Konrad and Alexandra (PDF) - Rolf Gross

"This method is not easy, I have never been very successful at it—it was too much work for me—but it may work for you.In all of these exercises I have found that one does not get an ‘answer’ right away, the images may remain puzzles fordays. But one day you suddenly understand what they have to do with yourself and Niko. You should do this exerciseevery morning for a while. Have patience with the ‘nonsense’ that seems to be hidden in your subconscious, sometimesthe insights derived from these fishing expeditions are very subtle."Claudia nodded. "I will try this method. Do you think that if I would concentrate all my love on Niko, as you do when youheal people, I could help him to overcome his emotional binds? He will not want to do meditation exercises, I am afraid."Alexandra told her that she had not been able to help people so close to her, whom she loved. Somehow the strongmutual involvement seemed to interfere.Alexandra smiled sadly. "I cannot help you either in this way. Don’t forget, that everybody has to resolve this kind ofproblem by himself, including my patients. I only put them back on the right track for a very brief time, from there on theydepend on themselves. Equally, your work for Niko lies in learning to love yourself first, then you will find the strength andlove to pull him with you."Dahl's scientific paper was never published. He felt that he had still no clear explanation of what was happening in thishealing process. And Alexandra's planned experiments were swallowed by the European cataclism a year later.58.Kandinsky in Murnau1913Alexandra called Kandinsky. A few moments of embarrassed silence passed before he remembered her, but then hisvoice changed. "Yes, of course, the Georgian princess who can see music and reads Nietzsche!" he joked in Russian.He invited Alexandra and Claudia. "You will be surprised, I have found an abstract mode to paint music! I am verycurious what you will hear with your sensitive, blue eyes."Claudia drove. They first visited Clara Westhoff in Berg who received them with open arms. Clara rented another villa ofan absent Russian aristocrat, a huge, neglected house, in which she used the ballroom for her studio.They had an early lunch with Ruth, and afterwards, over coffee, Clara read, as she had promised Alexandra on the train,from Rilke’s unfinished Duineser Elegies. Claudia moved, became very quiet. The stanzas were composed of complexreligious images of such density that several times Alexandra had to ask for a rereading.They told Clara of their invitation to Kandinsky’s house for the late afternoon. Clara had kept the day free for Alexandraand Claudia. "You know, I would really like to join you. Maybe I would understand his paintings better when he explainsthem."Alexandra called Kandinsky, and with only a trace of sarcasm in his voice, he said. "Do bring her. Three young women! Iwill have to collect all my charm, but it should be my pleasure."When they arrived at the Russenhaus—as the young boy had called it whom they had asked for directions in Murnau—Kandinsky received them in high spirits. "For three weeks I have been alone in this house, holed up painting. It is apleasure to be distracted by you."Gabriele Münter was in Italy. "You are lucky to find me in Murnau, we travel a great deal. Come sit down and let memake some tea."He fussed with the pots and cups in the kitchen. Dozens of canvasses cluttered the house, seemingly chaotic, abstractpaintings, just as Clara had described them. In her mind Alexandra called them doodles, several confusing layers ofdoodles, one on top of the other, very colorful, but apparently meaningless. Puzzled Alexandra stared at the paintingstrying to extract the music that might have inspired them, but heard nothing.Kandinsky returned with a silver serving tray, four delicate Meissen teacups, a matching pot, and torte from the localbakery. "Gabriele’s china. I have become accustomed to having a woman in the house, forgive my poor service."Alexandra’s eyes examined the paintings leaning along the walls of the room."So what do you hear?" Kandinsky asked."Nothing," said Alexandra not very gracefully."Wait, I will put on the recording that inspired this large composition over there."He picked a black disc from the bookshelf. "Since our conversation with Webern and Schönberg I have tried to paintFarbensymphonien. It was very frustrating. I do see colors to music but cannot do the opposite. I cannot spontaneouslyhear the music of what I paint. So Princess Alexandra, I followed your advice. I tried over and over again to paint the187