and we haven’t learned a damn thing.
From the Sad-but-True department. Leave it to the NYT to highlight the problems LA theatres face in the aftermath of COVID and bearing the brunt of the ills of the gig economy. Uber and Lyft skate while tiny arts orgs have to conform to new wage laws while trying to reopen. Whatever Dr. Soon-Shiong may have done for the LA Times, his inaction on the sacks of filth at his arts and culture desks is unpardonable.
This animation is making the rounds of the classical music world. Pavel Hudec adds gorgeous visuals to a sparkling performance of the spiky 2nd movement of Ravel‘s A minor Piano Trio. “Journey of the Pantoum” evokes some highborn traveler from distant land but, the pantoum is no potentate, panjandrum, or padishah, only a type of poem that informs the piece.
The Sitkovetsky Trio‘s playing is otherworldly. The video coincided with the release of the album on BIS featuring the full work along with the Saint-Saëns Trio No. 2 in E minor. It is (surprisingly) available in “hardcopy” as a compact disc or as a digital download from eClassical.com in high quality formats with PDF liner notes and cover for under $10.
YouTube Channel: Pavel Hudec
Oh, yes… this is still here, isn’t it? Well then.
The Atlantic glances a little farther west of the Hudson(*) and asks a transplant intriguingly named Rosecrans Baldwin to take stock of his new city. He obliges with an excerpt from a forthcoming book assessing Los Angeles as a city-state for this age.
Los Angeles fits the city-state frame well, certainly better than it does a lot of other possibilities—if we update the model a bit. In 2010, Forbes suggested that if the criteria for a place to be considered a city-state were modernized for the 21st century, certain global capitals might qualify thanks to a few key features: a big port to sustain trade; investors from overseas; money laundering; international museums worth visiting; multiple languages spoken in good restaurants serving alcohol; and an ambition to host the World Cup.
If it is from Forbes, it must be true so we get some evidences, quotes from a politician, a novelist, and a final paragraph that ends in the air, leaving one just short of hungry for the book-to-come. The article does link to a 2010 piece in the same journal, Defending Los Angeles, broaching similar concerns but more engagingly. That further links to The Tyranny of New York which gets at the gizzards of the problem – how relentless public relations has defined American life, especially its art and culture, to the discharge from the Brooklyn sewers.
(*) Yes, it is a New Yorker cover but an iconic one that sums up the mentality.
Playing the piano is damnably hard. I have accepted that I will never practice consistently or wisely enough to reach my original wildly unrealistic goals of competence and am contenting myself with slow progress and occasional discoveries. Coaxing a good sound requires talent, coordination, flexibility, and freedom of movement. There’s nothing that can be done about the first item but occasionally something in the joints unsticks enabling a small improvement in the rest. I feel kinship with weekend athletes who get that occasional moment of grace amid hours of futility.
One of the many frustrations is pressing a key in the same place with the same pressure five times in a row and hearing no sound two of those times. The hammer misses the strings by a fraction of a millimeter and flops back with a click and a dull thud. This makes any kind of phrasing next to impossible for the duffer. He either settles for good enough or goes nuts trying to adapt as the instrument itself changes with the time of day and the weather. It never bothers the professionals who figure it out on the fly.
The piano action itself is a bizarre marvel of wood, felt, physics, and prayer. It is surprising that it works at all and there are eighty eight of the bloody things that have to work consistently. It is a lot to ask, perhaps too much. Robert Grijalva of the University of Michigan explains it in painstaking detail using a model of his own invention. For those with less time, a Dutch animator posting as Hoe Ishetmoegelijk (hoe is het moegelijk = how is it possible) has a concise summary.
Youtube Channel: Robert Grijalva
Youtube Channel: Hoe Ishetmoegelijk
As did her party, in standing ovation. Snopes weighs in on the latest media victim from the party of personal responsibility. The QOP appropriates, corrupts, and weaponizes anything and everything it touches. The slide continues abetted by the invertebrate from Bakersfield.
On inauguration day, a large chunk of America unclenched and exhaled for the first time in four wretched, miserable years. Five if we count the rancid campaign of naked bigotry and full throated lies that preceded and presaged the disaster of 45.
We now have some sanity in the ship of state and can hope that any honeymoon lasts long enough to get people vaccinated, businesses restarted, and the arts out from under hiding. Even before COVID, anything on the finer side of life was ignored at best and ridiculed at worst under the moron of Mar-a-lago. Many of us who eagerly awaited 20 January and some sign of support to the better things woke up to surprise and not a little disappointment at the overwhelmingly pop-culture besotted inauguration that actually occurred. The shark sandwich playlist promised much and delivered nothing.
“Whether you are a country soul, a jazz enthusiast, a hip hop head, a classical sort, or just love that old-time rock and roll, music clarifies, inspires, unites, and heals.”
