Monday, April 30, 2018

All roads lead to the G-Spot

Every year, when the prospectus for the upcoming season of The Philadelphia Orchestra arrives in the mail, I leaf through it, looking for a program or a particular piece to get excited about. It rarely happens anymore. The big orchestras, especially on the East Coast, have become increasingly reactionary over the past few decades. I'd even go out on a limb and say Yannick Nezet-Seguin's repertoire is more limited than Eugene Ormandy's.

To maintain my interest in live music, I rely on chamber groups and ensembles like Orchestra 2001, which, under the leadership of the young and amiable Jayce Ogren, presented a pair of programs last week that I swear were put together specifically with me in mind. On April 22 and 28, the group celebrated the 25th anniversary of the release of Frank Zappa's Yellow Shark album, the last disk the composer issued in his lifetime.

The April 22 program, titled "Zappa's Radical Classical Roots," was held at World Cafe Live and focused on Zappa's musical heroes, with works by Edgard Varese (of course), Pierre Boulez, Stravinsky, and Anton Webern, as well as three brief selections from "The Yellow Shark."  The April 28 concert, at the Fillmore Philly, presented the (almost) complete Yellow Shark. (Three pieces from the album, improvisations worked out by Zappa and the Ensemble Modern, have not been approved  for performance by the Zappa Family Trust.) The second event was also preceded by a rare treat: a reading of Varese's Ionization for percussion, which I'd never heard live.

Both performances were uniformly outstanding. The musicians of Orchestra 2001 rose to every challenge the 20th-century avant-garde could throw at them. Of the two, however, I would say the first was the more deeply satisfying. The music Zappa wrote for classical musicians, or for the Synclavier, as attractive as they can be, often lack the cogency of "L'histoire du soldat" or "Density 21.5." Pieces like Times Beach II and III feel like fragments of larger works. They don't so much begin and end as they seem to materialize out of  nowhere, linger in our plane of reality for a few minutes, and then vanish. The most successful of the lot were, for me, "None of the Above" for  string quintet, in which the bravura lines for the first violin create an arresting point of focus, and "Ruth Is Sleeping" for two pianos, largely because Stephanie Ho seemed to be having such a ball.

But then there was "G-Spot Tornado," the wild (and aptly titled) Synclavier piece, arranged for small orchestra by Ali Askin, that brought the second evening to a sensational close. Ormandy used to say the most sure-fire concert finale is Brahms' Second Symphony, whose last movement is guaranteed to send the audience home with a jolt. "G-Spot Tornado" is in the same class. There is just no resisting it. Before the last crash of the gong had died down, the Fillmore crowd was on its feet, calling for an encore, which, sadly, it didn't get. The piece has stuck in my head ever since.

All hail Ogren and Orchestra 2001 for a pair of memorable performances. Thanks, too, to Joe Klein, professor of music at the University of North Texas, who spoke at both programs. Klein teaches a course on Zappa and was billed in the programs as a "Zappa expert," a title he said he didn't fully deserve. His classes are full of Zappa experts, he said, and the audiences in attendance at last week's programs probably also had their share. He was right. The pre- and post-concert chatter each eveninng was impressively well-informed. The second night's crowd seemed particularly devoted, with some audience members traveling from as far as North Carolina and New York State for the privilege of hearing The Yellow Shark live.

I think I've heard more live Zappa in the 25 years since his death than I did when he was alive. With the dedication of groups like Orchestra 2001 and Andre Cholmondeley's Project/Object, his legacy seems secure for the foreseeable future.

Thursday, March 29, 2018

Heavy on the Brahms

Don't want to let too much time pass before I mention a pair of morale-boosting concerts I attended over the weekend. On Saturday, pianists Rollin Wilber and Kasia Salwinski presented another of their signature theme programs at the gemütlich Ivy Hall in Philadelphia. The subject this time out was "musical fantasies," a catch-all that covers a lot of different kinds of music. 

