant swooping eyebrows adorning the wide expanse of the eyes and contoured around the curve of the skull.  From a much later era, when the Romans controlled Egypt, there's a splendid statue of the sun god Helios, which faces the Nefertiti bust down the long, long museum corridor. This statue from the 2nd century AD depicts the god in all his immortal perfection, and is a testament to the artistry of the age.    

Akhenaten & Nefertiti busts

Helios statue

18th Dynasty princess bust 



Deutches Technikmuseum


Long-time devotees of Richard Scarry's Cars and Trucks and Things That Go will find much to admire here, in Berlin's technology and transport museum. Signs are good even as you approach the complex, with a looming Douglas cargo plane that participated in the Berlin Airlift suspended high on a rooftop above the museum's new gallery building. This is a museum that flaunts its big toys. The entrance hall boasts the Cessna in which the young Mathias Rust famously invaded Soviet airspace and landed near Red Square in 1987. (Rust was imprisoned for a year for the flight, before being deported back to Germany. The Cessna affair helped Premier Gorbachev's glasnost reforms, because it fatally damaged the standing of the Soviet military old guard.) I found the section on early radio and television fascinating - it included a very elderly Baird Televisor from 1932. There was also an interesting collection of vintage still and film cameras, just waiting to inspire the next generation of budding Henri Cartier-Bressons.

The largest space within the museum is reserved for its collection of vehicles. The nautical section has a full-size steam tug from 1901, and the aviation area upstairs boasts a splendid collection of German aircraft. My favourites were the Ju-52 trimotor airliner with its stylish shining metal ribs, and the innovative and graceful Stahltaube monoplane from 1914. Out the back in the museum's rail sheds is a fine selection of steam trains; I've never been a big train fan, but I have to admit that venturing underneath one massive engine via a service pit and smelling the fresh oil was remarkably good fun. (You'll not find me joining the trainspotters at the end of the platforms at Clapham Junction, however).



Deutches Technikmuseum

Mathias Rust's Cessna that he landed near Red Square
Heavy express locomotive, 1956 (rebuilt from 1939 streamlined locomotive)
Baird International Televisor, 1932.


Junkers Ju-52
Medium-format cameras from 1929-60.

03 June 2009

An imperial requiem

Ann Morrow’s 2006 book, Cousins Divided: George V and Nicholas II, paints an interesting picture of the long-standing relationship between two imperial cousins, which was curtailed by the Bolshevik Revolution’s overthrowing of the Russian Empire in 1917, and was finally exterminated by the Bolsheviks’ assassination of Nicholas, the Tsarina, all their children and key royal servants in Ekaterinburg in July 1918. 
George (1865-1936), the grandson of Queen Victoria, and Nicholas (1868-1918), the husband of Victoria’s favourite granddaughter, bore a striking resemblance to one another.  Their immaculately-groomed beards and handlebar moustaches, similar heights and predilection for military garb often found them being mistaken for one another when on royal visits.  Each monarch was dedicated to the duty of their birthright and doted on their wives (Mary of Teck in George’s case; Alix of Hesse in Nicholas’).  Both also struggled to come to terms with rapid social changes in their countries that called into question the validity of their reign.  But while George managed these challenges and emerged as a successful and admired king, Nicholas retreated into the rarefied and almost absurdly privileged isolation of his immediate family and failed to adapt when his country slid into anarchy, which ultimately led to his death and the deaths of his family.
Morrow, a former royal court correspondent for the Telegraph, gained widespread access to royal correspondence to inform her book.  It charts the long course of the cousins’ relationship, which was sustained through lengthy correspondence and much-cherished extended family gatherings.  The often charmingly unaffected letters provide strong evidence of the warmth of the relationship between the King and the Tsar, which was in stark contrast to the rather chilly links with that other grandson of Victoria, Kaiser Wilhelm II of Germany (1859-1941).  But the fact remains that when imperial Russia was dissolving in a riotous panic during the Bolshevik revolution in 1917, which led to Nicholas being forced to abdicate his throne, George failed to offer a lifeline of refuge to the Russian imperial family, despite earlier indications from Britain that this would occur.  Ultimately, it seems, the King put the security of his own kingdom as the highest priority above the safety of his Romanov relatives: fearful of a British workers’ uprising akin to that in Russia, the Romanovs were not offered safe haven in Britain. 
The last ten chapters of the book are the most stirring and insightful, chronicling the ever-increasing chaos in Russia before and after Nicholas’ abdication, the fallout from the brutal government-ordered murder of not only Nicholas but also his wife and children, and the much later exhumation of their remains in the post-Soviet era for reburial in the chapel of the St Peter and Paul Fortress in St Petersburg.  Here Morrow describes the reburial ceremony on 17 July 1998, the eightieth anniversary of the murders:
The imperial requiem epitomised all the lusciously emotional extravagance of the Russian Orthodox Church; the music had never sounded more poignant, as the bearded priests in gold and cream-embossed silk robes recited the canticles in deep, resonant voices.
As Nicholas II’s coffin was lowered into the earth to the sound of muffled drums, the entire Romanov family [the remnants of which had returned from around the world for the ceremony] sank to their knees.  His simple coffin was placed in a vault in the whitewashed crypt, the traditional resting place of the Romanov ancestors, and a nineteen-gun salute was fired across the Neva.
As the Romanovs left after the ceremony, a press of people crowded around them, saying “Forgive us, forgive us…”  This recurring lament was almost too much for some of the Tsar’s more elderly relatives.
The only criticisms I have to offer about the style of Morrow’s book is that the first two-thirds is devoted to a rather dense, spillikins-jumble of royal anecdote and parenthetical observations about obscure members of both families, which is at times hard to follow.  Morrow’s willingness to write about important events in George and Nicholas’ lives simultaneously when the events being discussed actually occurred years apart also ran the risk of confusing the overall narrative and placing events in a misleading historical context.  These caveats aside, Cousins Divided is still an interesting project and is worth reading, particularly for those with an interest in Russian history and the demise of the Romanovs.
Below, pictures taken on my July 2008 trip to Russia: the Romanovs’ graves and the chapel in which they reside, in the St Peter and Paul Fortress in St Petersburg.
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