New possibility

Curiously (oh, most curiously, O Gentle Reader) … less than a minute, even (I believe it was) after that earlier blog post, an E-mail message came in, out of the blue, truly.

A clarinetist from abroad writes of a project undertaken, to find unaccompanied clarinet pieces by composers in all 50 United States. I don't know how far along the project may be — but I appear to have been selected to represent the Commonwealth of Massachusetts.

Greetings, 2012!

A few possibilities past

2011 did not prove to be the year of the second performance of the Viola Sonata.

And there was a piano recital in the summer on which Gaze Transfixt was nearly performed, but (I am surmising) was not.

Just got word, though, that there is indeed a recording (quite probably multiple recordings) of Angular Whimsies. So 2012 will be the year I hear that (or those)!

Happy new year!

Monk talking

“I don’t talk much, because you can’t tell everybody what you’re thinking.
Sometimes you don’t know what you’re thinking yourself!”
— Thelonious Monk

We shall see…

… if I cannot see to scrawling at least a last note or two while it's still 2011.

At any rate, very pleased to have been able to read Ch VI of the current Leo Schulte work-in-progress.

Mild weather, thinking fond thoughts of 2011 as it winds down.

There's probably a story in that…

… but I shan't spin that tale just yet.

Separately: The Long Arm of HIP — Liszt's piano music played on the piano which Liszt owned. Film at 11.

Yes, it’s fun, but

Had the peculiar experience of watching Mr Magoo's Christmas Carol last night. I scarcely remembered (really scarcely) it, so one of my first thoughts was, This must have aired later than I think. But, no, it seems to have aired on 18 Dec 1962.

 

It's a favorite of my brother's, and my brother studied Dickens so if he doesn't have any problem with the treatment, I surely oughtn't. So the following are not problems I have with the show . . . they were just things which surprised me.

 

1. Making a musical of it, generally.

2. Magoo is such a congenial character, overall, he doesn't strike me as at all a mean Scrooge. He's Magoo speaking Scrooge's lines; which is all right, to be sure.

3. The Spirit of Christmas Present preceding that of Christmas Past.

4. Alice being renamed Belle. Maybe that was a phonetic choice . . . Jim Backus crying Alice! in the Magoo voice may have been something of a fright.

5. Tiny Tim is a cute animation baby, I don't think the threat to his health really comes across.

6. That the charwoman, laundress and undertaker come across as such a near-ghoulish troika reverts to № 1 above, I suppose.

7. I suppose the goose had to be swapped for a turkey. Admittedly, not an important change.

8. During "Belle's" song there is a springtime sequence. This may sound strange, but in A Christmas Carol, that near freaked me out.

9. In general, the long Magoo Makes His Way to the Theatre in Times Square intro.

 

All that said, sure, it was fun.

 

 

Byegone Mentor

For Christmas — as a result of mention of The Fantasticks by a friend in North Carolina — I found a photo with Hugh Thomas, my wonderful English teacher from tenth grade, God rest his soule, who played Bellomy in the original cast. (Chap on bottom left.)

Contrarian but not Scroogely

My Christmas Eve listening was largely the classic Monk album Straight, No Chaser.

Viewing last night was the particularly un-Christmasy “He’s Alive” from Season 4 of The Twilight Zone, and a couple of instalments of Rocky & Bullwinkle’s “Upsidaisium.”

Amphibian and paleo-chanteuse

Big hello to La dottoressa Ildegarda.

---

And it’s not nice to mess with your pet frog. You knew that.

Sometimes ranging as far west as Catalina

To the man who once assured thousands that there is no Hell; there is only France . . . happy belated birthday, maître Zappa.

Let’s move to Cleveland . . . .

Return to The Return of the King

Enthusiasts for the movies will wonder at why I am only now viewing Peter Jackson's historical The Lord of the Rings trilogy. The short answer is, because I love the book(s). One consequent is, I felt that I should probably be impatient (at the very least) with ways in which the screenplay "tinkered" with Tolkien.

That said, I have by chance, in various public or semi-public places, seen enough "snippets" of the movies, that I felt motivated to view them in their entirety.

This is the first instalment in the account of that journey There and Back Again.

(What's it have to do with music? you may well ask. Shan't answer right off.)

So, I have at last viewed the greater part (I suppose) of the first disc of the extended version of The Return of the King.

Before I get to the airing of grievances, I'll say straight off that (even from the as-yet limited taste I've had of the movies), whatever its failings, Jackson's trilogy is a stunning, impressive, even great achievement. And although I see a great many ways in which it ought to have been done different (i.e., truer to the author, and to his story), it is hard to imagine that Jackson's work here could be materially improved upon.

And now, drumroll, please:

In the back of my mind, there was dim recollection (from back when our man in Rancho Cucamonga saw it in the cinema) that Peter Jackson had excised "The Scouring of the Shire" from The Return of the King. He did so, even though (I am sure he was made aware) the author himself considered it "an essential part of the plot, foreseen from the outset." (Of course, narrative-wise, I haven't nearly got to that point yet.)

Heading the list of artistic liberties taken by the filmmaker, then, to which I cannot help but object: Saruman's death is transferred (accelerated) to the confrontation with Gandalf.

That decision also conflates Saruman's death, with Gandalf's formal "expulsion" of Saruman from wizardly authority.Jackson's Gandalf has peculiar obsession with getting information from Saruman, which has a curious resonance with № 2 from The Prisoner. You understand that Gandalf was certainly concerned (and tirelessly) with understanding and knowledge, in judging how to act. Information is an uncharacteristic word to add to Gandalf's script.

(Another word which never appears in Tolkien, and which therefore mars the tone of the screenplay: regurgitation. So much of the value in Tolkien's work is the poetry of it, that it is criminal to kill off the poetry like this.)

The dialogue of the confrontation at the gate of Orthanc (which for simplicity's sake Jackson seems to call Isengard) loses its richness and interiority: lost are the mental fears of the bystanders both as Theoden begins to reply to the wizard's entreaties for peace, and as Saruman invites Gandalf to enter the tower. (Loss, too, of the great line, "The guest who has left by the roof will think twice before entering again at the door.")

Of course, it is hard to see how a filmmaker might realize Tolkien's description of Saruman's death, the "spirit" rising, looking with hopeless longing to the West, but dissipated with a juridical breeze. But it's a desperate poetical loss to have the, erm, fallen wizard plunge down from the top of Orthanc, onto a spiked wheel.

Consequently, the manner of the Palantír's "falling" into the hands of Pippin is entirely different.

Pippin's misadventure upon yielding to his curiosity about the mysterious stone, is astonishingly dramatized by Jackson. Almost did not believe my eyes.

That the temporarily reformed (but at heart, duplicitous) Sméagol-Gollum manages to drive a wedge between Frodo and Sam, is a horrific wrench of the narrative, gross and unnatural. That obscenity is not even marginally justified by sober considerations of the problems of realizing the subtleties of Sméagol-Gollum's changes (shifts, really) in character through the course of the journey. That, too, is a loss … here in the movie, Gollum never becomes the genuinely pitiable character which Tolkien skilfully depicts.

Disappointed to see Elrond Half-Vulcan reduced to a sort of errand boy, himself delivering Andúril to Aragorn. Unthinkable that the Lord of Rivendell would go a-wandering to Theoden's tent. And apparently the whole process of Aragorn's decision to brave the Paths of the Dead is different. That Theoden would even say (in effect) Why should we ride to Gondor's aid when they didn't come to ours? is a severely sour note

The fabrication of Arwen's failing health here is contemptible.

Don't like that Aragorn's touching line to Éowyn (paraphrased as "I have wished you joy since I first saw you") was transplanted to the Muster at Dunharrow.

Denethor looks a bit like he wandered in off the set of Throw Momma From the Train.

All these are objections I find, and I've not yet seen all of even the first disc of the extended version of the third film (at a rough guess, less than 15% of The Show).

And I should say again that, while I raise these objections (and I do think them artistically important) there is much which is done well (I'll get to those considerations), and I am enjoying the ride.

Tuesday morning mix

1. Frescobaldi: Toccata avanti Messa della Domenica from Fiori musicali (Roberto Lorreggian)

2. Beethoven: Piano Sonata № 1 in f minor, Op.2 № 1 – i. Allegro (Wilhelm Kempff)

3. Beethoven: String Quartet № 12 in E-flat, Op.127 – iv. Allegro (Vermeer Quartet)

4. Allegri: Miserere mei, Deus, Ps 51 (Oxford Camerata, Jeremy Summerly)

5. Copland: Organ Symphony, i. Prelude. Andante (Simon Preston, St Louis Symphony, Leonard Slatkin)

6. Debussy: Sonata for cello & piano, i. Prologue. Lent (Nash Ensemble)

7. Hindemith: Das Marienleben (new version), Stillung Mariä mit dem Auferstandenen (Soile Isokoski, Marita Viitasalo)

8. Doc & Merle Watson: "Stormy Weather" from Pickin' the Blues

9. Toch: Symphony № 3, Op.75 – ii. Andante tranquillo (Berlin Radio Symphony, Alun Francis)

10. Frank Zappa: "Filthy Habits" from You Can't Do That On Stage Anymore, vol. IV

11. Prokofiev: L'enfant prodigue, Op.46 – L'enjoleuse (Cologne Radio Symphony, Mikhail Jurowski)

12. Monteverdi: Vespro della Beata Vergine, viii. Motet, Audi coelum (Boston Baroque, Martin Pearlman)

13. Vivaldi: Concerto in E for violin ("L'amoroso"), RV271 – iii. Allegro (The English Concert, Trevor Pinnock)

14. JS Bach: Art of Fugue, Canon alla decima in Contrapunto alla Terza (Fretwork)

15. Jethro Tull: "Living in These Hard Times" from 20 Years of Jethro Tull

no 4, a few words more

Actually earlier than this blog post:

For the ‘A’ section, I decided to write a kind of rhythmic canon, in harmony with my recent Ockeghem listening. Clarinet 1’s part 1 would consist (mostly, to be explained presently) of 22 notes; clarinet 2 would take each of those 22 notes’ rhythmic duration, and subtract one eighth-note value – and would therefore come in 11 quarter-notes after cl 1. In addition to the 22, though, I whimsically decided that I would add four eighth-notes, strewn individually here and there, which would be exempt from the serial deduction – that is, there would simply be four eighth-notes added to Part 2, too, in the corresponding places.

