2015-05-25

Virgil Thomson: Strict music

I've just recorded three works by Virgil Thomson that Composers Recordings published on their LP CRI 207. I believe only an autographed version of the LP recording is available, at a stiff price. (Of course, each track is available for download.)
This is one of the many LPs that went through the tornado in 1974, and it is in pretty good shape, although the album cover didn't survive. I'll be recycling the vinyl, as I have some 50 other LPs already.

I found both of Thomson's sonatas to be unpersuasive. His melodic invention is not memorable, even for the purposes of gathering the themes for a formal organization in each work. Much less for something to happily hum when the spirit moves me. Thomson was a proponent of minimalist music before Philip Glass and Steve Reich began to take the appellation into the realm of exploding tme signature and reinventing the concept of development. Thomson's minimalism was content with simple theme, simple structure, and simple performance. Neither the Sonata da Chiesa nor the Sonata for Violin and Piano disappoint if you seek the original minimalism.

But Thomson struck gold when he set existing melodies to his accompaniment in Praises and Prayers! Much like Benjamin Britten's settings of English folk songs, Thomson leaves the melodies almost intact and focuses his attention on the accompaniment. The result is a fresh and inspired look at material that has lain too long on the shelf.

© Thomas Kohn, 2015.05.25

Vinyl heard once again, and now ready for sale

I've had a small library of LP recordings sitting around for that day when I would again have an audiophile setup. Remember those days long gone? An RCA Vicotr phonograph wasn't enough. Nor just a good turntable, since its output couldn't be fed directly to any speakers. No, you needed a pre-amplifier, which fed into an amplifier (or tuner, if you wanted to listen well to radio broadcasts too), which in turn connected to those pieces of furnture that produced BIG sound. And collected vases, books, sometimes drinks (sometimes on coasters).

For 34 years the LPs have stood there, waiting for that day I would again visit the antique technology. Collecting dust. Perhaps mildewing, never to be heard again in glory. Now we're diminishing our householdings. Going through memorabilia, tossing the chaf from thick binders of lecture notes, reminding ourselves of our past appearance in snapshots long forgotten, listing unwanted books for sale on our Amazon storefront, donating the less valuable books to our local book fair that benefits Planned Parenthood, placing many belongings in garage sales.

In the "many hours of free time," I've decided to digitize a good portion of my LP library. I acquired a good turntable, connected to a converter to USB input, and monitor the resulting WAV files in transfer software. It's time consuming because of three parts of the activity:

  • Recording the LP in real time. There's no alternative, no shortcut to playing the recording on the turntable. If the record is in lousy shape, I can decide to end the recording in the middle of things. (My house was hit by a tornado when I lived in Kansas, and I tried to salvage many LPs from the debris. Some survived well. Others...well, I wasn't so lucky.)
  • Dutifully listing in my database the composer, performer, and track titles. I admit to being obsessive-compulsive here!
  • Photographing the covers and any text inserts. (This portion takes the least time, with my camera on a tripod, a stable frame for the album position, and even lighting from studio lamps. The digital photos are detailed and sharp, much better than any existing images on Amazon.com or other sites that sell CDs.)
Occasionally, as time allows, I'll enter a few comments about the music I'm rediscovering. My collection is wide-ranging, but a primary component is classical music of the late 20th Century. For example, the latest LPs I've offered for sale on Amazon:


The future listening excites me, returning to music that formed my tastes when I was in my 20s.

2014-05-02

Music for sustenance to the end

It's Saturday today. I listened to This American Life on WYSO, as I do most Saturday mornings while I let a dose of Fosamax process through my empty stomach, feed Howard-the-Lab, make a big mug of triple-shot latté, and split and toast a sesame seed bagel and spread almond butter on each half.

As Ira Glass introduced today's theme, "Death and Taxes," I flashed back two weeks, when I told a dying relative a lie: "Next year, we'll be wishing you a happy birthday in your home." Without a word, she floored me with eyes that said: "What, are you really so full of shit that you think I'll walk out of this hospital room and live to see my 80th birthday? We both know, or at least I know, that I'm this close to my last breath!"

o o o — o o o

My husband's cousin Barbara had worked at the Fernald plant near Cincinnati as an industrial electrician while the plant was being decommissioned. Nuclear materials were still in storage there, and more than once Barb had been in sight of yellow cake or other fuel products. Within 15 years, Barb developed chronic obstructive pulmonary disease, which progressed to a diagnosis of lung cancer in late 2009.