Kasia Salwinski and Rollin Wilber
performed a program of musical fantasies
March 24 at Ivy Hall. The program was
repeated at the Ethical Society March 25.
(In her introductory remarks, Kasia said the fantasy has been a favorite form of hers since she was a student, though, really, the word refers to a lack of form. A fantasy is something composers of bygone eras wrote when they tired of limitations imposed by the sonata, which as early as the time of Chopin had come to seem somewhat academic.) 

The program began with Schubert's F minor Fantasia for four hands and ended with Mozart's Fantasia No. 2, also in F minor, also for four hands, a delightful work, yet surprisingly substantial for something originally written for a musical clock. (That's Mozart for you.) In between, we heard Chopin's F minor Fantasy Op. 49, Mendelssohn's F-sharp minor Fantasy Op. 28, Beethoven's "Moonlight" Sonata ("quasi una fantasia," in case you've forgotten), and Brahms's Fantasien Op. 116. The Brahms, sensitively played by Salwinski, affected me particularly, perhaps because I'm feeling rather melancholy these days. (Elliott Carter used to complain about what he called "the weepy side of Brahms." This is one of those  issues on which he and I part company.) 

As always with these two top-notch pianists, the program was varied yet unified, with much to enjoy and much to think about.

Sunday afternoon, the Elysian Camerata offered still more music by Schubert and Brahms in Bala Cymwyd -- the "Rosemunde" String Quartet and the String Quintet in G Major Op. 111. The Schubert was touching, and the "Rosemunde" theme always puts a catch in my throat. The Brahms, on the other hand, was a blast to hear live and in close quarters. It's a big, dense work that, from a few feet away, in the lively acoustics of St. Asaph's Church, felt almost symphonic.

My spirits could use many more weekends like this.

Friday, March 23, 2018

Essays After a Sonata

For the past few weeks I've been living with Kyle Gann's new book, Charles Ives's Concord: Essays After a Sonata, an exhaustive study that combines literary history, musical analysis, and aesthetic philosophy. It's an endlessly fascinating resource and a book I'll be returning to often.

Analyzing a favorite piece of music is, for me, rather like describing a mental state in terms of neural activity. It's necessary, I suppose, but does little to capture the quality of the experience. As detailed and daunting as Gann's vivisections can be, however, they do us the service of exposing the planning and intelligence -- the artistry, if  you will -- that Ives lavished on his Second Piano Sonata. The underlying unity if a composition is "not a selling point that would have impressed Ives," Gann says. Still, it impresses me. And although Ives downplayed the value of form -- what he would call "manner" -- in evaluating a work of art, it is also true that after self-publishing the Concord in 1920, Ives devoted the better part of three decades revising, editing, and tweaking the score until he arrived at a form that satisfied him. And even then it didn't, quite.

Gann's chapters on the Essays Before a Sonata, the short volume Ives published as a companion to the Concord, are more fun, though less essential to understanding the music, and they go a long way toward rehabilitating Ives as a thinker and prose stylist. Ives was not the first to judge art from a moral standpoint, or in terms of a fundamental duality. In both respects, Gann argues, he owes a large, mostly unacknowledged debt to John Ruskin. Gann admits, however, that "in the end, Ives's treatise on substance and manner may have to remain for us, no practical typology or description." In other words, it doesn't offer much of a guide on the best places to spend our entertainment dollar. To my mind, dualisms like substance and manner can create a useless diversion, entangling the listener in endless parlor about which pieces conform to the standard and which don't. They also deny us our right to determine our own response to a work of art. A song or a symphony may be enjoyed for any number of reasons, no one of which is to be deeper or more authentic than any other. To paraphrase Ives's father: Don't pay too much attention to substance. If you do, you may miss the music.

I've listened to the Concord Sonata countess times over the years, and I've seen it performed live more often than any other piece. Now I'm hearing it again with fresh ears, picking out details that had grown almost inaudible through repetition. I am grateful to Gann for reintroducing me to a piece I thought I knew well, and for loving Ives as much as I do.