Now, my mistake as I was draughting this out on the bus on the morning of the 12^th came in, at m. 12 (fifth measure of the second system) in cl 1, where I incorrectly ‘finished’ the measure with a quarter-rest (ought to have been a half-rest). I had gotten to the end of the third system in cl 2 before I divined that there was a mistake; and my initial eyeballing did not discover the mistaken rest.

Pitch-wise, my initial idea was also canonic: I thought I’d try an inversion in cl 2, though I was prepared at the outset to ‘wing it’ if the inversion didn’t work out. My first attempt at a fix, though, was to transpose the inversion; thus, when I saw that the second note of m. 6 in cl 2 would be the G an octave below the eighth-note in cl 1, I went back and marked the initial F# “+4 / B-flat” (hence the apparently awkward “tie” in m.5 connecting F-natural to the ‘correction’ of A).

I think then that I must have made a mental mistake . . . thought that keeping true to the inversion resulted in a pitch duplication in m.8 . . . but the eighth-note would be D#, and the half-note, C# . . . that actually looks good. So I may sort that out and employ it for the balancing A' later in the piece.

In any event, when I found that I needed to put in a little work, anyway, to correct the rhythms, I returned to the idea that the pitch canon should be made strict, i.e., that I should find an inversion, or a rotation, which would do what I wanted contrapuntally. Hence the 22 “measures” after the double-bar in the fourth system. Of course, because of the “mensuration chase,” the pitches will not align like this; and I think I have decided to stick with this transposition of the inversion, ‘even though’ there is a unison D# which results in the new measure which corresponds to the second measure of the present third system. (As in a certain passage of The Mousetrap, I actually like it when the turning gears sometimes light on a unison, or octave.)

Curious coincidences . . .

. . . created by my chance viewing of TV on DVD:

In “A Matter of Honor” from season 5 of Columbo (original airdate: 1 Feb 1976), Ricardo Montalban plays a famous (retired) bullfighter in Mexico. And at the opening of “The Addams Family Splurges” (original airdate: 29 Jan 1965), Gomez wears rather bullish headdress and plays el toro while Morticia stands serenely with cape, tiring the “bull.”

Of itself, no huge deal.

But then, in the very next episode of Columbo, “Now You See Him...” (original airdate: 29 Feb 1976), whose perp is an illusionist, the detective does some research at a magic shop, whose proprietor demonstrates a tabletop guillotine.

That same prop (the tabletop guillotine) appears in “Cousin Itt Visits the Addams Family” (original airdate: 5 Feb 1965). So we have the same thematic sequence (bullfight :: magic show prop) in directly consecutive shows of two separate series, which I just happened to view in tandem.

Tick them off

At some point to-day, will putter on the B section of N° 4. A' is near enough done as no matter.

Still not sure when to get back to work on the Cantata.

Lighter than usual duty at the Christmas Eve service this year but that's all right.

Starting to think that the world may soon need another clarinet & harpsichord piece.

What a difference a couple of vowels make

Botox VS. buttocks.

On the heels of no. 4

And now on this morning’s bus I toyed with the modifications for the return of A . . . I think I’ve managed to err again, another tiny error, which puzzles the will. I will conquer!

Like old times

Was working on the ‘A’ section of № 4 yesterday. I’ve been listening to the Ockeghem Missa prolationum (at last, I might practically say: I know I’ve studied it any number of times in the past, but don’t know that I had ever actually listened to the piece as a whole) and it brought to mind that it is a while since I played rhythm-value games, hence the new vision for № 4. But (one of the hazards of working while commuting, I suppose) I found an error, and that I needed to audit the rhythm-values . . . which I managed to find on the homeward commute . . . so what happens on the bus, stays on the bus.

Two Asides

Couldn’t help but feel that something was odd, watching Leonard Nimoy in “A Stitch in Crime” from the second season of Columbo. He’d had his ears done, hadn’t he?

And, chances are, part of the reason I found Jamie Lee Curtis funny, heating up as she did when John Cleese spoke Russian in A Fish Called Wanda, was the echo of fond memories of long ago, when Gomez Addams would teeter on the verge of losing control, upon Morticia speaking French.

no 3, the end

Entirely pleased with how № 3 has turned out.

For a brief while, I was leaning towards a four-movement piece; but I am resisting solidification there.

Mulling plans

Shall I heed a quiet voice suggesting — not compelling — that I wrap the piece up at four movements?

Or … shall I experiment with the idea that I might knock out a new movement each week?

Progress

Saturday morning

1. Tallis: “Discomfort Them, O Lord” (Oxford Camerata, Jeremy Summerly)
2. Steve Hackett: “Lost Time in Cordoba” from Spectral Mornings
3. Chicago: Prelude to “Aire” from Chicago VII
4. Jethro Tull: “Living in the Past” from Living in the Past
5. Miles Davis: “Spanish Key” from Bitches’ Brew
6. Shostakovich: Preludes & Fugues, Op.87 № 9 in E (Tatiana Nikolayeva)
7. Scarlatti: Sonata in b minor, K.408 (Pieter-Jan Belder, fortepiano)
8. JS Bach: Fughetta super « Allein Gott in der Höh’ sei Ehr’ » BWV677 (Helmut Walcha)
9. Beethoven: Piano Sonata № 6 in F, Op.10 № 2 – ii. Allegretto (Wilhelm Kempff)
10. Chicago: “Something in This City Changes People” from Chicago VI
11. Jethro Tull: “Saturation” from 20 Years of Jethro Tull
12. Bob Dylan & The Band: “Crash on the Levee” from The Basement Tapes

Also

In purely meteorological terms, this may just prove to have been the rainiest day of my life.

Report

Gradual progress on N° 3.

Listening to a lot of Vivaldi, and the string quartets of Haydn & Mozart.

Rediscovering the soundtrack album for 200 Motels.

Heavy Bach Element

1. Haydn, String Quartet Op.103 (Juilliard Quartet)

2. Scarlatti, Sonata in D K436, Allegro (Pieter-Jan Belder)

3. Jethro Tull, "Singing All Day" from Living in the Past

4. Prokofiev, Sarcasms Op.17, iii. Allegro precipitato (Eteri Andjaparidze)

5. Shostakovich, Prelude № 8 in f# minor, from Op.87 (Olli Mustonen)

6. Shostakovich, Violin Concerto № 2 in c# minor, Op.129, i. Moderato (Sitkovetsky, vn; BBC Symphony; Andrew Davis)

7. Doc & Merle Watson, "Look Up, Look Down That Lonesome Road" from Lonesome Road

8. JS Bach, B Major fugue, BWV868 from WTC Vol. I (Sergei Schepkin, pf)

9. Prokofiev, Visions fugitives, Op.22 №10, Ridicolosamente (Michel Béroff)

10. Stravinsky, Canticum sacrum ad Honorem Sancti Marci Nominis, v. Qui confidunt (Westminster Cathedral Choir, London Sinfonietta, Jas O'Donnell)

11. Busoni, Sonata № 2 in e minor, Op.36a iii. Andante, piuttosto grave (Gidon Kremer, Valery Afanassiev)

12. JS Bach, Chorale Prelude, « Allein Gott in der Höh' sei Ehr » BWV662 (Helmut Walcha)

13. Bartók, Sonata for Two Pianos & Percussion, Sz110 ii. Lento, ma non troppo (Martha Argerich & al.)

14. Prokofiev, Romeo & Juliet, Op. 64, Act I Scene i, № 2 – Romeo: Andante (BSO, Ozawa)

15. Hindemith, Suite "1922," Op.26 № 2 Shimmy (Jn McCabe)

16. JS Bach, Fugue in Eb, « St Anne » BWV552 (Helmut Walcha)

17. Béla Fleck, "Spanish Point" from Tales from the Acoustuic Planet: The Bluegrass Sessions

18. Martinů, Promenades for vn, fl & hpschd (Monika Knoblochová & al.)

19. Mompou, Cançons i dansas № 7 Muntanyes regalades/L'hereu riera (the composer playing)

20. Monteverdi, "Anima mia perdona" (pt 1) from Quarto libro di madrigal (Consort of Musicke, Anthony Rooley)

21. Beethoven, Violin Sonata № 7 in c minor, iii. Scherzo: Allegro (Gidon Kremer & Martha Argerich)

22. Elgar, Violin Concerto in b minor, Op.61 iii. Allegro molto (Nigel Kennedy, CBSO, Rattle)

23. JS Bach, Partita in D for Harpsichord, BWV828 – Courante (Christiane Jaccottet)

24. JS Bach, A Major fugue, BWV864 from WTC Vol. I (Sergei Schepkin, pf)

25. François Couperin, La lugubre – Sarabande from Troisième ordre de clavecin (Olivier Baumont)

26. The Bobs, "Sign My Snarling Doggie" from Shut Up 'n' Sing

 

Moving along

With a very few minor adjustments, N° 2 is now done.

