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Winter Reading

Sunday, January 4th, 2009

Nothing like a couple of weeks off to get some long-delayed reading in.  With ten days of plane rides and hotel rooms, there was plenty to be had.  Here’s what’s been through my brain:

I finally finished Joseph Campbell’s The Hero With a Thousand Faces.  I’ve been working on it since October, and through a combination of being busy, tired and, unfortunately, not as interested as I hoped, I finally finished it before we left for Christmas.  Campbell’s thesis is quite compelling, but perhaps I came to this book too late.  When one watched as many sitcoms as I did when I was a kid, one realizes that there are only so many stories.  For all the heroic myths to be basically the same myth… well, sure.  I buy it.  On the other hand, I could do without the Freudian psycho-sexual mumbo-jumbo.  That’s what I get for reading a book written in the 1940s.  Some things to think about though, even though the book felt like assigned reading toward the end.

Next up was Walter Isaacson’s biography of Albert Einstein.  I would highly recommend this.  I was never a great student in physics in either high school or college, due more to distraction than anything else, but Isaacson does a reasonably good job of explaining the science while never letting it get in the way of the story of the man.  Particularly interesting to me was the role that music played in Einstein’s free time, and even in his humanitarian work.

Then came John Adams’ new memoir, Hallelujah Junction.  I will have to reread parts of this to try to gain insight from the composer’s descriptions of how he works–I think our approaches may be similar.  In all, well-written, if a bit self-indulgent (but then, it’s a memoir).  I sometimes got the impression that Adams was trying to pronounce on certain issues that he felt were required, and there were several sections that seemed to run “That’s what I think about composer Y, now this is what I think of composer Z, and in a minute I’ll tell you all about composer X.”  But–really nice to read a memoir by a living composer that isn’t sensational or mean or tell-all in nature.  I’ve never met John Adams, but his book makes him seem like someone with whom I could have a really good conversation, with me doing most of the listening.

Now, if you haven’t read Thomas L. Friedman’s new book, Hot, Flat and Crowded, you must go get it.  I hope Friedman wins another Pulitzer, because he makes the case for saving the planet and then proceeds to show how we can do it, without saying that it will be easy, or that we won’t have to make sacrifices.  If our leaders will read this book and overcome politics to get on top of this problem, Friedman makes it seem like we will be living in a Star Trek world by the middle of the century.  If you think environmentalism is just recycling and hugging trees and wearing sandals, or just preachiness from Al Gore, you must read this book.  There is money to be made.  Can a national approach to tackling global warming have the benefit of getting us out of this recession?  It sure seems that way.  I hope someone gave Barak Obama this book for Christmas.

Then, yesterday, I started Brian Fagan’s 2000 book The Little Ice Age.  It’s good so far, although I’m not sure the author is clear enough about the way that ocean currents and prevailing weather systems work together to drive climate…I may have to look for some clarification on that.  I’m also afraid that I may have spoiled my supper on this one by watching a History Channel (I think) documentary, Little Ice Age: Big Chill.  Oh well.

On deck–The Best American Short Stories 2008, the latest Music Theory Spectrum, and the rest of the counterpoint textbook I’ll be teaching from this semester.  I’ll also be rereading the Bible.  If anyone has recommendations, I’d love to hear them.  I’ll be travelling quite a bit the next few months.

David Morneau on Kalvos & Damian

Thursday, December 18th, 2008

I’m listening to David Morneau’s extended interview with Kalvos and Damian on www.kalvos.org.  If you haven’t listened to these blissfully long conversations with composers, I suggest you head over there right now.  I find David’s music to be compelling and his approach to it to be uncompromising… so if nothing else, you get to hear his stuff.  Head on over…

An old piece revived…

Wednesday, December 3rd, 2008

Last night, I went to Santanta High School to hear Daniel Baldwin conduct the Satanta High School Band’s performance of a piece I hadn’t heard in about seven years, my Variations on a French Carol.  I gave Daniel the score and parts when I visited him last year, knowing that he was interested in new music, but not really thinking that anything would come of it.  Daniel, however, took the ball and ran with it, and last night gave an admirable performance.