(I should also mention the book includes a concise, helpful chapter on Ives's First Piano Sonata, a remarkable work that is often overlooked beside the Concord. This week,  I listened to it again, in Donna Coleman's fiery recording, and with Gann's notes in mind, I was able to navigate its conflicting cross-currents without once losing my bearings.)

Thursday, January 11, 2018

The Wreck of the Inarticulate

I wrote this after reading Longfellow's "Wreck of  the Hesperus." It helps to have a dictionary handy.


The Wreck of the Inarticulate

For Cal


I
t was the Inarticulate
That sailed the ocean blue —
A schooner, brig, or barquentine,
Nobody really knew.

Skippèr and crew were fearless men
Whose only major failing
Was total ignorance about
The lexicon of sailing.

Jibs and stu’n’s’ls, martingales,
Gammon, tack and luff,
Braces, ratlines, gaffs and stays —   
They knew it all as “stuff.”

Scuttle, course, and mizzenmast,
To them, were all the same.
They cheesed a Flemish coil down,
But never knew its name.

And so, one bleak December morn,
As the gales began to blow,
And every blessèd man on deck
Was blinded by the snow,

The skipper called upon them all           
To save the found’ring rig:
“Bring the pointy part around,
And hoist the thingamajig!”

Every man looked back at him
With vacant, blinking eyes,
Uncertain what to make of his
Obscure, despèrate cries.

The skipper shook his fist and thundered,
“Come on! Do your job!
Turn the what’s-is over there!
Raise the thingamabob!”

Every man looked back at him
Immobile as before,
As swells and billows tossed the ship
And drove it toward the shore.

The skipper gave it one more shot,
His last ’twas ever heard:
“Helmsman, hold those things and spin the —
Darn it! What’s the word?”

Just then a wave loomed overhead
And with a deaf’ning roar,
It swept the skipper and his crew
From what they called the “floor.”

At last, the roll of breakers
And the fifing of a gull
Played bourrées on the rocks that stove
What real tars call the “hull.”

For weeks thereafter, passengers
Aboard the island ferry
Saw, floating mid the ship’s debris,
A sailing dictionary.

So sank the Inarticulate
With all her crew and cargo.
Lord save us from chagrin like that
Upon the Reef of Argot!

Joe Barron

January 9-11, 2018

Wednesday, September 6, 2017

Homage to John Ashbery

Several years ago, after reading John Ashbery's "Some Trees," I wrote the following poem, which is a direct imitation. The subject matter is mine, as is the negativity, but the form is more or less Ashbery's, with emphasis on enjambment and near rhymes.

To -------
The bee bumps against the glass again
And again, as though her brain
Takes direction from a satellite
That maps the shades beyond it --
Low light that skims the concrete stubble.
Her frustration becomes terrible,
A rattling like venetian blinds
Set in motion by the wind.
She wants only to rejoin the hive
Out there, somewhere, where you live
With my name a blister on your lips.
I raise the sash, and she escapes,
Off to add her fanning to the colony.
We share the impulse, she
And I, except no window blocks
My will, and I am never coming back.
  

John Ashbery (1925-2017)

A compact, purposeful signature. John Ashbery
signed this copy of Girls on the Run for me
in Philadelphia in April 1999.  
John Ashbery, the only contemporary poet I have read with any regularity, died Sunday at age 90. As with many other poets, I discovered his work through music -- in his case, Ned Rorem's "Some Trees" and of, course, Elliott Carter's "Syringa" from 1978.