And I've gotten a start on N° 3.

And?…

I've not yet properly stress-tested N° 2. I've looked the pages over a few times, and I think it done. But my mind entertains the possibility that this may just be page fatigue. Will probably be able to settle the matter tomorrow.

You know…

… it just might be.

(So, no — still not certain.)

Uncertainty

Not sure if I genuinely finished № 2 this morning, or if I slammed into the final double-bar out of exhaustion (physical, not musical). Not sure I can even try the question until I've had some more rest.

Marginal progress

If I were to write only a single note to-day, what would that note be?

 

 

This is the first morning in a while when I did not work on № 2 at all while riding the bus;  wasn't for want of opportunity, I had my notebook with me.  I suppose I was resting.

 

 

I wrote a bit at lunch time; not a great deal – five measures.  Though I do think them good, and the right five measures for that moment in the piece.

 

 

Oh, the stars at night . . . .

He bloggeth like a man possessed.

Keepin’ on

Is it very strange of me, do you suppose, that I can write music of my own while seated in a restaurant which has pop music playing? I had almost said in the background, but actually it was a notch or two too loud to be considered strictly as background.

I didn't even think of it until I stepped out the door onto the relative quiet of the street.

At any rate, I had settled into the decision, as the piece (№ 2 of These Unlikely Events) has been taking larger shape, that the first five expository measures give way too quickly to the next idea. So on my lunch break, I wrote both an inset passage to address that thought, and a continuation from the point at which I had stopped composing this morning.

Getting back on form

Mentally in particular, I've enjoyed the sabbaticals into which I seem to have ambled, pretty much without premeditation.

Not surprisingly, when I've found myself ready to take the pencil back up, things have felt a bit rusty at first. A bit, but not entirely . . . the first of the clarinet duets felt like quite an effortless exhalation. The second has felt like a touch more effort . . . though honestly, I could not be sure that the difficulty is in fact external and logistical (mismo viejo) rather than internal and generative. Fact is, I've written several measures each day for the past three days on № 2, so I do not think it could be any matter of compositional dullness.

Where I wanted particularly to chop № 1 out speedily, and as a brief "ta-da!" introducing These Unlikely Events, I am well content to work at № 2 for even perhaps as long as a week . . . see how expansive the musical material wishes to make itself. I expect that one of the ancillary benefits of that will be, that some of the ideas I have swirling around for subsequent numbers in the suite, will assume a more definite hue . . . and seeds for yet more numbers will germinate.

About done

Scarcely had I blogged to report more progress, when . . . as the evening progressed . . . I eased into the final double-bar. Duet № 1 must run less than two minutes, and, harnessing the power of the suffix, I’ve coined the term bagatellerillos. Had started this one pretty much planning on it being short. Not at all sure, though, that they all will be short. Why need they be, after all?

The sound of one glove

Here, Stuart Simon just wants to be startin’ somethin’.

Duet on

More progress to-day on These Unlikely Events (or, what will be the first of them).

As a result of a most enjoyable spot of tea with David H. Thomas, this Henning makes a cameo appearance in this blog post, wherein it is revealed that Henning is not Running.

Black Friday listening

1. Béla Fleck: "Backwoods Galaxy" from Tales from the Acoustic Planet

2. Shostakovich: Prelude & Fugue № 14 in e-flat minor (Tatiana Nikolayeva)

3. Frescobaldi: Recercar dopo il Credo from Fiori musicali (Roberto Lorregian)

4. JS Bach: Suite № 3 in C for cello solo BWV 1009, ix. Gigue (Pablo Casals)

5. Stravinsky: Le baiser de la fée, Lullaby of the Land Beyond Time and Place (LSO, Robt Craft)

6. JS Bach: Prelude № 23 in B, BWV 868 (Sergei Schepkin, pf)

7. The Beatles: "Something" from Abbey Road

8. Genesis: "Anyway" from The Lamb Lies Down on Broadway

9. Captain Beefheart: "Neon Meate Dream of a Octafish" from Trout Mask Replica

10. JS Bach: Chorale Prelude « Christum wir sollen loben schon », BWV 611 (Helmut Walcha, org)

11. Sibelius: Night Ride & Sunrise, Op.55 (LSO, Antal Doráti)

12. Jeff Beck: "Star Cycle" from There and Back

13. Ömer Faruk Tekbilek: "I Love You" from Istanbul Lounge

14. François Couperin: Cinquième Ordre, La Flore (Olivier Baumont, hpschd)

15. Chick Corea: "Spanish Fantasy Pt 2" from My Spanish Heart

16. Shostakovich: Four Romances on Poems of Pushkin, Op.46, № 1 "Renaissance" (Mikhail Lukonin, bass; Yuri Serov, pf)

17. Berlioz: L'enfance du Christ, Op.25, Part III Scene ii, Le maison des Ismaélites (BSO, Chas Munch, & al.)

18. Bob Dylan & The Band: "Crash on the Levee" from The Basement Tapes

19. Prokofiev: Romeo & Juliet, Op.64, Act I Scene ii, № 13 The Knights' Dance (BSO, Ozawa)

20. Stravinsky: Introduction to L'oiseau de feu, arr. for three pianos (Giorgia Tomassi, Carlo Maria Griguoli & Alessandro Stella)

Started

. . . work on a clarinet duet this morning, working title: These Unlikely Events. Could work either for a set of short pieces, or a single work (I have subsequently noticed), so it suits no matter how I pursue the composition.

What I did

Saturday.

Arrive safely in the Buckeye State. Once settled, practice for not-quite-an-hour. (Not enough? Of course, it wasn't. But I did practice until the chops started to tire.)

Went to dinner with mine hosts. The later dining hour (which was driven by my practice session) was a boon, as we missed the traffic out of the Ohio State / Penn State football contest.

Sunday.

Drive to Cleveland. Google maps sees me to Pete's place with customary ease and efficiency, and I arrive at half past eleven, as planned. Pete comes home from church shortly after. (He's become involved in a local Episcopal parish, which may prove a suitable venue for Henningmusick hereafter.) Allowing for a hot cup of tea, we probably got playing at 12 or so, took a break in the middle (refreshing tea) and went on until half past three. Lots of work on the gnarlier bits (quite a few of those in The Mousetrap, truth to tell). The two of us do indeed enjoy working together, and I am impressed/honored anew at the work Pete is willing to lay in, on this challenging piece. Since it is for a master class rather than a formal performance, we settle on less frantic tempi for the, well, frantic sections, which will nonetheless sound impressively rapid. Both of us feeling (a) that we wish we had a week to work the piece more, the two of us together, and (b) that the piece merits arranging future concerts, both in Boston and Ohio . . . and possibly in NYC (Pete has a new contact).

Drive back to the Heart of the Buckeye State, and have a lovely visit with Cato and Mrs Cato, hot tea and custard pie. I thought Cato was going to play Haydn but instead it was a playful quarter-tone exercise. Mrs Cato observes that the sine-wave tones somehow wind up sounding harmonica-esque. Also found was the tape of an organ piece Cato wrote for their wedding; not your ideal recording, to be sure, but a charming document.

Monday.

Pete & I have decided to meet at Wooster at noon, to rehearse some more early enough to allow the wimpy clarinetist a goodly chunk of time for embouchure recovery. KH arrives at the Scheide Music Center at about noon, Pete is slightly delayed (no worries). I am thinking, ask someone in the Music Dept office where we might play for an hour or so, but the office is dark: week of Thanksgiving, just the secretary on duty, and she deserves her lunch break as well as anyone. I find where the practice rooms are, but they are all locked. I sit down and look at my pieces, which is a little different . . . when looking at these pieces, I am almost always trying to play them, so it is a good prep for the master class to sit and look them over, just as scores.

A likely chap appears, to whom I introduce myself, and he opens a practice room for me. I get settled, assemble the clarinets, and . . . there is only one stand. I accost a student who helpfully opens another room so that I can grab a second stand. Pete lands, and starts warming up. I step out into the hall, and Dr Gallagher (Jack) appears, my first composition teacher. Very pleasant reunion, Jack introduces me to a trumpet student, a senior who is thinking about grad school, at (among other places) B.U., so I bring Pete (who did his doctorate at B.U.) into the conversation.

We do at last set to practicing, probably for an hour and a bit. Arriving at a musical place where we feel reasonably good, we pack up and head to downtown Wooster for a bite to eat at a Hungarian café.

Pete & I return to Scheide about a quarter past four (class is to start at 17:15). Jack booked room 106, which has a raised stage area. The chairs, though, are too low. I wander about and find the large ensemble room, and borrow two chairs (fully intending to return them, natch), whose seat height is much better.

A scant five minutes before we were to start, we had only three students in the room, but there is time yet . . . and to be sure, more cruised in, and we must have had seven students (plus two teachers other than Jack).

The students were a bit shy at first, but after Irreplaceable Doodles they warmed up a rather. Each of them to a man had at least one intelligent question to ask.

Pete and I had agreed to break The Mousetrap into three parts, so that we could invite questions and conversation in the piece's midst. At first, I found stopping points so that the three "parts" were all about the same duration; but then, Pete suggested that we play a longer "part 1," and allow for diminishing attention after with two somewhat shorter "parts."

