To: Thomas C. White who wrote (7452 ) 2/15/1998 12:55:00 AM From: Rambi Respond to of 71178
Dear Thomas, Today as I cleaned out some boxes in the poolhouse I came across a paper I wrote in the second grade for a final Latin III exam on Graeco-Roman conflicts and which focused primarily on the period of the Macedonian Wars. I thought you might be interested in this passing reference to the bawdybeerballad which apparently was not a phenomenon of the 19th century, but had its roots in our most ancient civilizations, to whom you may like to give at least a passing nod in your upcoming tome, The Complete, Extensive, Comprehensive, Definitive, Absolute, Ultimate and Final Individuation of Ludwig von Beethoven, Utilizing Jungian Principles of Psychonalysis, Dream Interpretation and the Synchronistic Phenomena Known as Psychoid Factors of the Collective Unconscious: Ludwig, Man of Passions or Prankster? Please forgive the simplistic style-I was after all only seven and had not yet mastered my penchant for the run-on sentence. In my best penmanship, and dotting all my i's with cute little daisies, I wrote: "The intense rivalry between the Greeks and the Romans was never more evident than during the song contests (certamen cantorum ) which opened every competitive game in the Coliseum. More than one scholar has postulated that the Macedonian Wars had their origin in a particularly vicious event occurring in the year BC178 when the Greeks managed to obtain a copy of the Roman tonstrina in quator partibus (barbershop quartet) arrangement of the newly penned but already hot hit of Paulus Simoni et Garfunkulus Artis, a tale of a lonely gladiator entitled Pugilatio and number three with a trident on the charts that week. Imagine the humiliation and rage of the Romans when the Greeks, who as guests performed first, broke into the already well-known opening bars, Puer pauper solus sum ("A poor boy only I am"). As full realization of the Greek treachery sank in, a riot ensued, and the Coliseum had to be flooded to quell the chaotic masses, with many casualties both from drowning and because a stagehand saw the Emperor wiping the water off his face and mistook the gesture for a thumbs down on the Greek Group. Though a deviation from the normal procedure of the song contest, he obediently released the lions, who proceeded to devour most of the first tenor before being swept away in the flood. It is said that the singer hit his first perfect high C with his last breath. War was inevitable. As far back as the second century BC, these ballads were enjoyed at all levels of society. Caesar and his cronies were known to gather in the agora and down a few cerevisia together after a hard day in the Acropolis. After quaffing a few brusci, Julius, Marc Antony, Cassius and Brutus (who recorded later under the name "Band of Purple"-a tongue-in-cheek reference to their senatorial toga stripes) would loosen their togae and entertain the plebeians with their energetic rendition of Caliguli, Caligula , which has come down to us today only slighted mutated as Funniculi, Funnicula (a little satirical play on words perhaps; you probably recall that Caligula's reign was anything but fun). It is said that the gods themselves would descend from Olympus to hear their close harmony." Wasn't I cute back then? I thought this might be of interest to you because anyone who has done such extensive research into a subject as I know you have this one, surely has studied Fantasia and knows that Beethoven and Disney collaborated on the wonderful presentation of the Sixth (the Pastoral)Symphony. The idea to have the action take place on Olympus was Ludwig's alone. Walt wanted to make a more politically correct statement by shooting the footage in New York using the Harlem Globetrotters, but Ludwig was adamant and luckily the gods won out. It could be argued of course that the Globetrotters are almost as timeless as the Pantheon. I believe that Ludwig was guided in this decision by the archetypal memory of his European ancestors in Rome, warm recollections he gleaned from the Collective Unconscious itself. The theme of brotherhood (Alle Menschen werden Bruder! ) in the final movement of the Ninth is the fulfillment of the same psychotic phenomena revealed to him in a dream in which he was transported to Rome to conduct the Band of Purple in an Olympian concert that soared above the earth and travelled around the world, uniting all people. During this dream journey he made the acquaintance of an enthusiastic little Chinese man who said he was from the future and was looking for ideas to use at the 1998 Olympics Opening Song Concert ( which incidentally left the Band of Purple feeling pretty smug about their cultural bequests to the world). Inspired by all he had seen and heard (spiritually speaking, of course), Beethoven awoke to write the Choral Symphony. There is no longer any doubt about the veracity of this story which was confirmed by Maestro Ozawa at the opening ceremonies at Nagano this past week in a pre-show interview. Your scholarly and diligent efforts have taken you to the academic heights you currently enjoy and I would hate for your exegesis to be incomplete or worse, inaccurate. If I can be of any assistance in keeping you in your ivory tower, where you seem so happy, I wish to do so. I like it there myself.