She was a generation older than Chuck, and she married and relocated to California when Chuck was almost three. He had only a few interactions with her as they grew up, but he sailed the Golden Gate strait with her as an adult. Her driving intelligence made her a master sailor and in one period a naturalist with a special focus on bats and other mammals of flight. From this enthusiasm came her respect for the Chiroptera order of animals. She called herself "a tough ol' bat," and the description stuck as a nickname among her many friends—fellow workers at Fernald, members of the motorcycle club she had joined, musicians who gigged with her or her wife Marcia, almost everyone except her family of a few cousins.

The nickname "Bat" proved true as she waged war with cancer. After surgery and radiation therapy, she was diagnosed to be cancer free. Bat resumed her life as never before. She and Marcia lived each new day as a fresh experience, an opportunity to bike together at a whim. They biked long distances to attend national meetings with other members of the Motor Maids and short distances to see Chuck and me up in Dayton.

The flow of a couple more years brought new concerns about cancer recurrence. A second lung surgery was needed 22 months after the first. Another year later, new scans revealed a metastasis in her brain. At first her body responded fairly well to treatment. The cancer cells seemed to die from gamma knife treatments and chemotherapy, but the site never cleared of necrotic tissue. Large doses of corticosteroids were used for long periods, and their side effects transformed Bat into a person easily exhausted by her previous, active lifestyle. And caring for Bat at home had required Marcia to sacrifice the retail jobs that helped them stay ahead of mounting bills.

o o o — o o o

Bat had moved from home to a residential rehabilitation facility. The plan was to rebuild her ability to maintain a life, though a quieter one, at home and to regain enough self-sufficiency to allow Marcia to return to work.

I visited Bat on a Wednesday afternoon. She was bloated, barely mobile, her body on its way to becoming one with the hospital bed. Nevertheless, her eyes were bright, focused, and she kept in the conversation. But she was totally unable to provide the stream of family stories that was characteristic of her in the past. Occasionally Bat rattled a cough, and Marcia explained for her, "We think it's the steroids, the prednisone, that have taken her voice. She hasn't been able to do more than whisper for several days now." Bat's dinner arrived, and she ate with moderate appetite. When I was getting ready to leave, Marcia reminded me that Bat was looking forward to her 79th birthday next Sunday.

A day later, Bat had been transferred to Bethesda North to treat what had now been diagnosed as pneumonia. Placing her in the rehab facility had been, in retrospect, too hopeful a step for Bat's transformed and exhausted body. It had become difficult for her even to sit up in bed, let alone getting to a chair in the room or to the bathroom unassisted. This lack of movement contributed, I suspect, to the pneumonia.

I came to her bedside on  April 13. That date in 1935, Bat—Barbara Morton—was born in Alliance, Ohio. Her mother, Ethel Ora Derry, had been born there—and married there too, to George Morton. Ethel's parents had been married there as well, and Alliance was the last home of Barb's great grandmother, Oracelia Maxwell-Derry. Though that lineage had been told to me by Barb herself, she had no energy to talk about family. Nor to talk at all. Whatever treatments were given at Bethesda were of little use. The pneumonia lingered, and Barb looked even less herself.

A nursing aid brought in a tray. A wedge of chocolate cake supported a match of a candle. A half-cup bowl held a sphere of vanilla ice cream. Marcia lit the candle, then she and I sang the familiar repeating phrases and provided the breath to extinguish the unsteady flame. And then came the time that I told that bald-faced lie...

o o o — o o o

Barb rallied, then faltered. Three times over the week. She bargained with the doctor, "Let's decide on Friday whether I've beat this pneumonia and can get back home to recover." Marcia called attorneys handling the workers' compensation settlement from Fernald, medical supply companies providing a hospital bed at home, social workers evaluating the home environment, and a Hospice of Cincinnati representative advising a temporary stay at their facility before bringing Barb home. On Wednesday, Barb was taken to Hospice. On Friday, her friends set up a schedule that kept two or more attending Barb and Marcia for as long as needed. On Saturday I visited. I remembered the unsteady candle light from six days earlier and the red votive candles at death vigils when I was a child. On Sunday, Barb departed quietly before Easter's dawn.

A moral without a maxim

Barb taught me that it is possible to know that one's own death is approaching, and it may be up to the dying to teach family and friends how the death should progress. The "Death and Taxes" broadcast clarified that the dying are often unable to articulate their own wishes as death approaches, particularly to the attending family and professionals. Observing Barb's slow week of dying left me with strongly felt wishes about how my own death would best be managed, given that I die from "old age" or slow compromises from illness.

Foremost, I want no silence in the room where I die. Nor darkness. Women can comfort, men can curse, children can prattle. Let all visitors to the death watch come with an understanding that they may continue their living, even while in the room with me.

I would like to hear music almost constantly. Music has been a force in my life since childhood, though my tastes have sharpened since then. Let the music never cease, not even in ER, OR, ICU, or hospice. My favorite music includes
Let my friends talk above or below the music, think good thoughts, remind me of their presence with a stroke on the thigh, a rub of the shoulder, a cooling touch on the brow, or even a gentle lift of the testes.