So . . . we play through the first "part," we stop and chat a bit about it. And as we are about to start back up, Pete asks me if we should take the second break, or just play through. We both felt that the students were engaged, so I decided to just play it out to the end.

Afterwards, Jack took us out to eat at a Mexican restaurante, and we must have talked until the place was about to close.

Tuesday.

Weather is sopping wet. I spend the morning essentially relaxing, drinking hot tea, nibbling on some very tasty pumpkin bread which Cato baked, and listening to King Crimson with my old Wooster mates. Cato and I meet for a brief lunch near where he works.

Then I meet at last a fellow I've been in e-mail contact with for probably two years, a clarinetist with one of the orchestras in Ohio. We got on well. Every year he comes east to visit family and friends; so the plan now is that I shall write some clarinet duets, and we shall play them in either or both places.

Wednesday.

I get up at quarter past four for my first flight, have a tight-ish connection in Milwaukee, but everything goes smoothly. Although the weather in Boston is windy and rainy, my plane lands surpassing gently.

And now: Thanksgiving.

Pre-Thanks

Back in Boston. Preparing stuffing and roasting a bird. More tomorrow.

as may be

There is a thing or two I may say, and I am considering how and when best to say them.

And that just could be poetry.

Morning

 

1. Piston, String Quartet № 5, iii. Allegro (Harlem String Quartet)
2. Hindemith, Ludus tonalis, № 19 Interludium nonum: Very quiet (Olli Mustonen)
3. The Beatles, "Honey Pie" from The Beatles
4. Dire Straits, "Heavy Fuel" from Sultans of Swing
5. Sibelius, Symphony № 1 in e minor Op.39, ii. Andante (Helsinki Phil, Berglund)
6. Jethro Tull, "Love Song" (original mono) from the reissue of This Was
7. Genesis, "Broadway melody of 1974" from The Lamb Lies Down on Broadway
8. Bach, Solo Cello Suite № 6 in D, BWV 1012, vi. Gigue (Casals)
9. Scarlatti, Sonata in E-flat K475 (Pieter-Jan Belder)

10. The Bobs, "Is It Something I Said?" from i brow club

11. Rakhmaninov, Great Litany from Liturgy of St John Chrysostom (Moscow Chamber Choir)

12. Mozart, Symphony № 35, Haffner, ii. Andante (St Martin in the Fields, Marriner)

13. Chicago, "Hope for Love" from Chicago X

14. Nielsen, Rhapsody, An Imaginary Journey to the Faroe Islands (Danish Radio Symphony, Blomstedt)

15. Busoni, Violin Sonata № 2 in e minor, Op.36a x. Allegro deciso (Gidon Kremer & Valery Afanassiev)

16. Bach, Prelude № 13 in F#, BWV858 (Olli Mustonen)

17. Scarlatti, Sonata in D K509 (Pieter-Jan Belder)

18. Beethoven, Violin Sonata № 10 in G Op.96, i. Allegro moderato (Gidon Kremer & Martha Argerich)

19. Béla Fleck &al., "Blue Mountain Hop" from The Bluegrass Sessions: Tales from the Acoustic Planet Vol. 2

20. Chicago, "Vote for Me" from Chicago XI

21. Bach, Aria from the Goldberg Variations BWV 988 (Christiane Jaccottet)

22. 10cc, "Lazy Ways" from How Dare You!

23. Tchaikovsky, Piano Trio in a minor, Op50, ii. Variazioni finale e coda: Allegretto risoluto e con fuoco (Martha Argerich, Gidon Kremer & Misha Maisky)

24. Mozart, Symphony № 35, Haffner, i. Allegro con spirito (St Martin in the Fields, Marriner)

25. Thelonious Monk, "Green Chimneys" from Underground

 

More

 

1. Chicago, "Something in This City Changes People" from Chicago VI
2. 10cc, "Old Wild Men" from Sheet Music
3. Dire Straits, "Tunnel of Love" from Sultans of Swing
4. Scarlatti, Sonata in E-flat, K370 (Pieter-Jan Belder)
5. Prokofiev, Violin Sonata № 1 in f minor, Op.80, iii. Andante (Gidon Kremer & Martha Argerich)

6. Gesualdo, Good Friday Tenebrae Responsory III: Animam meam dilectam (A Sei Voci)

7. Supertramp, "Oh, Darling" from Retrospectacle

8. Prokofiev, Cinderella, Op.87; Act III, № 42, Second Galop of the Prince (Cleveland Orchestra, Ashkenazy)
9. Scarlatti, Sonata in A, K344 (Pieter-Jan Belder)
10. Chopin, Prelude Op.28 № 21 in B-flat (Martha Argerich)

11. Bach, Chorale « Allein Gott in der Höh' sei Her' », BWV662 (Helmut Walcha)

12. Beethoven, Symphony № 2 in D, Op.36, i. Adagio molto – Allegro con brio (Gewandhaus, Masur)

13. Bach, Partita for solo keyboard № 2 in c minor, BWV826, iv. Sarabande (Martha Argerich)

14. Nielsen, Symphony № 3, Sinfonia espansiva, ii. Andante pastorale (SFSO, Blomstedt)

15. Peter Gabriel, "Animal Magic" from Peter Gabriel II (Scratch)

16. Stravinsky, Canticum sacrum, Qui confidunt (Westminster Jas O'Donnell)

17. Stravinsky, Apollo, 2^nd tableau, Pas de deux (Stuttgart Chamber Orchestra, Dennis Russell Davies)

18. Henning, Grand Festival Suite, Op.93, № 7b, "Alleluia"

19. Bach, Chorale « Lob sei dem allmächtigen Gott », BWV602 (Helmut Walcha)

20. Bach, Prelude & Fugue in b minor, BWV893 from the WTC Vol. II (Christiane Jaccottet)
21. Dire Straits, "Romeo and Juliet" from Sultans of Swing

22. The Bobs, "I Was a Teenage Brain Surgeon" from Rhapsody in Bob

23. Mompou, Impresiones intimas, Plany II (the composer playing)

24. Bob Dylan, "I Want You" from Blonde on Blonde

25. Tchaikovsky, Credo from Liturgy of St John Chrysostom (Dumka National Ukrainian Choir)

Morning reflections

The artist's need for Chaos, not as a mere element of one's experience, but as a kind of fuel. The need for a space (or, for spaces) in which Chaos can have play. The need for fluidity even in the boundaries of this space, or of these spaces.

None of these needs (or, these facets of a single need) justifies the bitch driving this SUV, though. She is but a ditzy sprite of potential destruction.

---

On my walk to the town centre, I passed by one fellow standing behind the trunk of his car parked curbside. When I bade him good morning, he returned, “That it is.” That reply has had me smiling all morning, for it's rare that I hear anyone speak just so.

A-listening

1. Zappa, "The Deathless Horsie" from You Can't Do That On Stage Anymore, Vol. 1

2. Beethoven, String Quartet № 15 in a minor, Op.132, i. Assai sostenuto � Allegro (Vermeer Quartet)

3. Shostakovich, Shakespeare's Sonnet LXVI, from Six Romances on Verses of English Poets, Op. 62 (Fyodor Kuznetsov, bass; Yuri Serov, pf)

4. Mompou, Paisajes № 1, La fuente y la campana (the composer playing)

5. The Bonzo Dog Band, "The Young Ones" from Keynsham

6. Toch, Symphony № 3, Op.75 Molto adagio � Agitato � Tempo primo (Berlin Radio Symphony, Alun Francis)

7. Miles Davis, "Spanish Key" [single edit] from the reissue of Bitches' Brew

8. Mompou, Cants magics № 1, Enérgic (the composer playing)

9. Piazzolla, Vardarito from Hommage à Piazzolla (Gidon Kremer & Kremerata Baltica)

10. Jeff Beck, "The Pump" from There and Back

11. Sibelius, Symphony № 7 in C, Op.105, i. Adagio (Helsinki Phil, Berglund)

12. Beethoven, Piano Sonata № 30 in E, Op.109, i. Vivace, ma non troppo (Kempff)

13. Bach, Prelude & Fugue in G, BWV550 (Walcha)

14. Shostakovich, Symphony № 7 in C, Op.60, Leningrad iv. Allegro non troppo (Prague Symphony, Maksim Dmitriyevich)

15. Prokofiev, Visions fugitives, Op.22 № 7, Pittoresco (Mustonen)

16. Chopin, Mazurka Op. 59, № 1 in a minor (Argerich)

17. Ellington, Black and Tan Fantasy (Thelonious Monk Plays Duke Ellington)

18. Vaughan Williams, Dona nobis pacem, vi. O man, greatly beloved (Atlanta Symphony Chorus & Orchestra, & al., Robt Shaw)

19. Jethro Tull, "We Used to Know" [live], from the reissue of Stand Up

20. Wuorinen, A Reliquary for Igor Stravinsky, v. Reliquary

21. Henning, I Sang to the Sky, & Day Broke, Op.55 (NEC Wind Ensemble, Chas Peltz)

Just learnt something

“Even a blind hog finds an acorn sometimes.”

Mozart in Denmark

"There is still a residuum of music lovers who regard all that Mozart ever wrote as equally inspired. An old-fashioned, cultured and nice sort of people who meet together and, perhaps, celebrate Mozart's birthday over a cup of tea. These nice people will then play the slightest of his sonatas and symphonies for one or two performers, and are happy every time they are not surprised. Of these Mozart worshippers there are not many, and they do neither good nor harm, for they can have no influence on the younger generation. Then there are the musical people whom I would call conventionally orthodox. They do not really care for Mozart and prefer to pass him by, though with a reverent raising of the hat and an apologetic bow. There are many of these, especially among singers, players, conductors, and composers. Finally, among younger musicians, there are a few who realize that for anyone wishing to study music in all its aspects, there is no escaping Mozart.