I wrote the Variations in 2001, when I was the band director at Northeastern High School in Springfield, Ohio.  It was the first piece I ever wrote for a large ensemble, and the first major piece of mine to get a performance.  Since then, I have moved on in style and in some of my ideas, but in the piece you can see that I’ve long been fascinated with rhythm–things like hemiola, asymmetrical meters and metric modulation.  In retrospect, it was a tall order for a smallish high school band, but we pulled it together admirably.

What I’ve always loved about the piece is that it isn’t “typical” Christmas music.  I’ve never been able to stomach the idea of starting Christmas music with a school group in October and playing a medley of medleys of the same tired melodies, all in (of course) B-flat major.  The Variations is a good teaching piece–each section is a study in a different style and texture.  Each instrument that was available to me gets a moment in the spotlight.  The piece was received well at its premiere in 2001, and at its “second premiere” last night.

In memoriam Ed Nickol

Tuesday, December 2nd, 2008

I just got an email forward from Lou Driever, band director emeritus at Northeastern High School, where I used to teach.  Lou is a fantastic human being and was a mentor to me when it was my turn to get raked over the coals at Northeastern.

The message was from Francis Laws, who just retired from teaching low brass at Wright State University.  I got to know Lou and Francis (“Buddy”) when we all played together in the Ohio Valley British Brass Band under the baton of Mr. Ed Nickol, a fixture in the world of school bands in western Ohio.   The message said that Ed left band rehearsal early  and died in the hospital last night.

People who know me know that I am a proponent of community musical ensembles.  The idea of people just getting together to play and make music is one that brings me joy.  When I played with the OVBBB, from 2000 to 2002, our musical product was of a high quality, and Ed got it out of us the old-fashioned way–by cracking the whip, and sometimes by hurting our feelings.  I imagine rehearsals with Fritz Reiner to have been slightly less intense than our Thursday night sessions at Wright State used to be.  Ed was hard to work with (or work for).  People with thinner skins and less devotion to music than he had sometimes quit the band–often in mid-rehearsal.  But even if he didn’t always remember that we were supposedly doing this for fun, Ed was someone whose band I wanted to play in.  Ed was a yeller and a screamer and an all-around passionate person of a type that doesn’t make it as a music educator these days.  People a little older than me and younger won’t sit still for the kind of martinet tactics that were a weekly feature of OVBBB rehearsals.  As much as I try to be the musician that Ed was, I almost never want to be the type of person he was on the podium.

On the other hand, he was uncompromising, relentless and authentic.  If it wasn’t worth doing right, it wasn’t worth doing for Ed.  I have a CD of some recordings–of dubious technical quality, since they are of live performances–but they capture what it was like to play in the OVBBB:  polished, taut, unashamed, and unafraid of difficult music, but always, always, music that was worthwhile.  Even some of the garbage that we played became worthwhile because Ed would seek out the good in a well-arranged version of a bad piece of music.  If it could be played well, it could be good music.

This is exactly the reason I encourage non-students to play in the band at OPSU.  Between Ed’s group on Thursday nights and another group, the Sinclair Community College Wind Symphony, on Wednesdays, the practice of community music-making brought me out of my shell, gave me someplace to go, someplace to play, and sometimes, a reason to keep going through the rest of the week during my time in Springfield.  Without those places to just make music, I might have drifted off into some other career entirely.

I also learned how to “do” marches from Ed–how to hose them out and make them into musical entities that are exciting and fun to play instead of the drudgery many think them to be.  I don’t see how someone can be a band director in America without knowing how to rehearse and conduct a march, and I didn’t learn that in college–I learned it from Ed.

Ed also encouraged me in composition, a little bit, and certainly without knowing where it would lead.  I showed him a piece called See No Evil, Hear No Evil, and he was all set to read it one Thursday night, but had mislaid the parts.  Someday, I hope that piece will get played, but the fact that he was willing to look at it gave me hope that I could write music for groups other than the ones I directed.