— Inaugural Committee CEO Tony Allen
Us “classical sorts” got jack shit, not even the ubiquitous OFFS not-him-again Yo-Yo Ma bowsynching to Copland as in 2009 although the equally overexposed Rénëê Fleming was said to have sung at one of the side events. The rest, excluding Bob Marley, was as America-centered and nobrow as anything the MAGA movement could scrape together, excepting of course getting the performance rights. The perpetually inept LA Times arts and culture department, or at least one of its representatives, thinks things are looking up. This schlemiel, a tv critic no less, views the cultural future as the wasteland of the Discovery Channel, Bravo, History, and TLC which at one time actually had some decent programming but which long ago sold out to the perpetually dropping lowest common denominator. It might get better for the arts but it is more likely that the arts will just get redefined just as science was for ‘The Science Channel.’
What galls about the 46-0 shutout is that the United States does not lack for options. Copland and Gershwin are overplayed but we have Ives, Joplin, and Gottschalk. Dvorák was inspired in Iowa, Rachmaninoff and Stravinsky lived out their lives here (as did Schoenberg but let’s stay within realistic limits). Hell, John Williams or Peter Schickele could have done something if asked. And, if all of that is still too off-the-radar, there’s good ol’American John Philip Sousa transcribed by good ol’ American Vladimir Horowitz. One pianist, one piano – saves on cost and brings everyone to his or her feet. Regardez from the Hollywood Bowl in 1945.
Youtube Channel: Michael Brown
The US smugly denounces corruption in other countries, the poorer the better for the sanctimony. Yet in the hopeful coda to a cancerous career, 45 is expected to issue some 100 pardons on his last full day of his unsanctified, cursed term. His remaining handlers are said to be profiting handsomely from many paying top dollar to get their cases reviewed.
Some 42 years ago, WKRP in Cincinnati featured another corrupt, smarmy con artist – an ex-wrestler now in religious raiment fleecing the faithful. The staff ultimately manages to get the Reverend Little Ed Pembrook off the air until he promises to reform. Which he does, only to find another angle as grifters large and small usually manage to do.
Youtube Channel: Benjamin Smith
Monsaingeon’s wonderful Richter documentary features the legendary pianist accompanying Dietrich Fischer-Dieskau in Hugo Wolf’s ‘Feuerreiter.’ I don’t like vocal music much but the piece came to mind today and I searched for the lyrics. The first stanza is a knockout and the rest could be ripped from the front pages if front pages still existed to be ripped.
Sehet ihr am Fensterlein
Dort die rote Mütze wieder?
Nicht geheuer muß es sein,
Denn er geht schon auf und nieder.
Und auf einmal welch Gewühle
Bei der Brücke, nach dem Feld!
Horch! das Feuerglöcklein gellt:
Brennt es in der Mühle!
See, at the window
There, his red cap again?
Something must be wrong,
For he’s pacing to and fro.
And all of a sudden, what a throng
At the bridge, heading for the fields!
Listen to the fire-bell shrilling:
Behind the hill,
Behind the hill
The mill’s on fire!
— Translation by Richard Stokes
The story canters on and it doesn’t end well for our redcapped protagonist. There’s a rough (and admittedly forced) parallel in Nabokov’s ‘Pale Fire’ where a King-in-mind-only abdicates to eventual academe, a hapless assassin, and his own hand.
He never would have reached the western coast had not a fad spread among his secret supporters, romantic, heroic daredevils, of impersonating the fleeing king. They rigged themselves out to look like him in red sweaters and red caps, and popped up here and there, completely bewildering the revolutionary police. Some of the pranksters were much younger than the King, but this did not matter since his pictures in the huts of mountain folks and in the myopic shops of hamlets, where you could buy worms, ginger bread and zhiletka blades, had not aged since his coronation. A charming cartoon touch was added on the famous occasion when from the terrace of the Kronblik Hotel, whose chairlift takes tourists to the Kron glacier, one merry mime was seen floating up, like a red moth, with a hapless, and capless, policeman riding two seats behind him in dream-slow pursuit. It gives one pleasure to add that before reaching the staging point, the false king managed to escape by climbing down one of the pylons that supported the traction cable.
Regrettably our national fire is more of the Wolf stripe. The mill burns to the ground with untold consequences to the many where Nabokov’s paler flame is shaded to only take the life of Kinbote/Botkin. We are left to wonder and fear whether a “a bigger, more respectable, more competent Gradus” is in our futures.
Hear Fischer-Dieskau and pianist Gerald Moore perform it below with evocative added graphics and translation followed by a rehearsal of the same piece with Richter.
Youtube Channel: FiDiTanzer528
Youtube Channel: kadoguy