The fact is, Mozart is extraordinarily severe, logical, and consistent in his scoring and modulation, yet, at the same time, freer and less constrained in form than any of the classical masters who have employed the difficult sonata form so favored by composers since Philipp Emanuel Bach — the form on which the symphony is based."

— Carl Nielsen

---

One might quarrel with how the Dane expresses his disapproval of either set, but he's correctly pinned two attitudes unfair to Mozart.

Here I am

It is gratifying that, from time to time (not at all seldom, really) various people I know ask when next my music will be performed. Fact is (nor have I settled upon the perfectly fair adjective to modify that fact) I rarely have an answer.

Listening these days to harpsichord music of Frescobaldi & Couperin, a couple of the Shostakovich symphonies from the Haitink set (recordings I hadn't heard before), a disc of a small Turkish folk orchestra (led by a violinist) which a friend who is originally from Turkey has lent me, some of the more obscure Liszt tone-poems. About to listen to only the second recording I'll know of Busoni's Fantasia contrappuntistica.

Thanks to Joe's retweeting it, I see that the St Paul's choir here in Boston are going to sing my Nunc dimittis this Sunday.

Sibelius and Rod Serling

So . . . when clips of the Opus 63 were used to underscore the 11 October 1956 broadcast of Requiem for a Heavyweight, was that the first occasion that the Sibelius Fourth Symphony sounded through American television sets?

Left unsaid

When you meet someone with the name (for instance) Frankenstein, you do not actually say anything; you exult in the possibilities, the awareness that you could say something (hopefully clever, even more hopefully without offense). Actual speech is unnecessary — you turn on the lathe of your mind the various things you might say, savoring their several characters, filing off any indelicacies. It is to live briefly in a snapshot. It is a single-panel cartoon, which at first you thought needed a caption, and you learn that it is actual richer without.

Shuffle 1-2 Nov 2011

1. Ravel, Frontispiece for piano five hands (Collard, Béroff and – with one hand tied behind her back – Katia Labèque)
2. Genesis, "Hairless Heart" from The Lamb Lies Down on Broadway
3. Jeff Beck, "Space Boogie" from There and Back
4. Ravel, Rapsodie espagnole, ii. Malagueña. Assez vif (Martha Argerich & Nelson Freire)
5. Vaughan Williams, On Wenlock Edge, i. "On Wenlock Edge" (Ian Bostridge, tenor; London Phil; Haitink)
6. LvB, Piano Sonata № 1 in f minor, ii. Adagio (Wilhelm Kempff)
7. Walton, Violin Sonata, II. Variation 5: Allegretto con moto (Yehudi Menuhin, Louis Kentnor)
8. Mingus, Adagio ma non troppo from Let My Children Hear Music
9. Mannheim Steamroller, "Christmas Lullaby"
10. Prokofiev, Romeo & Juliet, Op.64 – Act I, sc. ii, № 10 Juliet as a young girl (BSO, Ozawa)
11. Chicago, "Little One" from Chicago XI

12. Count Basie, "Fantail" from The Atomic Mr Basie

13. D. Scarlatti, Sonata in D, K.484 (Pieter-Jan Belder)

14. Mannheim Steamroller, "Gagliarda"

Shoe Fell

1. Stravinsky, Symphonies pour instruments à vent (Netherlands Wind Ensemble, Thierry Fischer)
2. Mompou, Cants magics № 5, Calma (the composer playing)
3. Genesis, "Cuckoo Coccoon" from The Lamb Lies Down on Broadway
4. JS Bach, WTC Vol. I, BWV988 – Prelude in D Major (Sergey Schepkin)
5. Beethoven, Piano Sonata № 5 in c minor, Op.10 № 1, ii. Adagio molto (Wilhelm Kempff)
6. Billy Joel, "Close to the Borderline" from Glass Houses
7. Schumann, Violin Sonata № 2 in d minor, Op.121, i. Ziemlich langsam. Lebhaft (Gidon Kremer, Martha Argerich)
8. JS Bach, Goldberg Variations, BWV988 – Variatio 27, Canone alla Nona. a 2 Clav. (Christiane Jaccottet)
9. The Beatles, "Good Day, Sunshine" from Revolver
10. The Bobs, "There Ain't Nobody Here (But Us Chickens)" from Rhapsody in Bob
11. Jethro Tull, "Driving Song" from Living in the Past
12. Gesualdo, Tenebrae responsory for Good Friday, Nocturnus II: Tanquam ad latronem (A Sei Voci)
13. Jethro Tull, "Black Satin Dancer" from Minstrel in the Gallery
14. JS Bach, Goldberg Variations, BWV988 – Aria (Christiane Jaccottet)
15. Chicago, "Hope for Love" from Chicago X
16. Beethoven, Piano Sonata № 16 in G, Op.31 № 1, iii. Rondo Allegretto (Wilhelm Kempff)
17. JS Bach, Schübler Chorale, "Wer nur den
    lieben Gott läßt walten," BWV647 (Helmut Walcha)
18. Mompou, Variations on a Theme of Chopin, x. Évocation (the composer playing)
19. Thelonious Monk, "Boo Boo's Birthday" (Take 2) from Underground (reissued)
20. Mompou, Música callada, vol. 2, xv. Lento – plaintif (the composer playing)
21. JS Bach, Suite for cello solo № 1 in G, BWV1007 iv. Sarabande (Casals)
22. Prokofiev, Visions fugitives, op22 № 5, Molto giocoso (Michel Béroff)
23. Thelonious Monk, "Monk's Mood" from At Town Hall (reissued)
24. Prokofiev, Piano Sonata № 9 in C, Op.103 – iv. Allegro con brio ma non troppo presto (Matti Raekallio)
25. Prokofiev, Visions fugitives, op22 № 3, Allegretto (Michel Béroff)
26. Scarlatti, Sonata in D, Pastorale – Allegro, K.415 (Pieter-Jan Belder, harpsichord)
27. Scarlatti, Sonata in A, Allegro, K.323 (Pieter-Jan Belder, fortepiano)
28. Shostakovich, Prelude & Fugue № 19 in E-flat, from Op.87 (Tatiana Nikolayeva)
29. Frank Zappa & The Mothers, "Flower Punk" from We're Only In It For the Money
30. Ginastera, Variaciones concertantes, Op.23, Variazione in modo di scherzo per clarinetto (Orquesta de Ciudad de Granada, Josep Pons)
31. Shostakovich, Symphony № 5 in d minor, Op.47 – iv. Allegro non troppo (CSO, André Previn)

Du jour

1. Nielsen: Suite from Aladdin, FS 89 – Aladdin’s Dream & Morning Dance (SFSO, Blomstedt)

2. Penguin Café Orchestra: “Salty Bean Fumble” from Penguin Café Orchestra

3. Shostakovich: Symphony № 5 in d minor, op47, iii. Largo (Prague Symphony, Maksim Dmitriyevich)

4. Wm Walton: Sonata for violin & piano, ii. Tema: Andante (Yehudi Menuhin, vn; Louis Kentnor, pf)

5. Prokofiev: Piano Sonata № 3 in a minor, op28 (Matti Raekallio)

6. Thelonious Monk: “Raise Four” from Underground

7. Mozart: Symphony № 40 in g minor, K.550, iii. Menuetto. Allegretto (ASMF, Marriner)

8. Colorblind James Experience: “Wedding at Cana” from Why Should I Stand Up?

9. Chopin: Piano Sonata № 3 in b minor, op58, ii. Scherzo (Martha Argerich)

10. Beethoven: Piano Sonata № 28 in A, op101, iii. Langsam und sehnsuchsvoll (Wilhelm Kempff)

11. Scarlatti, Sonata K.448 in f# minor, Allegro (Pieter-Jan Belder)

12. Wm Schuman: Symphony № 9, ‘Le fosse ardeatine,’ ii. Offertorium (Seattle Symphony, Schwartz)

13. Prokofiev: Visions fugitives, op22 № 20, Lento irrealmente (Olli Mustonen)

14. Palestrina: Missa Aeterna Christi munera, Sanctus (Oxford Camerata, Summerly)

15. Gershwin: An American in Paris (Geo Gershwin, via piano rolls)

Listening

Fresh shuffle:

1. Prokofiev: Romeo & Juliet, Opus 64 — Act I, Sc. 1, № 8 — Interlude (BSO, Ozawa)
2. JS Bach: Chorale Prelude, Komm, heiliger Geist BWV 652 (Helmut Walcha)
3. 10cc: “Rubber Bullets” from 10cc
4. Bonzo Dog Doo/Dah Band: “Button Up Your Overcoat” from Gorilla [reissue]
5. Thelonious Monk Orchestra: “Thelonious” from At Town Hall
6. Frank Zappa & The Mothers: “Any Way the Wind Blows” from Freak Out!
7. Jethro Tull: “Play in Time” from Benefit
8. Tchaikovsky: The Mercy of Peace from the Liturgy of St John Chrysostom (Dumka National Choir of the Ukraine)
9. JS Bach: Kyrie, Gott heiliger Geist BWV 674 (Helmut Walcha)
10. Bartók: The Miraculous Mandarin, Op.19 Sz73 The Mandarin enters and stands immobile in the doorway (LSO, Doráti)
11. Frank Zappa & The Mothers: “Louie, Louie (At the Royal Albert Hall in London)” from Uncle Meat
12. Jethro Tull: “Inside” from Benefit

A peep

An old song newly rehabilitated received its première performance yesterday in Nashville . . . and it looks like we'll rock The Mousetrap again this November in Ohio.

