Médiá

Media

First performance

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15th September 2022, Agon Orchestra – Egon Bondy 90, Stalin Monument, Prague, performers: AGON Orchestra, Pavel Šnajdr (con) ^{first performance}

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12th November 2022, Egon Bondy 90, Moyzes Hall, Bratislava, performers: AGON Orchestra, Pavel Šnajdr (con) ^{first performance in Slovakia}

Časti

Parts

Letter 1 “Away From People”
Introduction “Light of Knowledge”
Scene 1 “I don't understand people anymore”
Interlude “I want nothing”
Scene 2 “The Devil Cultivates Bullshit”
Scene 3 “Up to my neck in swamp”
Letter 2 “Ultima Thule”
Scene 1 “There is nothing anymore”
Scene 2 “Everything is living”
Scene 3 “Love Beauty Anywhere”
Letter 3 “The Saxon Count’s Inn”
Scene 1 “The Freedom I Live In”
Scene 2 “Dignity of Existence”

Poznámky

Notes

Bondy used the life stories of his fictional heroes - often real historical figures - as a universal context for exploring the apparent absurdity of human action. From the fates of Shaman (Paleolithic), Krates (Ancient), Gottschalk, Hatt, Severin, and Nun (Medieval), Bondy selects painful life failures in the face of fatal life circumstances and explores the process of accepting the personal responsibility that is an inevitable consequence of free agency. The dignity and intimate urgency of such a human struggle is perhaps most fully conveyed by Hatto. Bondy offers too few direct clues to identify Hatto with a specific historical figure (the Hatto family was for two centuries a powerful nobility close to Charlemagne and his followers; history knows of several prominent persons with this name). Bondy's character Hatta is thus a type rather than a specific person. He is one of the few educated nobles of the Carolingian and post-Carolingian 9th century who lives voluntarily as a monk in a Benedictine monastery amidst the endless bleak marshes of Upper Saxony. Hatto seeks solitude at the end of the world, in the Nordic Ultima Thule, but much more interesting is his journey to the spiritual "Ultima Thule". It is described in detail by Hatto himself in letters to Gerbert, a friend from his studies (the character is reminiscent of the legendary scholar Gerbert of Aurillac, who became Pope Sylvester II). Hatto reveals to Gerbert the depth of his mental suffering and at the same time, as was customary during their studies together, he rationally analyses this suffering by the means of a rigorously rational medieval university discussion. The solutions he arrives at are essentially the essence of Bondy's philosophy of life (the philosophy of non-substantial ontology). Piacek traces the journeys of Hatto's spirit from chaos and the desire for solitude, a nascent determination, to peace of mind in the midst of human society. This jumble of mental states is mirrored by the music in quite unexpected combinations of moods seemingly incompatible with the text. Paradoxes, both harmonic and stylistic, are typical of Piaček's work and anticipate in Hatto the philosophy of life that Hatto arrives at the end of his lifelong struggle for knowledge.

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