sublime – Life In A Word

I’ve wanted to take my wife to Italy pretty much since the day we met. After a memorable college year in Rome in the 1980s I knew I’d go back one day, especially since I tossed a few coins into the famous Trevi Fountain before I left. Today however, I sit wondering if I really will set foot in the Eternal City again. Thanks to overwhelming numbers of tourists, Rome might as well put a “sold out” sign on its city gates. Blame it on the Catholics?

2025, less than four months from now, is a Jubilee Year for the Catholic Church. Maybe your idea of a jubilee is a celebration, much like Britain’s in 2022 when they honored Queen Elizabeth’s unprecedented seventy years of service to the Crown. Not so the Catholics. They define a jubilee – every 25 or 50 years – as a “marked opportunity for the remission of sins, debts, and of universal pardon”.

Catholic jubilees traditionally include a pilgrimage to Rome. I’d love to know who runs the calculations (and how) but the forecast for next year in Rome has Catholic pilgrims at around 32 million… in addition to the 50 million tourists who normally pass through. To put that total in perspective, the population of Rome is only 3 million. That’s a whole lot of extra pepperoni on the pizza (or piazza, if you will).

[Side note: 1983, the year I lived in Rome, was an out-of-cycle Catholic jubilee known as the Holy Year of the Redemption. Do I remember millions of Catholics “roaming” through the city streets? I do not. Then again I’m a Methodist, so maybe I have an excuse for missing the obvious…]

You call this a crowd? Just wait ’til 2025.

Thanks to next year’s jubilee, officials are clamping down on a visitor’s ability to see or tour the city’s most famous attractions. The Fontana di Trevi is a good example of how things will change. In the 1980s I could stand in front of the Baroque fountain to my heart’s content. In 2025 I will need a ticket through a reservation system. That ticket gets me entry through one side of the piazza and exit through the other, at a specific time and for a specific (amount of) time. Hired “stewards and hostesses” make sure I don’t linger, and collect a 2-euro fee for the experience.

If I really wanted to be herded like sheep I’d join a flock on the green, green grass of Ireland, instead of paying for the privilege in Rome. And speaking of paying, the Trevi already collects over $1.5M in coins voluntary thrown into its waters (the money then donated to local charities). Add in the new 2-euro fee, and even if just 10% of next year’s visitors make it to the Trevi, Rome will nab an additional $18M. Jubilee indeed.

If I sound jaded about Rome’s forced hand, it’s only because I have the perspective of a time when everything seemed so much easier. In the 1980s I could wander through St. Peter’s Square without photo-bombing dozens of iPhones. I could also wander without encountering a random protest about a religious war or climate change. I still remember plunking down on the cobblestones of that grand piazza to paint a watercolor of the Basilica, and nobody bothered me. I also remember Frisbee with a fellow student in another piazza, while the local Italians watched the spinning disc in wonder. Innocent times indeed.

In 2024, a guided tour of the Vatican (the only way to see it) – including the sublime Sistine Chapel – will set you back $50. A tour of the Colosseum and Roman Forum will cost you twice that much. I’m sure next year’s pilgrims will pay these fees without blinking a sin-forgiven eye. I just can’t get past my free-and-easy days as an architecture student, when each of the city’s wonders was as wide open and come-on-in accessible as you can imagine.

The truth is I’d go back to Rome in a heartbeat, even if I knew untold millions of pilgrims would be standing alongside me. The Eternal City is worth the look even if you never step inside any of its buildings. On the other hand, if I’m patient and wait until 2032, it’ll be the 50th anniversary of my college year. That calls for a jubilee! I’ll be the only pilgrim of course (er, two of us counting my wife) but at least we’ll have no hassles dropping coins into the Trevi.

Some content sourced from the Skift Newsletter article, “Rome Tourism Chief Says There’s ‘Total Chaos’ at Trevi Fountain…”, and Wikipedia, “the free encyclopedia”.

On my green and pristine back lawn, a solitary fallen leaf lies captive among the blades, a sure sign of the coming fall. A summer lengthened by oppressive heat is mercifully at its end. Fellow bloggers eagerly write about crisp mornings, cool nights, and college football games. But here’s a better nod to the upcoming season, a beckoning more sublime than anything “pumpkin spice”. Have a listen to Antonio Vivaldi’s violin concerto “Autumn”, from his best-known work, “The Four Seasons”.

Sure, I could bore you with the details of a classical composition written over four hundred years ago. “The Four Seasons” was cutting edge for its time because the music reflected real-life events: singing birds (“Spring”), soft breezes (“Summer”), and icy paths (“Winter”). But today’s post is not really about “Autumn” and its drunken dancers. It’s about the performance of the piece by Frederieke Saeijs.

I’d never heard of Frederieke Saeijs before I watched the eleven minutes of her violin solo in the video above but I must confess, I’m absolutely smitten. Frederieke (pronounced exactly like it reads, unlike her last name), is Dutch by birth but worldly in every other respect, including her education, performances, and teaching. Her list of accomplishments and awards suggests there is nothing further she can achieve with her instrument… and she’s only forty-two.

But I digress (and can you blame me after seeing her photo?) Let’s get back to this performance of “Autumn”. Here is what I found so captivating. First, Frederieke’s eyes and her movements with her violin are unabashedly expressive as she plays, clearly one with the music. She is a picture of grace with her slender frame, elegant hairstyle, and striking purple gown. In other words, you could watch this video on mute and still be impressed. But please don’t. You need to hear the music, even just a few minutes of it. I admit to distraction by some other things on my computer screen yet I kept coming back to this performance until I’d completed all eleven minutes.

If I haven’t yet persuaded you to spend a few minutes with Frederieke, consider this. She plays the entire piece from memory (which, in ‘Autumn’s more furious moments, is mind-boggling). Also, her performance – as well as those of the smallish orchestra around her – is captured from a dozen different angles. This was a busy production, both in front of and behind the camera.

I kept waiting for something – anything – to bring this performance back to earth so I could describe it as less than perfect. Except for a cough in the audience minutes from the end, I don’t see how the concerto could’ve been purer. Seriously, have you ever wondered how a soloist of this caliber avoids a sneeze or a cough, or even slips a little on her high heels? Perhaps this explains why Frederieke is a world-class violinist and I am not.

Finally, if you made it to the end of this performance like I did, you’ll find it interesting the video concluded before the audience applause (and standing ovation, no doubt). I say “good call” to whoever posted the video. The silent fade-to-black conclusion only makes the performance more powerful.

A coup de grâce is defined as “a decisive blow”, and further, “one delivered mercifully to end suffering”. I love the double meaning here. The season of autumn delivers a merciful end to the suffering of a hot summer. More to today’s topic, Ms. Saeijs’ violin performance speaks of force and grace as one. In other words, she offers you a most sublime welcome to fall.

The poem which inspired Vivaldi’s “Autumn” concerto includes the line, “… And (by) the season that invites so many, many…” After watching today’s video I feel very much invited. I suggest you raise a glass of hot cider to the calm of fall. While you’re at it, give thanks for the breathtaking talent of Frederieke Saeijs.

Some content sourced from Wikipedia, “the free encyclopedia”.

Tag: sublime

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Coup de Grâce