That one work spurred me on to read several of Ashbery's books, including Houseboat Days (in which "Syringa" appears), Self-Portrait in a Convex Mirror, Shadow Train, and Girls on the Run, a copy of which the poet signed for me April 1999 before a reading at the abandoned Barclay Hotel in Philadelphia. I mentioned "Syringa" to him, and he replied that while Carter was his favorite composer, he had never liked the piece until he heard Katherine Ciesinski sing it on the Bridge recording. I shouldn't have been surprised. Poets often react badly to musical settings of their work. They must have the sound of their words lodged in their heads, and anything that alters that sound is experienced as a jarring violation. (A composer has set my own "Sonnet: May 1913" to music. I have not heard the song, but I don't doubt I'll have my objections.)

Carter returned to Ashbery's poetry in 2007 with  "Mad Regales," a set of three miniatures for six voices a capella. Something about the verses must have inspired him, as "Mad Regales" was his first choral piece in sixty years. I have no word on how the poet felt about it..

It's hard for me to pin down just what I like about Ashbery's work. Line for line, the cool, conversational tone seems lucid, but after just a few of these, cool, conversational lines, one begins to feel lost. The subject keeps changing, and the lack of context makes the referents of the pronouns hard to keep straight. This sense of disorientation seems to have been the point, as we read in the august pages of the omniscient New Yorker: "a world that is complex requires a poetry that is complex." Fair enough, I suppose, though one could make the counterargument that a directness that makes sense of the complexity would be more helpful.

At the reading in 1999, a beautiful young woman I spoke with briefly, who had never read Ashbery's poetry, told me she was surprised at how funny he was. She was right. He made excellent jokes, a point that has been lost in the barrage of encomia in the press. I'll end with my favorite here, from "Worsening Situation," the second poem in Self-Portrait in a Convex Mirror:

                          One day a man called while I was out
And left this message: "You got the whole thing wrong
From start to finish. Luckily, there's still time
To correct the situation, but you must act fast.
See me at your earliest convenience. And please
Tell no one of this. Much besides your life depends on it."
I thought nothing of it at the time.



Wednesday, May 10, 2017

My own Sunday rituals

Before another week goes by, I want to mention two concerts I attended on back-to-back Sundays. On April 30, in a program at St. Asaph’s Church in Bala Cynwyd, the string quartet contingent of the Elysian Camerata introduced me to the music of Erwin Schulhoff, the Czech who died at the Wülzbourg concentration camp in 1942. (My German-language music dictionary, from 1973, does not have an entry for him. I wonder why.) Barbara Jaffe and Dana Weiderhold, violins; Louse Jaffe, viola; and Talia Schiff, cello, performed Schulhoff’s thematically rich, expressively complex String Quartet No. 2 (from 1924). The piece reminded me somewhat of Bartok, with its thick textures, aggressive rhythms, and folk touches, although, in light of the jazz variation in the second movement, no one would ever confuse the two. The performers seemed quite at home with the progressive idiom, and I was came away wanting to hear more of this neglected composer.
The Camerata’s concert began with Crisantemi and Scherzo, two pretty, early works by Puccini, and ended with Mendelssohn’s String Quartet in D Major, Op. 44 No. 1, a big, sunny piece without a shade of darkness in it. Listening to it is rather like having a Labrador retriever jump on your shoulders and lick your face.
Shannon Merlino, Silviano Reis and Chen Chen
perform Dvorak's "Dumky" Trio May 7
at the Centre Theater, Norristown. Sorry,
but the photo was tkan directly into the light. 
Then, on May 7, the Centre Theater, Norristown, presented what was, for me, a more familiar program, consisting of two flat-out masterpieces: Dvorak’s “Dumky” trio and Schubert’s F minor Fantasy four-hands. The piano in the lobby of the theater, where the first Sunday recitals are held, has a bad reputation, but the kids made the best of it, and the small audience was treated to a memorable afternoon of music. (The original plan was to move the recital up to the theater on the fourth floor, where another piano had been freshly tuned, but surprise! ― a rehearsal for the June musical, “Chicago,” had been scheduled for  the space at the same time.)
 