Bring your friends I should have met. Bring your children to know that death is natural, a common thing among all of us born.

Flowers are not necessary. Rather, bring a favorite photograph, sketch, or art reproduction that speaks to you and may inspire me.

Don't close the curtains. Let in the sunshine!

Don't swathe me in pajamas or hospital gowns. I have slept naked all my life, and want no encumbrance at death.

Once it is clear that Death is approaching, don't make useless attempts to prevent the inevitable. Whatever strength I have for breath, that is enough. No tubes, no forced feeding, no fluids.
When I and my body are separated, take any parts that can be of use for others or research. Then burn the rest. Let the volatiles join my spirit, and let the precipitates join the earth.

2014-03-19

Two similar quotes

Arnold Schoenberg wrote, "There is still much good music that can be written in C major."

Sergei Prokofiev wrote, "There are still so many beautiful things to be said in C-Major."

Though one would be advised to find the quote in its original language to parse it carefully, the essence is the same. The expression is, though, very refined and different in each. I wish that I could cite the exact source, but I am unable to at the moment.

“I have the simplest tastes. I am always satisfied with the best.” – Oscar Wilde


I spent a little time trying to find the Schönberg statement in its original German, but I haven't had much luck. -tgk, 2015.05.25

2014-02-18

2014.02.18 New Opera news

Palm Beach Opera season

Palm Beach Opera announced its 2015 mainstage opera season to include two "time-tested" works (read war horses) and the world premiere of Enemies, A Love Story with music by Ben Moore, libretto by Nahma Sandrow, based on the book by Isaac Bashevis Singer February 20-22. Details.

Dallas Opera season

The new opera “Death and the Powers” was composed by Tod Machover and developed at the MIT Media Lab. A science fiction work with robots alongside actors and computers joinging the sounds of the orchestra. Performed as a simulcast, it’s also exploring the world of audience interaction through technology. The Dallas Opera will host the opera that will be simulcast to as many as 10 other cities in the U.S. and abroad, on Feb. 16. Details.

Opera America commission

Opera America commissioned women’s opera in December , and the support of new music expands to symphonic music, supported by the Virginia B. Toulmin Foundation program. The new orchestral project, announced on Wednesday by the League of American Orchestras, is to be administered by the league, and is part of EarShot, a national network of orchestras that offer readings and workshops for composers in the early stages of their careers. The composers participating in EarShot include men and women, but only the women will be candidates for two Toulmin Foundation commissions. The commission fee is $15,000, and includes a premiere of the commissioned work. Details.

Fort Worth Opera festival

Fort Worth Opera will cut back its 2015 festival to three productions, indefinitely delaying the planned world premiere of American composer Libby Larsen’s "A Wrinkle in Time." Repertory for the 2015 season will comprise two productions, still to be announced, plus the chamber opera "Dog Days" by composer David T. Little and librettist Royce Vavrek.
The 2014 festival, running from April 19 to May 11, includes the professional premiere of "With Blood, With Ink" by composer Daniel Crozier and librettist Peter M. Krask, the regional premiere of "Silent Night" by composer Kevin Puts and librettist Mark Campbell, and two "time-tested" works (read war horses). Details.

2013-04-16

Verdi arias v. operas

Who's with me on this? An individual aria of a Verdi opera can be emotionally effective by itself, as long as you don't consider it as a part of the opera that surrounds it. At least from today's understand of what works as theatre, one might never understand how Verdi and his librettists came up with the plots of his operas. Cases: "La forza del destino" and "Giovanna d'Arco"

2013-04-02

Verdi's output

For a few weeks now, I've been listening to Verdi operas from the earliest of his output, at least as available in CDs from the library. The most recent listening has been the Lorengar performance of La Traviata (1853) under Maazel (Berlin 1968). I just picked up La Battaglia di Legnano (1849), available just a bit out of order.

The operas available excluded only the two earliest (Oberto of 1839 and Un giorno di regno of 1840) and a couple others of the output before Rigoletto: Alzira (1845), Il corsaro (1848), and Stifellio (1850). Since early March, I've listed to these operas several times each:
  • Nabucco (1842)
  • I Lombardi alla prima crociata (1843)
  • Ernani (1844)
  • I due Foscari (1844)
  • Giovanna d'Arco (1845)
  • Attila (1846)
  • Macbeth (1847)
  • I masnadieri (1847)
  • Jérusalem (1847)
  • La battaglia di Legnano (1849)
  • Luisa Miller (1849)
  • Rigoletto (1851)
  • Il trovatore (1853)
  • La traviata (1853)
Fifteen down, eight to go. I'll miss out on hearing the Paris versions of Le trouvère (1857), Macbeth (1865), Don Carlos (1867), and La force du destin (1881). I expect that their greatest difference from the originals is the addition of ballet in the third act. That, in my opinion, is no great loss, as Verdi's modifications of I Lombardi into Jérusalem were not compelling.