Taking part this evening

Nuhro

Today, Nuhro is part of the Sacred Time podcast from the Cathedral Church of St Paul here in Boston.

Re-texting

Musically, I find the old Wooster songs do not embarrass me. The texts, though: foo-ee.

Plugging in tolerable texts is actually proving an easier task than I might have feared; first is practically a wrap. More tomorrow.

And, separately: There will be employment for Love is the spirit, after all.

Sing, sing a song . . . .

A dear friend who’s moved to Nashville seems to be gearing up to program a couple of voice recitals, and has asked for some Henningmusick. Now, back in the Deeps of Time, my Independent Study at Wooster was a short cycle of seven songs . . . there are ways in which it is obviously a student work.

There are so many music MSS. which, if I were to look for them, it would be quite the hunt. Curiously, I found this one the first place I looked. Phooey, but it needs some work. Now I know why Varèse and others completely destroyed early works.

Misterioso

At the end of “Whither Canada?,” the very first episode broadcast of Monty Python’s Flying Circus, Carol Cleveland is credited with an appearance . . . but I don’t recall seeing her.

Well, back to the videotape . . . .

Seems to Have Worked

EOM

Puttering

Harvesting the 27 March performance of Love is the spirit from the hourlong track on which it resides. There's a skip near the beginning, so now I am checking to see if it be an artifact that crept in, or if it be a flaw in the source.

Gothic in the Spotlight

Havergal Brian’s obscure masterwork, his Symphony № 1, «Gothic» came out for the Proms. You, Gentle Reader, may never have heard of the 20^th-c. British composer, but his fans are many and ardent (many of them perfectly well-balanced, too, if any of us be in perfect balance). Attendance for the event was high — but why am I gabbing? Our favorite expatriate Texan was there and posted eloquently of his experience and thoughts here and again here.

Proper news soon

1. Ravel, Piano Trio, iii. Passecaille (Nash Ensemble)
2. Prokofiev, Visions fugitives, op22 № 7, Poetico (Michel Béroff)
3. Captain Beefheart, “Steal Softly Through Sunshine, Steal Softly Through Snow” from Trout Mask Replica
4. Stravinsky, Symphony of Psalms, iii. Psalm 150 (Robt Craft, conducting)
5. Hindemith, Ludus tonalis № 21, Interludium decimus. Allegro pesante (Mustonen)
6. JS Bach, Partita in D, BWV 828, Overture (Christiane Jaccottet)
7. Mompou, Música callada № 27 Lento (the composer playing)
8. Stravinsky, Symphony of Psalms, ii. Psalm 39, vv. 2, 3 & 4 (Robt Craft, conducting)
9. Beethoven, Symphony № 1 in C, op21, iii. Menuetto. Allegro molto e vivace (Gewandhausorchester Leipzig, Masur)
10. Gershwin, An American in Paris (SFSO, MTT)
11. Bartók, The Miraculous Mandarin, At her insistence, the tramps take him down (LSO, Doráti)
12. Prokofiev, Le pas d’acier, op41, from Scene i: Entrée des personnages (Köln West German Radio Symphony, Mikhail Jurowski)
13. Nielsen, Symphony № 6 (Sinfonia semplice), FS 116, i. Tempo giusto (LSO, Schmidt)
14. Prokofiev, Piano Sonata № 6 in A, op82, i. Allegro moderato (Matti Raekallio)

The Hinge

First shuffle of 2H11

[1] Prokofiev, Romeo & Juliet, op64, II/ii № 11 Arrival of the Guests (BSO, Ozawa)
[2] Peter Gabriel, “Flotsam and Jetsam” from PG II (‘Scratch’)
[3] Genesis, “Turn It On Again” from Duke
[4] Monteverdi, Vespro della Beata Vergine, X. Psalm 147 “Lauda Jerusalem” (Boston Baroque, Pearlman)
[5] Genesis, “Duke’s Travels” from Duke
[6] Hindemith, Ludus tonalis, № 3, Interlude 1: Moderate, with energy (Jn McCabe)
[7] Beethoven, Symphony № 9 in d minor, op125, Presto from iv. (Gewandhausorchester Leipzig, Masur)
[8] Monteverdi, Vespro della Beata Vergine, Va. Antiphon (Boston Baroque, Pearlman)
[9] Captain Beefheart, “The Blimp” from Trout Mask Replica
[10] Hindemith, Ludus tonalis, № 10, Fuga quinta in E. Fast (Olli Mustonen)
[11] Bartók, The Miraculous Mandarin, The girl sinks down to embrace him (LSO, Doráti)
[12] JS Bach, Choralbearbeitung Kyrie, Gott Vater in Ewigkeit, G-dur, BWV 672 (Walcha)
[13] Hovhaness, Vijag from Three Pieces for two pianos (Martin Berkofsky & Atakan Sari )
[14] Thelonious Monk, “Ugly Beauty” (Take 4) from Underground
[15] Prokofiev, Cinderella, op87, Act I № 8 Departure of the Stepmother and Sisters for the Ball (Cleveland, Ashkenazy)
[16] Daryl Hall & Robt Fripp, title track from Sacred Songs
[17] Nielsen, Symphony № 6 (Sinfonia semplice), FS 116, i. Tempo giusto (LSO, Schmidt)
[18] Martinů, Deux Impromptus pour clavecin seul, I. Allegro (Monika Knoblochová)
[19] Prokofiev, Visions fugitives, op22 № 5, Molto giocoso (Eteri Andjaparidze)
[20] Chick Corea & Béla Fleck, “Señorita” from The Enchantment
[21] Shostakovich, String Quartet № 14 in f# minor, op142, iii. Allegretto (Emerson String Quartet)

Romeo in Boston

This week I have been listening with pleasure to the RCA Red Seal reissue, 6 CDs’ worth, of Erich Leinsdorf leading the BSO in Prokofiev. The five piano concerti, both violin concerti, four of the seven symphonies (the Second, Third, Fifth & Sixth), the Lt Kizhe Suite (wtih David Clatworthy singing the romansy) and selections from Romeo & Juliet.

Last night it was the turn of this last. While the October 1986 recording of the complete ballet with Ozawa has its clear superiorities of both execution and sound, this is a historical document not only interesting but richly enjoyable.

Not even a little bit?

“I spent the weekend with Karlheinz Stockhausen, and he had a lot of my scores, and he took them to his room and said goodnight. And he came down in the morning and he said, ‘I know you have no system, but what is your secret?’ And I said to him, ‘Well, Karlheinz, I have no secret, but if I could say anything to you, I advise you to leave the sounds alone; don’t push them; because they’re very much like human beings – if you push them, they push you back. So if I have a secret it would be, “don't push the sounds.”’ And he leaned over me and he said, ‘Not even a little bit?’”
– Morton Feldman

Mid-Year

Audio will soon be available for the May recital.

---

Looks like I wait until August for my lesson in electric guitar. I may use it in this piece, or I may use it in that.

---

There is this feeling I have that, when I can indeed set back to work on the Cello Sonatina, it will wrap up rapidly.

---

It should also be possible, soon yea very soon, to catch up on some uploads to Instant Encore.

Last shuffle of 1H11

[1] Jeff Beck, “Blackbird” from You Had It Coming
[2] Sibelius, Symphony № 6 in d minor, op.104, iv. Allegro molto (Helsinki Phil, Berglund)
[3] Nielsen, Symphony № 6 (Sinfonia semplice), FS 116, i. Tempo giusto (LSO, Schmidt)
[4] Prokofiev, Visions fugitives, op22 № 3, Allegretto (Eteri Andjaparidze)
[5] JS Bach, Duetto № 4 in a minor (Clavier-Übung III No. 26), BWV805 (Helmut Walcha, hpschd)
[6] Nielsen, Symphony № 6 (Sinfonia semplice), FS 116, ii. Humoreske. Allegretto (LSO, Schmidt)
[7] Prokofiev, Piano Concerto № 3, op26, ii. Tema con variazioni (Béroff, Gewandhausorchester Leipzig, Masur)
[8] Count Basie, “Teddy the Toad” from The Atomic Mr Basie
[9] Shostakovich, Adagio after Katerina’s Aria in Act III of Ledi Makbet Mtenskovo Uyezda, op29, (Emerson String Quartet)
[10] Shostakovich, Symphony № 14, ix. “O, Delvig, Delvig!” (Mikhail Ryssov, bass; Prague Symphony; Maksim Dmitriyevich)
[11] Prokofiev, Cinderella, op87, III/45 Cinderella’s Awakening (Cleveland, Ashkenazy)
[12] Bartók, The Miraculous Mandarin, Introduction. Allegro (LSO, Doráti)
[13] Debussy, Sonata for violin and piano, i. Allegro vivo (Nash Ensemble)
[14] Prokofiev, Sarcasms, op17 № 5, Precipitatissimo (Eteri Andjaparidze)
Prokofiev, Romeo & Juliet, op64, I/ii № 16 Madrigal. Andante tenero (BSO, Ozawa)
[15] The Beatles, “Revolution 1” from The Beatles (mono remaster)
[16] Prokofiev, Visions fugitives, op22 № 17, Poetico (Eteri Andjaparidze)
[17] Bartók, String Quartet № 3, Sz 85, iv. Coda. Allegro molto (Emerson String Quartet)
[18] Thelonious Monk, “Green Chimneys” from Underground
[19] JS Bach, Trio Sonata № 5 in C, BWV529, ii. Largo (Helmut Walcha)
[20] Janáček, Sinfonietta, v. Andante con moto. Allegro (Cz Phil, Ančerl)
[21] Bartók, The Miraculous Mandarin, The Mandarin enters and stands immobile in the doorway (LSO, Doráti)
[22] Berlioz, L’enfance du Christ, op25, Scene i. Une rue de Jérusalem. “Qui vient?” (BSO &al., Munch)
[23] Prokofiev, Cinderella, op87, I/15 TheAutumn Fairy (Cleveland, Ashkenazy)

