I recently visited the north German city of Lübeck, which was, a millennium ago, a leading member of the Hansa League that dominated the shipping-trade in the Baltic and North Sea, and, much more recently, the birthplace of Thomas Mann, one of my favourite novelists and to whom I had come to pay homage. A scholarly friend tells me that Lübeck was also the adopted home of Dieterich Buxtehude, the Danish composer and celebrated organist from the Baroque period and that when Johann Sebastian Bach was a young man, he walked from Arnstadt to Lübeck – a distance of 400km – to hear Buxtehude play. Unlike Bach, I took the train from Hamburg, a journey of merely seventy-five minutes, and I spent several enjoyable hours walking around the city, stopping briefly to sample some kaffee und kuchen in a café owned by Niederegger, a local company that has been making marzipan flavoured confections for the past two hundred years. I can confirm that the cake in Lübeck is excellent.
I discovered Thomas Mann’s work as a teenager – Death in Venice plus some short stories – and during my twenties I worked my way through several of his major books, including The Magic Mountain, The Holy Sinner, and Buddenbrooks, his famous early story which was set in Lübeck. In recent years I have read Dr Faustus and re-read most of the earlier novels, and this year’s challenge is Joseph and His Brothers, the tetralogy set in Biblical times. First question: why is Thomas Mann’s four volume novel referred to as a tetralogy, whereas Laurence Durrell’s and Elena Ferrante’s four volume novels are always called quartets? Is there a reason or is this simply convention. Second question: why do I find Mann’s work so impressive and engaging, always a pleasure to be reacquainted with? It was this latter question that preoccupied me as I strolled around Lübeck in the winter sunshine.
Continue reading “Lübeck”