My favorites of the list are Giovanna (despite it's non-historic plot), Luisa, Rigoletto, and La traviata. I had high hopes for I masnadieri with its basis in Schiller's Die Räuber. But I was disappointed, as I was with Macbeth.

What I found surprising are these observations:
  1. Verdi was more an imitator than I had thought. His melodic lines are seldom innovative, orchestration mundane, and harmony pandering. Generally pleasing, I'll give you that. It's little wonder that his popularity was so strong. I remember some wag's observation that the public were humming Verdi's tunes as they went into his operas.
  2. I suspect that Verdi worked quickly and perhaps overbooked his commitments to produce new operas—and rework established hits—for European stages. His schedule left little opportunity to reflect on improving what he was considered a master at.
  3. Of his output through 1853, great acclaim is misplaced for Il trovatore. The book is overly complex, the score is full of tunes but devoid of provoking music. What could have become a masterful tale of doubles, discovery, and damnation was squandered in petty melody.
  4. Most striking is Verdi's dependence on recitative, even through Il trovatore and La traviata. Though the half-generation of great Italian opera composers before him—Donizetti, Bellini, Rossini—also used recitative, the practice had whithered elsewhere. Wagner was writing Der fliegende Holländer and on the way to leaving the set-piece and recitative entwined in a shallow grave.

2013-04-01

Toward a comprehensive music analysis

While writing an analysis of Verdi's cavatina D'Egito là sui lidi, I've come to realize ways to make musical analysis more exact, more thorough. I consider these points to be important in understanding an example of a composer's work, and I present them for critical comment by musicologists, students, conductors, performers, and listeners.
  1. Of special importance is the historical context of the composition and performance. Some composers are innovative, some culminative, and some merely imitative. Providing the background of the composer's own development to the point of composition is necessary, and the background is of more use if little is said of later artistic development. But it's also imperative to provide information about the contemporaries in the same country and of nearby regions that might have had an influence on the composer's work.
  2. Related to the historical facts are observations on the work's particular style and form, and how those aspects relate to musical history to the time of the composition. For example, Verdi, in writing his operas even through 1855, used a clearly distinct recitative style to move the plot forward, some 50 years after the height of that form. Although Schubert, Donizetti, Rossini, Meyerbeer, and other composers of opera also used the recitative, the use dwindled through 1830. Thus it becomes an observation worth noting that Verdi continued the form while his contemporary Richard Wagner moved toward through-composing his operas.
  3. It is always important to cite the basics of key, time signature, tempo, form, and orchestration.
  4. It's also useful to cite the number of measures, the approximate performance time, and any aspects that may allow for variance from the performance time.
  5. For works with solo voices, it is important to cite the range and to describe the tessitura in terms of the comfortable tessitura v. the extremes of high- and low-voice tones. I find it useful to count notes to quantify where the tessiturae lie. And two means of identifying tessitura issues are possible:
    1. Simply dividing the vocal range into thirds to determine whether the vocal line fits well into a standard voice or fach.
    2. Counting each of the tones required, and assigning to contiguous a group of, say, 75% of the pitches a "comfort" tessitura. From this, one can quantify and describe the approaches to tones above and below the comfort tessitura.
    3. Counting the number and size of leaps down and up from one note to another, including between phrases that may have intervening rests.
    4. Observing whether long stretches ask for declamation on one pitch or on a limited range of pitches. Obviously, this is important in recitative and plainchant, but it may also be important in discussing works from the 20th and 21st Centuries.
  6. For works with voices and text, it is useful to quantify the text relationship to the vocal line(s).
    1. One concern is how the number of notes in the line relates to the syllables in the text. For example, plainchant and recitative might have a low ratio of notes to syllables; a more florid vocal line would have a higher ratio of notes to syllables.
    2. Another concern is how repetitive the text of the vocal line is in comparison to the source text. For example, arias in the Baroque era typically repeated text almost at will to follow a florid vocal line; in contrast, arias in the verismo style tend to use the text without repetition.
    3. Yet a third concern aims more toward literary analysis, where the goal is to compare rhyme schemes, alliteration, internal rhyme, and motivic use of words to similar aspects of the music composition.
  7. A rigorous analysis not only identifies themes and sub-themes, but also delineates motivic elements and clarifies their relationship to the themes and form.
Are other aspects of analysis available? Very likely. I plan to add to this posting as I come across new needs for analyzing music or as readers offer their opinions.