The portrait bust of Mozart in the Concert Grove sported an epaulette of snow in the weak morning sun.
He glares across the grove with as much thunder-browed stoicism as Brahms gazes back from the other side. From the few portraits of the hapless Wolfie done during his too-brief lifetime (shown here, a digitally-lightened detail from a 1777 pic), the rendering appears a bit on the heroic side, don't you think?
The
pillar beneath boasts that the statue was "presented to the
city of Brooklyn by the United German Singers of the city; first prize
at the 18th National Saengerfest held at Philadelphia, June 23rd". A saengerfest was a German cultural festival featuring choral performance smackdowns, and the winners were obviously awash in Teutonic pride. (Most of the other composer statues in the grove commemorate similar victories.)
As the granddaughter of a German classical musician, I sometimes feel wistful here, because of all our Brooklyn cultures, surely the once-massive presence of the Germans is the most thoroughly erased and forgotten. (These bronze, plinth-sitting "dead white males," once a revered tourist attraction reproduced on souvenir postcards, just seem to drive home the point.) And yet, even nostalgia is complicated if you're part German. Ah, yes, the glorious culture of the Fatherland...oh, never mind.
I climbed the little granite staircase up to Breeze Hill, where a real singer's festival was alive and well. In a tangle of shrubbery right next to the road, three of my favorite winter birds—chickadees, blue jays, and tufted titmice—were having a party.
The blue jay proved surprisingly elusive for a bird that is so big, blue and brazen. Here he peeks at me. As for the titmice, forgetaboutit; they are tiny, grey, and very fast.
What's better than one chickadee? Two chickadees!