When I left the OVBBB to move out of town, I didn’t do a good job of keeping in touch.  A year later, when I asked Ed for a reference for graduate school, he turned me down, saying that he didn’t know me and my work well enough.  I never really made any effort after that, but I wish I had.

Somewhere–I hope in heaven, but I’m not completely sure–Ed is cracking the whip for the best band you ever heard and getting them to play better than they think they need to.  It might be “The Melody Shop” or just Mike Gallehue’s “ragged” arrangement of “Salvation is Created.”  It sounds glorious.  Play the snot out of it, Ed.

Opus 81a

Wednesday, November 26th, 2008

Once again, the month is nearly over, and I haven’t dug into this piece nearly the way I would have liked to.  All the same… some thoughts.

Did Wagner get the idea of leitmotiv from Beethoven, or was it simply in the air?  I’m no musicologist, so someone will have to answer the question for me.  Beethoven’s Lebewohl motive in the first movement is a prototypical–just as the entire Ring cycle comes out of the descending Eb major triad, Beethoven chooses mi-re-do… what else for a Classical composer who knows that the music will end up there at some point anyway.  Yes, I still think Beethoven is a classical composer, despite the steady appearance of more and more Romantic-era traits.

Compare the two sonata forms in this piece to those in Brahms’ Op. 1.  Brahms and Beethoven are using the same harmonic concepts for the most part, but Beethoven thinks in motivic terms, while Brahms is very clearly writing themes most of the time.  Beethoven is creating an organic, living piece of music in the only way he really knows how; Brahms has chosen sonata form from several other possibilities and is putting things where they are supposed to be.

In the first movment, we seem for once to have an instance where the development section is extended, but on second inspection, the exposition and the development are in roughly equal proportions–if the repeat sign on the exposition is observed.  The form is well-balanced, too, with the inclusion of the opening Adagio.

The second movement is loads of fun–harmonically evasive, and brooding in character.  Is it a developmental core without an exposition or recapitulation?  Is there any way to see the complete sonata as one large sonata form?  There might be a paper in that.

I’m absolutely in love with the two places in the last movement (one in the exposition and one in the recapitulation) where Beethoven uses triads with roots a minor second apart.  Gb and F the first time, Cb and Bb the second time.  Both times, the passage ends with a rarity that I just taught last week in Sophomore Theory–an augmented-sixth chord that resolves to a tone that is not the root of its triad (the third in this case).  If any of my students are reading this… hint, hint… finals are coming up!  Not only that, an enharmonic passage right at the beginning of the development.  Why play in Cb when you can play in B?

On a somewhat-related note… I had time this morning to compose, and the piano piece is ready for the computer.

Writing for Piano

Tuesday, November 25th, 2008

Well, if you’ve been to my site, you know that I’m supposed to be at work on a cycle of piano pieces.  I wish I could say that I’m stuck on them, but that would imply that I’ve started–with a musical to conduct at the community theatre, the Musicircus to put together, then a trip to Nashville and a few concerts and basketball games, I have yet to write Note One.  Very embarrassing.  I paused to write a little choral piece after I finished the new horn and marimba piece for Nancy Joy, thinking that later that week I would dig into the piano pieces, but it hasn’t happened yet.

Not that I haven’t been thinking about it.  I have the first piece complete in my mind–I can hear the beginning, the ending, and have an idea about the middle.  The cycle is going to be called “Starry Wanderers” and each piece will deal with a planet.  Perhaps a more scientific version of Holst’s best-known piece (all based on astrology, which offends me as both an intellectual and a Christian, though the music is amazing in places).  The first piece is Martian Meditation, a reflection on the dry, barren, cold world that is next out from us, a reminiscence of what is to come (or perhaps what could one day have been–has humanity peaked in our exploration of space?). 

