British-Abwehr relations in WW2

Did British forces help Finland in the Winter War against the USSR in 1940? If so, did they cross Nazi-occupied Europe to get to Finland? If they did that, did the German Abwehr facilitate their passage? If the Abwehr did help, how was this help requested and negotiated? Were there secret communications channels between the Abwehr and the British at that time? Some people think that there may have been such channels later in the war. At that time Germany and the USSR were allies (or at least, partners in a non-aggression pact), and Britain was at war with Germany (although not with the USSR, I think).

I am motivated to ask these questions by a sentence in Richard Bassett’s book about Admiral Wilhelm Canaris (then head of the Abwehr), “Hitler’s Spy Chief: The Wilhelm Canaris Mystery” (paperback edition, 2006). Bassett says:

in Finland where the British forces sent to help the Finns against the Soviets in 1940 were actually assisted in their passage by the Germans. German air & land forces were instructed not to interfere with the progress of these British forces.”

For this claim, Bassett cites Frederick Winterbotham, “The Nazi Connection”, p. 164 (London 1978). But Winterbotham’s book seems to have nothing about the Winter War. Finland is not even listed in the index.

Basset also cites Winterbotham for a claim that Luftwaffe General Milch visited the RAF in Britain before the war. However, none of the pages of Winterbotham’s book which mention Milch say this.

Perhaps relatedly, Kermit Roosevelt (son of Teddy) was in Britain at the start of WW II and organized a group of volunteers to go and help Finland. But, according to his Wikipedia page the war ended before this expedition could get underway.

Friends in our life

James Beaufort (Damian Hardung) in Maxton Hall – The World Between Us (Amazon Prime 2024, S1 Ep6):

It takes courage to think beyond the present, but sometimes it’s another person’s gaze that shines a new light on our future.”

The etiquette and responsibilities of concert audiences

Earlier this week, at a solo piano recital in the Wigmore Hall, London, a man near to where I was seated started complaining in the interval about how poor he thought the performer was. His statements were apparently unsolicited. The people seated either side of him disagreed with his view, and asked him to be more specific. This occurred as people were returning to their seats at the end of the interval, and he could be heard several rows away.

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Jesuit Poets

I am belatedly posting about a superb address I heard given at a mass to celebrate the Fourth Centenary of the (then) English Province of the Society of Jesus, held in Farm Street Church, London on 21 January 2023. The mass was celebrated by Vincent Cardinal Nichols, Archbishop of Westminster, and the sermon given by Fr Damian Howard SJ, Provincial of the British Province. The music at the mass included the world premiere of James MacMillan’s “Precious in the sight of the Lord” (with MacMillan in the congregation).

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TBC: RIP

In a recent post I mentioned that English has no good word for the process reverse to that of abstraction. Writing that reminded me of a long and fascinating conversation in about 2002 on this very issue with my former colleague, Trevor Bench-Capon, who sadly passed on this past week (on Monday 20 May 2024).

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Music performance and morphic resonance

Rupert Sheldrake’s theory of morphic resonance posits the existence (in some metaphysical or conceptual sense) of morphic forms which arise when living beings act in the world. In this theory, these forms are strengthened with each repetition of the action, and create a force field (a morphic field) which can be drawn upon by subsequent beings repeating the same act. The theory predicts that doing the same thing should become easier over time, even when the entities doing the acting are different, in different locations or not not even alive at the same time. Morphic resonance, if it exists (whatever that may mean) is a form of action at a distance and action through time. I have been fascinated by this theory since first reading Sheldrake’s book about it 36 years ago.

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On quitting

Wendy Rhoades (Maggie Siff) to Mike Prince (Corey Stoll) in Billions, Season 7, Episode 6, minute 36:20:

Sometimes quitting isn’t capitulation. Sometimes it shows grit and wisdom.

Concert Concat 2024

This post is one in a sequence which lists (mostly) live music I have heard, as best as memory allows. I write to have a record of my musical experiences and these entries are intended as postcards from me to my future self. All opinions are personal, although music historians from the 25th Century may find some of them of interest.

Other posts in this collection can be found here. The most recent prior post in this sequence is here.

  • A concert to launch a scholarship for musicians from Russia, Belarus and Ukraine in memory of the late Russian pianist Pavel Kushnir in the Swiss Church, Endell Street, London on Saturday 21 December 2024. The Foundation sponsoring this event was hosting a similar event simultaneously in Paris, two days later in Berlin and Amsterdam, and two days later again (on 25 December 2024) in Tel Aviv.

    The London Swiss Church serves both French-speaking and German-speaking Protestant communities, and perhaps both because of its Protestantism and its dual nature, the Church has a very austere interior. The building has recently been redecorated, apparently. The altar appeared to be just a wooden writing desk raised on a single step, and next to it on the step was a simple nativity scene. There was no chair for the pastor nor even a pulpit. A grand piano stood in front of the raised step.

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On ambition

Chuck Rhoades (Paul Giamatti) in Billions (Season 7, Episode 2, 11:45):

If a fella doesn’t have his eye on something, how’s he gonna know where he’s going?”

Loud Living in Cambridge

I was most fortunate this week to hear Jan Lisiecki in an outstanding recital at the West Road Concert Hall, Department of Music, University of Cambridge, Cambridge, on 26 February 2024, in a concert sponsored by Camerata Musica Cambridge. West Road Hall is a fine modern hall with very nice acoustics, and was fully packed. The hall management turned off the lights over the audience (as in a theatre), which should happen more often. Perhaps that darkness helped create the atmosphere of great seriousness this performance had. I later learnt that this recital was the twelfth time in the series that Mr Lisiecki had played the Preludes program.

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