I’m going to write about my dad’s CD collection. Really, I’m a total idiot for not having thought of it sooner. Continue reading
Naomi Alderman’s “The Power” is about what happens when every woman gains superhuman abilities, while men remain mere mortals. Aha, you may be thinking, world peace and enforced yoga for all, but this is a tale of vengeance that methodically challenges such stereotypes. At first, women satisfy themselves with righting perceived wrongs: punishing men who’ve raped them, standing up for themselves in the workplace, overthrowing oppressive governments. But as the book progresses, many women themselves become, in gruesome fashion, oppressors. As the end-of-civilization scenes get nastier and nastier, you may find it hard to take seriously the depictions of females in the roles of laughing rapist and debauched monarch. But ask yourself why this is so, and perhaps you will find yourself questioning, as I did, preconceptions about gender, power, and society.
Hanns Eisler is another one of those composers you think you’ve never heard of, but actually are sorta kinda peripherally acquainted with, in a “huh-well-that’s-useful-to-know-for-Trivial-Pursuit” kind of way.
He’s the guy – well, one of the guys — you can thank every time you get that Bob Dylan earworm, “The times, they are a-changin’” stuck in your head. Dylan cites as a big influence Bertolt Brecht, whose musical revue “Brecht on Brecht” he saw in 1963. Brecht and Eisler collaborated frequently, with Eisler setting the writer’s words to music. Song of the Moldau, which was featured in that revue, was one such collaboration. One of the lines in Song of the Moldau, at least according to some translations, is “The times are a-changing. The last shall be the first/The last shall be the first.”
But Eisler is more than just a one-hit pop-culture curiosity – he’s got quite a lot to tell us about our messed-up country. Continue reading
Humor me in stretching for a silver lining. One good thing about the entirely dystopic, almost (I reserve the right to delete the word almost without notice from this sentence should it become necessary) apocalyptically bad, rise of Donald Trump and the fake news neo-Nazi brigade is that it makes me want to live. It makes me want to drink all the delicious wine I was saving for old age right now, just in case the seas swallow my old age. (Or my wine! Pathetic seas! Terrible!) It makes me want to go for bike rides in a park before Exxon starts fracking there. It makes me realize how much I like my life. And it has rejuvenated music for me from wilted shades of pale pastel to bright fucking red.
Here, then, a short list of my favorite music of 2016, with a heavy focus on protest music as I head off to the Women’s March. Am I listening to this music with 20-20 regrets, or is it prophetic? Continue reading
Bartok. Concerto for Orchestra. Music for Strings, Percussion and Celesta. Hungarian Sketches. Fritz Reiner. Chicago Symphony Orchestra.
At some point in the last month, horrified by the destabilization of Eastern Europe and, I don’t know, the continuing idiocy of mankind, I began casting around for a Ukrainian composer in dad’s collection to write about. This proved easier said than done, as the closest I could get was Prokofiev, who was born to Muscovite parents in Donetsk, which at that time was part of the Russian empire and as of this writing remains a fitful part of Ukraine. So is he Ukrainian? Um…It’s complicated, just like Ukraine itself.
But then I realized that in fact I had already landed, in my slow letter-by-letter progress through dad’s collection, on the perfect composer to express some of what I’ve been feeling: Bela Bartok. Continue reading
Barber. Violin Concerto. Shostakovich. Violin Concerto No. 1 in A Minor, Op. 99. London Symphony Orchestra. Nadja Salerno-Sonnenberg on violin. EMI Classics. 1992.
So when I set out to write this post uhhhhhhhhhh like months ago? Yeah months, the plan was to detail a sad/gallant tale of capitalism versus communism, of how strife produces beauty, to perhaps begin understanding why there are relatively few well-known American composers. And I guess it’s still about that, but after my customary bit of internet research, it also morphed into a little bit of a “trust, but verify” story, no matter how solid you may think your knowledge is.
The liner notes here detail how the Barber and Shostakovich works on this CD share the commonality of a “difficult birth, though the difficulties were as different in nature as the works themselves.” That bit about different difficulties has got to be one of the great liner note understatements of our time. Continue reading
I made my first trek ever to the New York Public Library to research that last blog post, as Rimsky-Korsakov’s memoirs mostly aren’t available online.
I mentioned my library-visiting intent at a gathering earlier in the week, and was intrigued by a) the extreme level of horror my friends expressed that I had never been and b) the fact that their horror was primarily related to my lack of visiting the main branch to see its beauty. As opposed to say, being mortified that I don’t read enough, or that I still buy books, or that my reading tends towards teen-level dystopic fantasy. I also haven’t been to the Brooklyn Public Library, although, as I assured one snarky friend, I HAVE been to the public library in my hometown – admittedly, probably most recently in the ‘80s. Also, nobody asked, but I could have navigated the libraries at the University of Chicago in my nightmare-filled sleep. Continue reading
Hoo, boy, the new wordpress media player sure doesn’t do all the things the old yahoo player did. Dear technology: sometimes, change for change’s sake isn’t good. Anyhow. I will try and go through all my old posts and update them, groan, when there is time. Meantime…
Here are some random facts about Mily Balakirev. “Who?” you may ask. Bear with me. Continue reading
On Friday, when I learned that Chechens were suspected in the Boston marathon bombing, I found my thoughts turning to composer Sofia Gubaidulina.
I mis-remembered many things about the one Gubaidulina CD in my collection, which my father gave me sometime in college, I think, after both the bassoon and Russia were well developed themes in my life.
I remembered that Gubaidulina was Armenian; in fact she is Russian and Tatar. I remembered this CD, which consists of the “Concerto for Bassoon and Low Strings” and a couple of other chamber works, as primarily a soothing soundscape, except for one shocking moment. In fact, much of the work – no, all of it – seethes cloudily, an ocean simmering.
I did, however, remember that one moment correctly. A little more than halfway through the fourth of five movements, the bassoonist, set upon by the low strings in the title, lets out a most unexpected scream – a scream of anger, of not-belonging, of inability to deal. Of rage against the machine. As I recall, I was doing homework, not really paying attention to the music in the background the first time I listened to this, when this scream came out of nowhere, and freaked the crap out of me. Continue reading
Granville Bantock, who has three CDs in dad’s collection, proves a number of adages for me: stick to what you know; don’t lose your head in the clouds; and stop well shy of overkill.
Bantock, a British composer around the turn of the 20th century, was well traveled, and probably super smart. Before he took an appointment with the Tower Orchestra in New Brighton, he toured around the world conducting musical comedies. He was enthusiastic about the Middle East, “launched into learning Persian and certainly owned Arabic books all his life,” according to liner notes. He sounds a fun sort: “Bantock was noted for his liberal views and is reputed to have been the first British academic to have attended a faculty meeting dressed in corduroys!” the liner notes further say. Continue reading