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From the category archives:
Music
Baltimore Symphony music director Marin Alsop talks about the American classical composer Roy Harris. A podcast interview from Naxos.
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From Fresh Air, a discussion and musical tribute to the man behind “Skylark,” “That Old Black Magic,” and other timeless American standards.
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Prompted by these intriguing visuals mentioned by Steve Silberman, I went back to take another look at the work of Glenn Marshall, and his gorgeous video for a composition by Peter Gabriel.
Definitely worth exploding into full-screen HD mode, Marshall’s short film employs a programming language called Processing to render music in mathematical and visual forms. Something to get lost in for a little while…
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Amazing indeed. [via http://twitter.com/ettagirl]
Posted via web from Hazlett’s Occasional
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A joyful video of the late, great Celia Cruz in her prime.
[H/T Tunku Varadarajan via Facebook]
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The Baltimore Symphony Orchestra opened its 2009-2010 season with an eclectic mix of Brahms (Hungarian Dances), a new concerto composed by Jennifer Higdon for the hybrid classical-country-jazz trio Time for Three, and a big, sweeping Tchaikovsky (Symphony No. 4). The evening’s music was a powerful reminder of the diversity and power of classical music.
In an era when many listeners, even fans such as this writer, lack a thorough background knowledge of classical music, it is extremely helpful to have something like this video, in which BSO music director Marin Alsop talks about the ideas, composers, musicians, and works featured in the orchestra’s opening concerts this year:
The young men of “Time for Three” are clearly and abundantly talented. They embraced the spotlight afforded by Higdon’s composition and threw themselves into the experience. I was a little put-off by their showy performance style–the grasping, swaying, and nodding seemed a little gimicky and overdramatic. Their best moment was an encore–their exuberant version of “Orange Blossom Special” which brought smiles and applause even from the seated members of the orchestra and a big ovation from the audience.
The variety and unpredictability of the first half of the evening set the stage very well for the passionate, big, romantic, and very Russian 4th symphony of Tchaikovsy. It was a transcendant experience.
Overall, spending two hours immersed in live classical music (for the first time since my daughter was born) was meditative, stimulating, and broadening all at once. I could almost feel underused neurons waking and stretching. I came away more convinced than ever that our hyperactive micro-pixelated daily information overload requires us to step back occasionally and take in a broader view.
Before the performance, the BSO welcomed local and regional bloggers with a reception and panel discussion with the Baltimore Sun’s Tim Smith, the Washington Post’s Anne Midgette, and Charles Downey of Ionarts. The BSO is making a concerted effort [unintentional pun] to involve professional and amateur voices from new media to enlarge the conversation about live performances of classical music.
One theme that emerged from the discussion is how trained critics are also educators. Reading the informed opinion of a well-schooled listener can enhance the experiences of impassioned amateurs (and the traditional critics can gain a lot from the communities that gather round their writing and blogging).
Cases in point are the reviews and comments already posted by the critics and bloggers who attended the opening night festivities:
- The Baltimore Sun’s Tim Smith at “Clef Notes”
- Charles Downey writing at Ionarts
- Mike Unger at Baltimore.about.com
These are just a few examples of how “new media” are sustaining conversation about “old” but enduring forms of art and expression. It’s heartening to see that Baltimore Symphony Orchestra is doing so much to deepen and expand that discussion.
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Kurt Andersen hosts singer-songwriter Regina Spektor for music (from a new album) and conversation at Studio 360. Nice stuff.
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“So many books, so little time” say the tote bags sold at independent bookstores. It’s impossible to keep up with the new books published daily, much less the abundance of classics that fill the world’s bookstores and libraries–neglected, celebrated, or dutifully praised but unread. The truth is that there are more than enough books to keep even the most avid reader occupied through several lifetimes. Still, there are some that deserve to be high up on the lifetime reading list queue.
Jon Foro of Amazon’s Omnivoracious book blog recently got around to one of those books that people say “you must read.” Admitting he was “late to this party,” he offered the following assessment of Norman Maclean’s 1992 book Young Men and Fire:
On August 5, 1949, a team of young, tough, and apparently (if not actually) fearless firefighters called the Smokejumpers parachuted into what seemed a minor lightning-struck wildfire in Mann Gulch, an arid ravine on the Missouri River, just north of Missoula, Montana. Sixteen men leapt from the plane, but within an hour all but three were dead or dying, overrun by a “blowup,” a nearly instantaneous fireball that scorched the valley to its head.
Young Men and Fire is Norman Maclean’s meticulously researched recreation of the tragic events–and a gracious homage to the men who perished and those who helped–told in language as pragmatic and awe-inspiring as the Big Sky country it represents. The story deserves as much, and Maclean’s direct approach delivers. [more]
It’s hard to improve on those comments. Norman Maclean may be best known as the author of A River Runs Through It [the novella that inspired the film], but Young Men and Fire really is a masterpiece of what we now call “creative nonfiction.” The style of the writing is so understated, almost dry, that the story’s emotional impact just creeps up on the unsuspecting reader. CSI-style discussions of fire behavior, combustibility, and the physics of air and flame combine with novelistic portraits of individuals and the subculture of “smoke jumpers”–aerial firefighters, some of them veterans of the legendary WWII airborne units. Maclean sets the scene, describes the landscape, and outlines the characters. The story unfolds in a spiral pattern, returning to the central events and personalities again and again as we learn more about what happened. On a foundation of understated and matter-of-fact language, the book builds to a poetic and heart-breaking crescendo.
You can read an excerpt from Young Men and Fire here, but you should really just read the book itself. In the meantime, here’s an interesting musical sidenote…
Wag Dodge, one of the few survivors of the Mann Gulch fire was forever haunted by that day. He lived by testing a counter-intuitive idea–escaping an approaching wall of flame by pre-emptively setting fire to the grasses that surrounded him. Once proven, this technique would save many lives among those who fight wildfires. Dodge’s story, and Norman Maclean’s book, inspired a beautiful song, performed here by Cry Cry Cry [best online version I could find]:
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