We are just back from Bavaria where we were inspired by King Ludwig II’s castles,
delighted by glorious mountain views, enjoyed delicious apple strudels
and slipped into Austria where we had a lot of fun on the Sound of Music Tour in Salzburg.
But the most outstanding feature of our holiday was our discovery of a truly intriguing character: King Ludwig II. Ludwig was a dreamer and visionary whose image is now ever-present in Bavaria.
Whilst visiting his three castles – the castle on an island in a lake, Herrenchiemzee, the fairy-tale like apparition high on a mountain crag, Neuschwanstein, and the exquisite vision in a valley, Linderhof, I was fascinated by his romantic idealism, his passionate devotion to the idea of being “an absolute king” dwelling in Castle Perilous, his love of immensely rich and precious interior decoration, his total disregard of the practical implications of his various passions, and his intense relationship with the great composer Richard Wagner. His story was often tragic, and his end terribly sad – he was declared mad and killed – yet Bavaria thrives on his legacy today.
There were several aspects of Ludwig which inspired me for a major character in my WIP. So this visit to Bavaria came at just the right time as I’m about to embark on the second draft. With such a complex character, I cannot be entirely sure whether his passion, intensity and commitment to a world of the imagination will infuse my villain, hero or anti-hero. That is yet to be determined…
Even lovers of Sherlock Holmes may have learned something new about the great man on Sunday 16 August at the Royal Albert Hall, London.
Matthew Sweet, BBC Radio 3 presenter, and Mark Gatiss, actor, and co-creator of the Sherlock TV drama series, together presented a fantastic programme of music related to Sherlock Holmes. Mark Gatiss read several passages from the original Conan Doyle stories alongside the music. I learned that the original Holmes was a lover of the opera and especially Wagner; and that Irene Adler, “the Woman” (the one person who outwitted Holmes) was an operatic contralto who had performed at La Scala Milan. In addition to this, although Conan Doyle himself was not much of a musical buff, nevertheless his creation Holmes had a very abstruse taste in and knowledge of music; he was an expert on the “polyphonic motets of Lassus.”
Additionally, Holmes’ gift for playing the violin was one aspect of the great detective which Mark Gatiss and Steven Moffatt chose to adhere to firmly when they re-created him as Sherlock for the twenty-first century. The deerstalker cap came much later; but the violin was a necessity from the very beginning.
Once again I wondered at and rejoiced in the fact that when we create fictional characters we may give them skills and abilities and awareness far beyond our own; and when they come to take on their own life in the minds of our readers, then who would ever guess the limitations of their creator? An uplifting thought indeed for novelists!
The other day I was at an inspirational concert in a village church in Warwickshire, Hatton Church, listening to a small choir called Amici sing a mixture of early music and contemporary music.
They sang a capella music by such composers as William Byrd, Orlando Gibbons and Ralph Vaughan Williams. On one occasion the conductor pointed out that five hundred years separated the composers of the two pieces they were about to sing.
The loveliest pieces I heard were Alleluia, I heard a voice by Thomas Weelkes (1576-1623); A Spotless Rose by Paul Mealor (b. 1975); Hail Gladdening Light by Charles Wood (1866-1926), Northern Lights by Ola Gjeilo (b. 1978) and Lux Aurumque by Eric Whitacre (b. 1970).
As I listened to the glorious harmonies that the singers created I found myself gazing up to the stained glass windows high above the altar. Listening to music like this is like a portal into another world, a higher spiritual dimension, opened up by the singers who produce those exquisite sounds.