Anyone who has been in the same room while I was playing piano knows that I am no pianist.  I do what I can, and I think I play well enough for my theory teaching (although it doesn’t always feel that way).  So I’ve been casting about a little bit.  Starry Wanderers will be my first extended work for solo piano, and in some ways I’m stumped.

I’ve been working my way through the Beethoven Piano Sonatas now for over two years, and I’m starting to wonder what I’ve really learned from this exercise about the piano (I’ve learned plenty about Beethoven).  I suppose I would boil it down to this:

  • Piano music is at heart rhythmic.  The effects that Beethoven gets are often obscure on the page, and difficult to comprehend when played in “slow motion,” as I inevitably must, but when Ashkenazy takes over for me, they are there, clear as day.
  • Piano music is at heart harmonic.  The ultimate question to answer deals with what notes to push down, and this question has to be taken much more seriously than I have grown accustomed to.  First, not every note is immediately available to the ten fingers.  This is one thing that makes Beethoven so difficult–the mere density of notes means that not all of them are easy to acheive.  Second, because of the limited timbre (even compared to, say, a piece for clarinet and piano) and limitations on dynamics (the two hands can play separate dynamics, but fingers on the same hand can do so only with difficulty), the members of a chord have a certain equality on solo piano that they don’t necessarily have in other media.  As a rhythmic rather than a harmonic composer, this presents a challenge.

An additional problem is made clear at the blog Sonatas and Interludes.  This is a major problem–how to write new piano music that isn’t just more George Winston.  I don’t see myself as a “new-age” composer, and I certainly don’t want my music to sound that way.  On the other hand, there is something to some of the cliches of the form.  My first hearing of the music of Valentin Silvestrov left me very disappointed because it seemed very “new-age” in idiom.  I resolved (because I have an unexplainable fascination for all things Ukrainian) to really listen again, and beneath the surface, I have come to believe that there is more than just trying to do whatever it is that “new-age” music purports to do for performers and listeners alike.

So… this is my problem.  Tomorrow is a day off from teaching, but I will be at school, hopefully left alone long enough to get the first piece in the set down.  Perhaps an update.

Musicircus

Friday, October 31st, 2008

I had no idea what to expect tonight at the Musicircus–the last time I participated in a similar event was in the Spring of 1995 at the University of Cincinnati, and tonight’s event was heavily modelled on that experience.  That concert was all new music, while tonight was much more eclectic.

I hope all the performers and the audience are as pleased as I am with the results.  Turning about 30 small  (and not-so-small) pieces into an hour-long celebration of music and the joy that it can bring was a very healthy activity for all of us, I think.  It was refreshing to see audience members I had never seen before along with many of our faithful fans, as well.

Organizing this kind of thing means that someone–tonight, me–has to lose the sense of spontaneity and discovery of the event.  It takes a lot of preparation to be so random.  All the same, there were some wonderful “moments:”

About a third of the way into Stockhausen’s Gesang der Junglinge, Krista Margrave and Melody Gum started an a capella version of “I’ll Fly Away.”

Kevin Coons’ fantastic vibraphone solo growing out of the texture of the evening.

The minute of silence–it was randomly chosen, but it came at just the right place in the hour to give some relief.

All the performances were fantastic, and it seemed like everyone had a good time… and I dare say John Cage made a few converts this evening.

Election

Tuesday, October 28th, 2008

I said this wouldn’t be a political site, and no political opinions are put forth in this post.  On the other hand, I have been having a blast tracking the mathematics in this election, and there are two cool sites that I’ve been enjoying.

http://www.evstrength.blogspot.com/ tracks the statewide polls and shows the path this election has taken.  It shows a state-by-state breakdown of which candidates can expect to get which electoral votes, and interestingly, allows you to compare the polls to the same date in 2004.

Also interesting is http://www.fivethirtyeight.com/, which uses about 10,000 simulated elections each day to project a winner.  I’d be really interested to learn more about their computer model for the election.