The concert began with a chestnut, the “Tzigane Tango” by Jacob Gade, played by Steve Kramer, cello, and Maria Taylor, piano, who seemed overqualified for such a little bon bon. This work is not much known today, but it was big hit in the 1930s, under the title “Jalousie,” and was recorded by the likes of Xavier Cugat. I came across it in the old radio programs of Bob and Ray, whose character Webley Webster (played by Ray Goulding) would play it on the Hammond organ. Or rather, he would try to play it. The gag was something would always go wrong, and he’d never get through it. As a consequence, I knew only the first couple of bars. That is, until this past Sunday.
I played host at the theater, serving the wine and cheese and making a few introductory remarks. My only regret is that I had to miss the two-piano program presented at the same time by Rollin Wilber and Kasia Marzec-Salwinski down at the ethical society. One has but one life to give for music.



Tuesday, April 11, 2017

London's dystopia

My librarian tells me there has been a run on dystopian novels of late. The most popular is, of course, 1984, with Margaret Attwood's Handmaid's Tale also high in demand. The reason isn't hard to discern, unless you've been on an interstellar flight for the past year, and I won't befoul this site by mentioning any names. For my most recent foray into the genre, however,  I went back a little further in time to The Iron Heel, by Jack London, which seemed to me more pertinent to our current situation than Orwell's projections regarding Stalinism or Atwood's world of sexual slavery.

For The Iron Heel imagines life under the Oligarchy -- what we today would call the "1 percent." London writes from an unapologetically Marxist perspective, complete with a long chapter on the theory of surplus value, and what he describes is the last stage of capitalism, a state of affairs that begins in the early 20th century (the book was published in 1906) and lasts for three hundred years. In his telling, wealth has flowed to the top, just as it is doing now. The industrial trusts, which were real enough in London's day, achieve maximum efficiency through the "combination" of production and distribution, driving small manufacturers and independent farmers out of business, until nothing is left except the big corporations and the wage slaves who toil for them. Order is maintained through control of the courts and legislatures, as well as a private army known as the Mercenaries.

The story is told by a bourgeois-turned-revolutionary named Avis Everhard, who is writing in the early 1930s (15 years after London died), but whose manuscript is being published 700 years in the future, about 400 years after the successful socialist revolution that establishes the worldwide Brotherhood of Man, This dual time frame allows London to insert retrospective editorial footnotes that comment on contemporary working conditions, pass judgment on historical figures or explain slang that readers in the far future would find archaic.

It's a promising conceit, but the execution doesn't quite come together. The hero of the book is Avis' husband, the gabby socialist leader Ernest Everhard (what a wonderfully phallic name), who in the early going is an expository know-it-all, but who drops out of sight in the climax of the book, only to take a bow in the penultimate chapter. (When he's not talking, London can't think of anything for him to do.) For me the most appealing character was old Bishop Moorehouse, who is committed to an insane asylum for daring to follow Jesus's example and minister to the poor. He too pops up again near the end, but only for a line, and to no real purpose.

In keeping with London's attempt at verisimilitude, the "Everhard manuscript" is incomplete. It cuts off in midsentence, as if Avis had to run out of the room to avoid arrest, leaving the editor to comment, in the last footnote, that we might never know how, exactly, Ernest met his fate.

Damn you, Jack, You couldn't add another fifty pages?

On the other hand, the climax of the story, the revolt in Chicago, is probably the most exciting thing I'll read all year.

Tuesday, March 28, 2017

Brahms and friends

The crew of the fine Art Music Company 

performs Brahms'  Piano Quartet No. 1 in G Minor 

Op. 25 Sunday at the Ethical Society in Philadelphia. 