Yesterday

1. Debussy, Images Book I № 3, Mouvement (Zoltán Kocsis)
2. Stravinsky, Mass, Gloria (cond. Jas O’Donnell)
3. Webern, from Cantata № 1, op29, i. Zündender Lichtblitz (cond. Boulez)
4. Prokofiev, Visions fugitives, op22 № 15, Inquieto (Eteri Andjaparidze)
5. Talking Heads, “Seen and Not Seen” from Remain in Light
6. Stravinsky, Symphony of Psalms, iii. Psalm 150 (cond. Robt Craft)
7. Copland, Dance Symphony, i. (Slatkin, St Louis)
8. Stravinsky, Canticum sacrum, viii. Illi autem profecti (cond. Jas O’Donnell)
9. Prokofiev, Cinderella, op87, I/11 The Second Appearance of the Fairy Godmother (Ashkenazy, Cleveland)
10. Jethro Tull, “A New Day Yesterday” from Stand Up
11. Prokofiev, Cinderella, op87, III/39 The Prince & the Cobblers (Ashkenazy, Cleveland)
12. The Bobs, “Bulky Rhythm” from My, I’m Large
13. JS Bach, Trio Sonata № 4 in e minor, BWV528, i. Adagio. Vivace (Helmut Walcha)
14. Jeff Beck, “Suspension” from You Had It Coming
15. JS Bach, Christ, unser Herr, zum Jordan kam, BWV 685 (Helmut Walcha)
16. Genesis, “Alone Tonight” from Duke
17. Stravinsky, Les noces, Scene i (cond. Robt Craft)
18. The Beatles, “She’s a Woman” from Mono Masters vol. I
19. Thelonious Monk, “Black and Tan Fantasy” from Monk Plays Duke Ellington
20. Prokofiev, Cinderella, op87, III/43 Oriental Dance (Ashkenazy, Cleveland)
21. Elgar, Cello Concerto in e minor, op85, iv. Allegro ma non troppo (Navarre, Barbirolli, Hallé)

Just wondering

Some days I could listen to nothing but Bach organ music. Is that worrisome?

Day of rest

A most curious dream last night, in which a former teacher & I talked a good deal about our respective music. Whatever else, it must mean that right down into my subconscious, I have full confidence in the Viola Sonata.

At FCB this morning I met Jaya; she has perused the first pages of The Mystic Trumpeter, and she is enthusiastic.

Still, I’ve been making progress mostly on the Cello Sonatina . . . largely contrapuntal for a piano interlude.

A few days ago when I was revisiting the texts for the Cantata, I also discovered that I had printed out Edgar Allan Poe’s “Annabel Lee” . . . and this morning, I recalled what I had in mind for that text: an unaccompanied setting for Carola’s crack quartet.

I don’t know if I deserve to be so happy just for remembering this . . . but I am.

Angling after the elusive Opus 106

While composition proceeds on opp. 104 & 105 — I’ve now made rudimentary architectural decisions for the Cantata:

I. “The Crystalline Ship” — Leo Schulte :: soprano & mezzo; recorder; alto flute

II. from “On the Morning of Christ’s Nativity (Hymn)” — Milton :: soprano; piccolo; recorder; harpsichord (frame drum?)

III. “A Cradle Song” — Blake :: soprano & mezzo (generally, alternate stanzas; together on stanzas 3 & 8); harpsichord (frame drum?)

IV. “My Symphony” — Wm Henry Channing :: mezzo; recorder

V. “These, I singing in spring” — Whitman :: tutti

from 22.v.11

Order of service:

So much in the hopper

Although the blog would really have been the thing for doing so, I have not reported at all on the progress of the trio (now complete, and indeed, premièred) How to Tell (Chasing the Tail of Nothing) for alto flute, clarinet & frame drum, which Peter H. Bloom, Dan Meyers & yrs truly played at St Paul’s at 138 Tremont Street on Thursday, May the 19^th. Water under the bridge, and we shall proceed. I should make an effort, though, to preview any future performances of the Opus 103 here on the blog.

Unfinished Business Item № 1 (chronological precedence) is a piece for soprano & clarinet. About a week ago, I reached for my copy of Leaves of Grass (a B&N budget edition . . . somewhere, maybe over in St Petersburg actually, I have a Norton Critical Edition), to begin leafing through to settle on a text. What should I find but a slip of paper as a bookmark, keeping place at “The mystic trumpeter” — a poem which I was planning (oh, perhaps eight years ago) to set, for soprano and clarinet . . . and for which I actually started sketches which I don’t think I’ll use and thus shan’t trouble to hunt up. The piece thus has the feel of an errant idea which has come home to lay in some work at last.

I should guess that I knew of the title of this Whitman poem first when at Wooster, must have seen it in a list of Holst’s works. (Of course, I haven’t heard a note of the piece.) I bought my Norton Critical ed. of Leaves of Grass while at UVa . . . I must have dipped into it a bit then, but I did not read it entire until I was in Tallinn. So . . . I expect that I first came upon the actual Whitman text while I was in eastern Europe. The Mystic Trumpeter will be the Opus 104.

The Opus 104 I have taken up in part as a “study” for (what will wind up as the Opus 106) the Cantata, on texts of Leo Schulte, Milton, Wm Blake, Wm Ellery Channing & Whitman, for two sopranos, recorder(s), alto flute (maybe doubling on picc) and harpsichord. (As a result of the sonic success of How to Tell, I may get giddy and see if Dan can join in on frame drum.) Which Cantata is Unfinished Business Item № 2, with both a partial setting of the Blake already in MS., and a promise to Carola to fulfill her request for a setting of the Channing text. The practical obstacle to proper resumption of work is, that I need finally to sit down with Héloïse and talk about her recorders, so that I may write properly for them.

Unfinished Business Item № 3 is so recent, that it almost doesn’t clear the bar for U. B., especially since I’ve now gotten to work on it, a Sonatina for Cello and Piano for a bright young talent in Pittsburgh, which will be Opus 105.

In short, after a sabbatical which has obviously proved to be Exactly the Right Thing, the compositional wheels are turning in earnest.

Why, I have even found what I had somehow managed to lose at some point: recordings of the Sine Nomine performance of the Passion!

None too soon

Discovered a fingering I need for reliable quarter-tone adjustment.

And have discovered a couple of tempi to which we will not quite aspire.

All the same, it will be great fun.

Coming this Thursday

Sonic Confections of the Minuteman Trail

Program:
Frank E. Warren, Eight Duos for flute & clarinet
Joseph Fear, Diversion № 1 for flute & clarinet
Karl Henning, How to Tell (Chasing the Tail of Nothing), Opus 103 for alto flute, clarinet & frame drum

The k a rl h e nn i ng Ensemble
(All pieces are premières.)

Peter H. Bloom, flutes
Karl Henning, clarinet
Dan Meyers, frame drum

Thursday, 19 May
12:15pm

Cathedral Church of St Paul, Boston
138 Tremont Street
Boston, MA

Le retour

Yesterday’s shuffle actually ran the battery down:

