“language is given to man so that he might
create, destroy, and perish, and
return to the immortal, to the mistress
and mother, that he might bear witness to what he
has inherited, learned from her, her the most
divine, the all-sustaining love.”
— An excerpt from “Im Walde” by Friedrich Hölderlin (1770–1843)
In the essay On Fairy-Stories by J.R.R. Tolkien, he introduced the term “sub-creation”. The world as we perceive it is the “primary world”; through fantasy, we can create a “secondary world”, and this act is called Sub-creation. This is a human right, for “we are made: and not only made, but made in the image and likeness of a Maker.”
During the concert, when Benjamin sang the quoted Hölderlin verses, I suddenly fully grasped the meaning of language, story, song, and creativity. We create because we have “inherited, learned from the most divine, the all-sustaining love.” And I believe that God is love.
Further on, during the song “Der Spaziergang” (Kurtág / Hölderlin), I recalled my beautiful walk on a drizzly autumn day in University Parks, when I visited Tolkien’s bench.
“You lovely images in the valley,
Gardens, for instance, and trees,
And then the narrow footbridge,
The brook hardly visible,
How beautifully from a cheerful distance
The splendid picture gleams
Of the landscape that I gladly visit in mild weather.
The godhead kindly guides us,
First with blue,
Then prepares with clouds,
Formed vaulted and grey,
With searing lightning and the rolling
Of thunder, with the charm of the fields,
With beauty that has welled up
From the source of a primal image.”
Again, “the primal image” here refers to my Maker, God. When we appreciate the beauty of nature, we are missing and longing for the garden in paradise. We create because we are mimicking our Creator. We love great stories because there is truth in them, and a happy ending is a truth. And the greatest story of all according to Tolkien—with which I agree fully—is the Gospel of Jesus.
“This story is supreme; and it is true. Art has been verified. God is Lord, of angels, and of men—and of elves. Legend and History have met and fused.” — On Fairy-Stories by J.R.R. Tolkien
This was my second time listening to Benjamin’s interpretation of Kurtág’s songs. Through his performance, I gained a clearer insight into the cosmos of Kurtág and Hölderlin compared to the first time. Combined with the fact that I recently read The Lord of the Rings and visited Tolkien’s bench in University Parks, this concert and my Tolkien journey coalesced into a sudden spark of inspiration.
Benjamin has worked intensively with Kurtág since the spring of 2019. His performance of Kurtág’s songs, along with the clips from their musical sessions and his perfectly balanced introduction, were valuable for two reasons. First, they offered a firsthand interpretation from this living, legendary composer. Second, they showed a deep trust in the audience to navigate this strange yet rewarding journey of songs. This requires the utmost attention and deep thinking; I am glad to have been able to join in, to participate, and to have my own realizations, despite my lack of formal education in music and literature.
During the Schubert pieces, James and Benjamin were in their element. I was extremely happy to experience “Viola” live in concert. As James gave voice to the snowdrops, I thought of Erich Kästner and his poem “March” — „Schneeglöckchen ahnen nun, was sie bedeuten. Wenn du die Augen schließt, hörst du sie läuten.“ In English, this translates to: “Snowdrops now divine what they mean. If you close your eyes, you can hear them ring.” In German, snowdrops are called Schneeglöckchen (literally “little snow bells”). I so enjoyed listening to the ringing of the snow bells and the melancholy fate of Viola.
This year, “Love Song” was the theme of the Oxford International Song Festival. In Schubert’s song Rastlose Liebe (Restless Love), Goethe’s text says: “Crown of life, happiness without rest, this, O love, is you!” The concert ended with the final touch of “longing” in Pigeon Post and was completed with Bliss.
A bravo, too, to the Oxford International Song Festival—the staff and volunteers were so friendly that they made me feel very welcome, even though the heating in the room was a bit too eager to keep the cold out. The projection of both the original and translated texts enhanced our appreciation of the songs to another level.
One thing worth mentioning here is the “Young Artist Programme” within the festival. Part of the programme gives emerging artists a chance to perform at the festival; Ellen Mawhinney and Daniel Silcock beautifully presented a water-themed short programme prior to the Lines of Life concert. Thus, the festival is fertile soil for young artists to grow and thrive, so that generations to come may experience the wonders of song.
Oxford International Song Festival
Lines of Life
Benjamin Appl, James Baillieu, Ellen Mawhinney & Daniel Silcock
Date: 12 October 2026
Time: 7:30pm – 9:15pm
Location: Holywell Music Room
Note: Thank you for being here. I travel to various places and bring you stories. If you like my blog and want to show some love, you can buy me a cup of coffee here: https://ko-fi.com/thejourneywriter
Further Reading:
Concert Review: Liederabend | Schumann & Kurtág
https://thejourney-writing.com/2026/02/concert-review-liederabend-schumann-kurtag.html
Concert Diary: Liederabend 05.08.2026
https://thejourney-writing.com/2026/08/concert-diary-liederabend-05082026.html
Concert Diary: In Mendelssohn’s Light
https://thejourney-writing.com/2026/07/concert-diary-in-mendelssohns-light.html
Mendelssohn’s Elijah (Elias) – Reflections After the Performance
https://thejourney-writing.com/2026/03/mendelssohns-elijah-elias-reflections.html
Concert Review: Franz Schubert Master Storyteller
https://thejourney-writing.com/2025/10/concert-review-franz-schubert-master-storyteller.html
Concert Review: “Fischer-Dieskau 100 – Ein Leben in Liedern”
https://thejourney-writing.com/2025/05/concert-review-fischer-dieskau-100-ein-leben-in-liedern.html