Playing are, from left, Jonathan Moser, violin;  Kasia 

Marzec-Salwinski, piano; Adelya Shagidullina, viola; 
and Michal Schmidt, cello. Rollin Wilber does 
a yeoman's service turning pages. 
I can't let too much time go by before I post something about the music I heard over the weekend. On Sunday, my friends at the Fine Art Music Company presented yet another well-thought-out and captivating program of chamber music -- this one consisting of works by Robert and Clara Schumann and their discovery Johannes Brahms. Then, on Monday night, I was invited to Opus Piano, on Ridge Pike, Philadelphia, where violist Adelya Shagidullina, who also appeared in Sunday's program, and pianist Kasia Marzec-Salwinski (whose husband, Piotr, owns the piano store) ran through a program they'll be playing Wednesday at the Rutgers campus in Camden.    
I don't want to get bogged down "reviewing" either event. I want to say only that I feel musically sated at the moment, as well as grateful, and that it's been only in the past few years that I've learned to appreciate early Brahms. Over the years, whenever I've been on the mood for Uncle Johannes -- which I am, frequently -- I usually choose something middle to late, say from the symphonies onward. Over the weekend, I was reminded just why that is. Fine Art wrapped  up its concert Sunday with a fiery performance of the early Piano Quartet in G Minor Op. 25, and on Monday, Kasia and Adelya played his E-flat Viola Sonata Op. 120 No. 2. Now, Brahms is always recognizably Brahms. He's one of those composers who, like Bach, did not radically alter their language in the course of their careers, but as a young man, he stuffed his scores like sausages. There's so much going on, and the textures are so thick, I often feel the need to come up for air. Sunday's Piano Quartet was certainly exciting, and it brought the sizable audience to its feet, but the sonata Monday evening let me breathe.

The young firebrand impresses me more and more, but it's the bearded, portly and dirty old man who warms my heart.

Monday, March 6, 2017

Bach in Norristown

Steve Kramer performs J.S Bach's
Suite No.1 for Unaccompanied
Cello Sunday in Norristown.
Yes, it was everything I thought it would be. The gifted young cellist Steve Kramer played three of J.S. Bach's six Suites for Unaccompanied Cello -- Nos. 1, 3, and 6 -- Sunday afternoon at the Centre Theater in Norristown. It was the first of a series of chamber concerts planned for the first Sunday of each month, and the project couldn’t have gotten off to a more auspicious start.

Only about a dozen people turned out, but they were enthusiastic, and most were knowledgeable. The group included a music teacher, a family with a small daughter, and a young volunteer firefighter who said he was taking a course in classical music at Montgomery County Community College. I was flattered to speak to three people who said they learned about the concert from my preview article, which appeared on the front page of last Friday's Times Herald.

But enough about me. The music was thrilling. Steve seems to favor extreme tempi: The fast movements were very fast, and the slow movements, especially in the minor-key Suite No. 5, were lingered over, caressed. As you can see from the photo, I was sitting close enough to see the strings vibrate on the cello. In an intimate setting like this, the low growl of the instrument seems to flow through your bones.

In such an informal setting, ordinary concert protocols were dispensed with. There was no printed program, so Steve named each movement before he played it. The audience also applauded lightly between movements. The effect was a break in the continuity of the music, but that was easily forgotten during the actual playing.

Since the Suite No. 5 ends somberly, Steve sent everyone home with for a brisk encore -- "The Star-Spangled Banner," in honor of his adopted homeland, or perhaps Phillies spring training. It was the loveliest arrangement of that overly familiar tune that I can recall.


One personal note: During some extemporaneous remarks about his role at the Centre Theater Music School, Steve used the expression "don't paint the devil on the wall." He is only the second person in my life I have heard say that -- the first being my mother, who died in 1999. When I was a kid, she often said it as a way of warning not to invite bad luck by talking about it. I so taken aback when I heard again it again yesterday that I actually clapped my hands to my face. Steve is from Denmark, and my mother's mother's family was from what used to be known as the Sudetenland (the region Hitler and Chamberlain haggled over in Munich). I'm sure now that there's a linguistic connection. Mom never told me where she hear it first (or if she did, I have forgotten), but I'm sure now she must have picked it up her mother.