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Updated: June 21, 2025
After I left Rama's inner circle in 1985, I occasionally bicycled to Walden Pond, where I read about Thoreau's experiment with self-reliance. My seven years in the cult of Rama Dr. Frederick Lenz, who was known early on as Atmananda had deeply shaken my confidence.
Then the aged Gotthard Lenz, the king of old men, advanced with a solemn step, and said "This is the noble boy Engeltram of Montfaucon, the only son of the great baron; and his father and mother send him to you, Sir Sintram, knowing well your holy and glorious knightly career, that you may bring him up to all the honourable and valiant deeds of this northern land, and may make of him a Christian knight, like yourself."
"Had I," he said, "been able to lend myself to the idea of mere gain, I could formerly have sent such things anonymously into the world, with the aid of Lenz and others nay, I could still, as would astonish people not a little, and make them puzzle their brains to find out the author; but after all, they would be but manufactured wares...."
I love the piece, but take it rarely. Lenz got the music, but it did not please him it seemed to him a long movement in the nocturne style, a Babel of figuration on a lightly laid foundation.
Lenz relates that one day Chopin took him to the salon of Madame Marliani, where there was in the evening always a gathering of friends. This was rude. Just for that reason I seated myself beside her. Chopin fluttered about like a little frightened bird in its cage, he saw something was going to happen. What had he not always feared on this terrain?
Yet we must not seek in instrumental music for that which it cannot afford, such as the ideas contained in words. Any one must admit the futility of the attempt to give a dramatic interpretation or language to instrumental music, who reads the description attempted by Lenz and other writers of some of Beethoven's sonatas.
About the huge columns flanking the steps which formed the approach and again about the columns at the foot of the grand staircase were dancing groups most gracefully modeled by Oscar L. Lenz. The same sculptor was also responsible for the figure of "Greeting" which stood in the lower niche at the north end of the building.
Old Landlord Lenz had the utmost contempt for this occupation, as a practical man should, but he was astonished one day when a passing traveller offered an incredible sum for one of the pictures that stood on the hall table. Standish was not to be found, but the old man, quite willing to do his guest a good turn, sold the picture.
This soul-suspension recalls Maeterlinck. A story of de Lenz that lends itself to quotation is about this piece: Tausig impressed me deeply in his interpretation of Chopin's Ballade in F minor.
Abramo Basevi, an Italian critic, who wrote a book of studies on Verdi's operas, following the fashion set by Lenz in his book on Beethoven, divides the operas which he had written up to the critic's time into examples of three styles, the early operas marking his first manner and "Luisa Miller" the beginning of his second.
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