1. Shostakovich: Entr’acte 6/7, Allegretto from The Lady Macbeth of the Mtsensk District, Opus 34 (Cologne Radio Symphony, M. Jurowski) [537/1507]
2. The Talking Heads: “Houses in Motion” from Remain in Light [423/1507]
3. Hindemith: Ludus tonalis № 5, Interlude 2, Pastorale, moderato [663/1507]
4. Britten: Sea Interlude № 1 from Peter Grimes, “Dawn” (LSO, Previn) [363/1507]
5. Genesis: “Duchess” from Duke [311/1507]
6. Messiaen: Abîme des oiseaux from Quotuor pour la fin du temps (Ralph Manno, cl) [31/1507]
7. Shostakovich: Symphony № 15, Opus 141 — mvt iii: Allegretto (Prague Symphony Orchestra, Maksim Dmitriyevich) [948/1507]
8. Shostakovich: Symphony № 4, Opus 43 — mvt iii (Prague Symphony Orchestra, Maksim Dmitriyevich) [953/1507]
9. Bonzo Dog Doo/Dah Band: “Cool Britannia” from Gorilla [254/1507]
10. Ibert: Escales, № 1 — Rome - Palermo (Detroit Symphony, Paray) [464/1507]
11. Prokofiev: Le pas d’acier, Opus 41 — Les marteaux (Cologne West German Radio Symphony, M. Jurowski) [632/1507]
12. Stravinsky: Scene i from Les noces (Robt Craft, conducting) [633/1507]
13. Frank Zappa: “Heavy Duty Judy” from The Best Band You Never Heard in Your Life [410/1507]
14. Shostakovich: Prelude & Fugue in E, Opus 87 № 9 (Nikolayeva) [568/1507]
15. Stravinsky: De elegia tertia from Threni (Robt Craft, conducting) [283/1507]
16. Peter Gabriel: “Big Time” from So [188/1507]
17. Shostakovich: String Quartet № 11 in f minor, Opus 122 — iii. Recitative: Adagio (Emerson String Quartet) [1112/1507]
18. Prokofiev: Romeo & Juliet, Opus 64 — Act III, Scene vii — № 45: Interlude (BSO, Ozawa) [81/1507]
19. Monteverdi: Vespro della Beata Vergine — xiii. Magnificat, № 12 Sicut erat (Boston Baroque, Pearlman) [1473/1507]
20. Stravinsky: Rex tremendae from Requiem Canticles (Ollie Knussen, conducting) [872/1507]
21. Janáček: Sinfonietta — ii. Andante (Cz Phil, Ančerl) [468/1507]
22. Bonzo Dog Doo/Dah Band: “Equestrian Statue” from Gorilla [328/1507]
23.Prokofiev: Piano Concerto № 5, Opus 55 — v. Vivo (Michel Béroff, pf; Gewandhausorchester Leipzig; Masur) [828/1507]
24. Vivaldi: Le quattro stagioni № 3 in F, L’autunno — iii. Allegro (Kremerata Baltica, Gidon Kremer) [604/1507]
25. Vaughan Williams: Symphony № 8 — ii. Scherzo alla marcia, per fiati (London Phil, Haitink) [756/1507]
26. Hindemith: Symphony in E^b — mvt i. (NY Phil, Lenny) [1180/1507]
27. Berlioz: L’enfance du Christ, Opus 25 — Part I, scene i Marche nocturne (BSO, Munch) [436/1507]
28. Mannheim Steamroller: “We Three Kings” [1441/1507]
29. Sibelius: Symphony № 4 in a minor, Opus 63 — iv. Allegro (Helsinki Phil, Berglund) [1003/1507]
30. Vivaldi: Le quattro stagioni № 3 in F, L’autunno — ii. Adagio molto (Kremerata Baltica, Gidon Kremer) [603/1507]

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A blog post about all the blogging I haven’t — is that done?

How to Tell (Chasing the Tail of Nothing), the new trio for alto flute, clarinet and frame drum, has turned out entirely satisfactorily. May run ten minutes by the clock, but oh, what a lot of living in that ten minutes. We’ll be taking that live this coming Thursday.

The 2011 performance of the Viola Sonata seems not to have materialized (if materialized be le mot juste), but another violist (on the west coast) is rumored to have taken a shine to it. Who knows? The viola version of the Sonatina sopra « Veni, Emmanuel » has been passed on to him, as well.

Contrary to prior expectations, I’ve become an ardent Schnittke fan.

Completely within reasonable expectations, I have rediscovered my love — nay, passion — for Bach organ music.

Another new discovery: Liszt’s Symphony to Dante’s « Divine Comedy »

Probably a true story

Planning to write a piece for alto flute solo, to be called « Picasso's Piccolo ».

Someone in the audience will object: "That doesn't look like a piccolo!"
I'll reply, "Have you seen his women?"

Mélange

A couple of early ideas for the soundtrack I've discarded — too elaborate for the purpose to hand. Subconsciously I may be « going elsewhere » than pieces of spare texture I've written not long since. But in fact what we want in this case is, spare, moody.

Trio is still brewing.

Dates are now set for two upcoming King's Chapel recitals.

Chihuly at the MFA

Stealth Shuffle

1. Stravinsky: Lacrimosa from the Requiem Canticles (Ollie Knussen conducting) [871/1507]
2. Shostakovich: String Quartet № 5 in Bb Major, Opus 92 — i. Allegro non troppo (Emerson Quartet) [1137/1507]
3. Sibelius: Presto — poco a poco rallentando from Symphony № 7 in C, Opus 105 (Helsinki Phil, Berglund) [1014/1507] 4.
Robt Fripp & Andy Summers: “New Marimba” from I Advance Masked [748/1507]
5. Berlioz: L’enfance du Christ, Opus 25 — Part I, Scene v, “O mon cher fils” (Chas Munch conducting the BSO &al.) [439/1507]
6. Hindemith: Ludus tonalis — № 9, Interlude V (Jn McCabe) [667/1507]
7. Genesis: “Man of Our Times” from Duke [686/1507]
8. Nielsen: Allegro ma non troppo from Part I of Symphony № 5 (LSO, Schmidt) [1160/1507]
9. Monteverdi: Vespro della Beata Vergine — XIII. Magnificat — 8. Esurientes (Boston Baroque, Pearlman) [1480/1507]
10. Stravinsky: Agnus Dei from the Mass (Westminster Cathedral Choir, City of London Sinfonia, James O’Donnell) [692/1172]
11. Prokofiev, Cinderella, Opus 87, Act III, № 44 Third Galop (Cleveland Orchestra, Ashkenazy) [25/1172]
12. Monteverdi: Vespro della Beata Vergine — IIIa. Antiphon (Boston Baroque, Pearlman) [530/1507]
13. Prokofiev: Toccata, Opus 11 (Eteri Andjaparidze) [1325/1507]
14. Frank Zappa & The Mothers: “God Bless America” from Uncle Meat [379/1507]
15. Peter Gabriel: “We Do What We’re Told (Milgram’s 37)” from So [1440/1507]
16. The Beatles: “Wild Honey Pie” from The Beatles [1452/1507]
17. Mannheim Steamroller: “God Rest Ye Merry, Gentlemen” [381/1507]
18. The Beatles: “Revolution 1” from The Beatles [878/1507]
19. Ginastera: Variaciones concertantes, Opus 23 — Variazione in modo di Scherzo (Orquesta Ciudad de Granada, Josep Pons) [1366/1507]
20. Nielsen: Aladdin Suite — iv. Chinese Dance (SFSO, Blomstedt) [146/1507]

Two segues in particular were tasty there: from the Monteverdi 1610 Vespers to the Stravinsky Mass; and from the percussion ‘wind-down’ of The Mothers’ “God Bless America” to the quiet-ish percussion opening the Peter Gabriel track.

Après-pint

Joe has finished his Psalter! Bravo! 150 Anglican chants, quite an impressive achievement.

And he is thinking of a set of short flute-clarinet duos. First one may be ready for the May recital.

Gosh, I had better tell Peter . . . .

Around the room

Lee is nearly done with a chapter.

Johan is closing in on finishing a book.

I wonder what Joe has been up to? Will find out shortly.

Kurt is going to send me an old 'book' of poems I assembled, decades ago.

(I almost dread that.)

Barry has found a new job, and is cooking up some new organ music. Also thinking about finishing that opera.

Paul has just uploaded a new video.

Shuffling March Out!

Heart like a shuffle:

1. Elgar: Elegy, Opus 58 (Hallé Orchestra, Barbirolli) [323/1507]

2. Bonzo Dog Doo/Dah Band: “The Craig Torso Christmas Show” from the reissue of Tadpoles (with extra tracks) [1251/1507]

3. The Beatles: “Mother Nature’s Son” from The Beatles [734/1507]

4. Prokofiev: Piano Concerto № 4 in B^b, Opus 53 — iv. Vivace (Michel Béroff, pf; Gewandhausorchester; Masur) [823/1507]

5. Vaughan Williams: Symphony № 8 — iii. Cavatina (London Philharmonic, Haitink) [439/1172]

6. Bartók: The Miraculous Mandarin, Opus 19, Sz. 73 — At last she overcomes her reluctance (LSO, Doráti) [1281/1308]

7. Cat Stevens: “Majik of Majiks” from The Very Best of Cat Stevens [685/1507]

8. Stravinsky: Credo from the Mass (Westminster Cathedral Choir, City of London Sinfonia, James O’Donnell) [693/1172]

9. Bonzo Dog Doo/Dah Band: “Jazz: Delicious Hot, Disgusting Cold” from the reissue of Gorilla (with extra tracks) [573/1507]

10. Debussy: Six épigraphes antiques — iv. Pour la danseuse aux crotales (Jean-Philippe Collard & Michel Béroff) [557/1029]

11. Stravinsky: Le baiser der la fée — Interlude (LSO, Craft) [538/1029]

Duo Cantabrigia

Yesterday at St Paul’s, soprano Alecia Batson and organist/pianist Leonardo Ciampa gave a charmingly conceived (and ably executed) program of John Donne settings. The recital was about evenly split between composers of Donne’s own era, and recent settings by Dan Shore (in attendance at the concert) and Leonardo Ciampa himself. (Leonardo told me afterwards that Alecia had selected the entire program — thus modestly disavowing any selfish promotion of songs which he composed earlier this year.)

The concert was very nicely balanced, not only with the stylistic divide, but by the fact that Dan’s four settings were accompanied by piano. All the older settings were full worthy of being ‘dusted off’ for performance anew; and the new settings by Mssrs Shore & Ciampa are well written enough that we may hope they come to be sing again and again.

Currency & exchange rates

Thought I was in the UK for a moment, when I saw "Drop 10 Pounds" on a magazine cover. Fact is, on a newsstand that means, first of all, "Unbelt, and buy this magazine!"

And for some magazines, you would pay £10 for a single issue off the newsstand.

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Very nice lunchtime concert I went to yesterday. More later.

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And I think tonight may be the final concert of the present tour by DMC Duo. Will the Whimsies see light hereafter? Who can say?…