Living in a state that is polling so far for McCain that neither candidate has been here in weeks (we don’t even get that many TV ads), the statistics are much more interesting than the actual campaign… it makes me miss living in a swing state.

Language

Saturday, October 18th, 2008

I’ve been polishing up my paper about Benjamin Britten’s settings of English texts that predate modern English (the youngest text is by John Donne, who scholars generally consider to be in the “Early Modern English” era, although a few scholars still argue that there isn’t any such thing).  It is amazing to me (though perhaps it shouldn’t be) that something that seems as static as language… really isn’t.  One of the best courses I took in graduate school was “The History of the English Language” with Terence Odlin–just absolutely fascinating.  It gets me to thinking about whether we can notice language drift in our own lifetimes.  I’m not just thinking of neologisms, or changes in vocabulary.  Of course those will take place… five years ago “blog” was some kind of word out of a Lewis Carroll poem.  I’m thinking of the kinds of pronunciation changes that occured between, say, Chaucer and Donne, or between Shakespeare and Samuel Johnson; or the huge grammatical shift that happened in the hundred years after 1066.  Is there anything like that happening now?

Topeka

Sunday, October 5th, 2008

This weekend, Becky and I went to Topeka, Kansas to take care of some personal business and made a mini-vacation out of it.  If you haven’t been to Topeka, you’re missing out!  We had never been there before, but we were pleasantly surprised by what we found.  In fact, I’ve decided that Kansas gets a bum rap.

We had an appointment in downtown Topeka, which was a little desolate, but on the whole very respectable for a state capital.  The statehouse is a big building–unfortunately, no time to go in, but it looked interesting.

Our next stop was an hour up the road in Manhattan, Kansas, the Little Apple.  To get there, we drove through the Flint Hills region in the late afternoon.  If you think Kansas is flat and boring, you haven’t seen this terrain–unlike anything back in Ohio.  It rolls and heaves, and there is even a scenic overlook on the road into Manhattan.  After our appointment, we wandered around town, which is home to Kansas State University.  If Craig Weston ever leaves his job teaching composition at Kansas State, I will be putting in my application.  Having spent both grad school and undergrad at big, public universities, K-State felt like home.  A used bookstore complete with cat where I picked up a couple of scores (Purcell and Britten) for a song.  The pep band was strolling around the commercial district getting everyone (except us) ready for the game tomorrow.  We left before the drinking got going, since that’s not really our thing, and since we had left Guymon at six a.m.

A nice night at the Country Inn and Suites in Topeka on Wanamaker Road.  I recommend it to anyone who can afford to not stay at the Motel 6.  Saturday was our first “fun” day, and Topeka showed off for us.  The city is clean, easy to get around and generally very friendly.  The Zoo, in Gage Park, was great–we were charged by the black leopard and you can get really close to most of the animals.  Lunch was at Glory Days Pizza, touted as the best in town, and for a couple of Donatos-deprived Columbusites, much appreciated.  The cheese was baked on over the toppings, and the sauce was excellent.  Becky is a pepperoni purist, which works for me.

Then in the evening came the highlight of the trip, for me.  We happened to be in town on a weekend when the Topeka Symphony Orchestra performed at its home at Washburn University.  The campus there is beautiful, and the hall wonderful.  The orchestra was fantastic–we talked to a cellist, and apparently, they get about six rehearsals for every concert.  We saw Beethoven, a Mozart horn concerto and Brahms’ second symphony.  Not a flawless performance, but a stirring one, all the same.  There were some sour moments in intonation, but the energy was right.  I wouldn’t complain about being able to subscribe to their season.

The concertmistress and the principal cello are married, both on faculty at Washburn and are a duo together–the Elaris Duo.  I picked up their CD after concert and WOW!  A great CD all around–such fantastic tone and blend.  The highlight of the disc for me is the Kodaly.  I asked them if they had ever done the Ravel Sonata for Violin and Cello, and they said they are considering it for their next recording.  A couple of dream performers to add to my list!  It makes a composer want to tackle that medium.