Christmas in C Major!

This is a Christmas Mix that I made for my family this year.  It consists of six works in the key of C - five by Haydn and one by Mozart.  The following are notes for each track which include many time markings to point out specific points in each piece.  I also list the specific recording artist and the length of each piece (to help insure that you find the correct version of each).  I will also list a Spotify link to each recording.       

Knowing information about a piece of music can take one's enjoyment to a new level.  I hope that reading these notes, along with listening to the music, will help someone out there truly enjoy this great music!

Track One:   Haydn’s Symphony No. 97 in C - 1st Mov. performed by Eugen Jochum and the London Philharmonic Orchestra      8:49

Haydn, Franz Joseph – Haydn: 1. Adagio - Vivace - 1. Adagio - Vivace

The first movement of a classical symphony is almost always in sonata-allegro form.  Understanding this form and listening for it enhances one's enjoyment of the piece immensely, just as understanding the form of a sonnet help a reader appreciate a poem.

Here is a an outline of the form with a brief description of each section:

Introduction (optional) -  Exposition (repeated) - Development - Recapitulation - Coda

Introduction - Haydn loved slow introductions.  They often contained little foreshadowing figures of themes to come,  but basically they seem to settle a listener in - like a prelude.  Because of its contrast to the rest of the movement, the slow intro also gives the following allegro an added sense of momentum - an explosiveness of joy.  Sometimes I think of them like Greek choruses, preparing the audience for what is to come.    11 of the 12 London symphonies have slow introductions at the beginning.

The Exposition contains the main thematic material of the movement.   We hear Theme One right off the bat (after the intro) in a Haydn first movement.   Theme One is in the main key of the piece.  It is usually presented once or twice with some variation, and then a bridge of melodic development eventually takes us into a new key - in a classical symphony, the dominant (the key that is the fifth note up from the main key).   Haydn often presents Theme One again in the new key - these works are often called "monothematic" and are quite common in Haydn's mature style.  No. 94, the "Surprise" Symphony and No. 104, the "London" Symphony are good examples of monothematic expositions.

Just as often, however, a new melody (Theme Two) is presented in the new key.  No. 97 is a good example of a symphony using two Themes (the second is lovely - a waltz-like melody).    Most descriptions of sonata-allegro form will show "Theme One and Theme Two", but Haydn's use of the monothematic style shows us that for this developer of the form, key relationship was more important than a thematic difference.

And sometimes Haydn will do both!   For instance in No. 100, the "Military" Symphony, we hear Theme One in the original key and in the dominant key, but then another theme is presented in the dominant key as well which figures heavily in the development - our next section.

But before we move on, I must mention that the Exposition in a classical symphony is repeated.  This gives the audience a good chance to become familiar with the Themes.   If you are learning to follow the form of a symphony, catching the repeat is one of the first things to try to do.  Then try to identify the Themes.

The Development is where the composer leads us into the woods.  It's the true explorative drama of the piece as the Themes are broken apart, played backwards, turned upside down, sent through a myriad of harmonic centers, and thrown around like a hot potato between the orchestral sections.   Finally, after leading us away from home, the Development must lead us back again as it creates a focused tension which must resolve into...

The Recapitulation, which is the return of Theme One in the original key.  There is usually no verbatim replaying of the Exposition.  You will hear the same ideas, including the bridge materials most likely, but they may be treated a bit differently.   And this time the bridge material will not lead us into the dominant key.  We will stay in the main key for Theme Two as the piece establishes an overall harmonic resolution.  We see again that key relationship is the main drama of classical sonata-allegro form.  

The Coda is extra material at the end to add extra affirmation to the home key.

And there is a summary of sonata allegro from.

Now, using the London Philharmonic recording with Eugene Jochum conducting, I will give the specific time points where these different sections begin in Haydn's Symphony No. 97 in C Major.  

Intro:  0:00  - this is a relatively short intro by Haydn' standards.  It definitely features some foreshadowing of things to come!

Exposition/Theme One: 1:12  - so explosive!

Theme Two:  2:26  - so beautiful!

Exposition Repeat/ Theme One: 3:06

Theme Two:  4:20

Development:  4:59   - Can you pick out the different pieces of the themes he uses?  He focuses mainly on Theme One, but there are some quicker violin passages which sound like the ascending short notes in Theme Two.   There's probably many other references, including bridge material, that I have not found yet.

Recapitulation/Theme One: 6:10 - It doesn't take long to depart from the Exposition.

Theme Two: 7:07  -   Ah, still beautiful!

Coda:  8:24 -  It starts like Theme One, but quickly reinforces C Major to the end.

And there is another Haydn masterpiece.   Nine minutes goes by pretty quickly when one knows the form and can admire Haydn's concise, clear execution.

Track Two: Haydn’s String Quartet No. 57 in C (Op. 74 No. 1) - 1st mvt. performed by the Endellion String Quartet       6:48

Endellion String Quartet – String Quartets Op. 74 (Hob. III: 72-74) 'Apponyi', String Quartet in C major Op. 74 No. 1: I. Allegro moderato

This is one of my favorite Haydn quartets.  It is a high-flying tour-de-force of non-stop melodic inventiveness! It was on a tape I bought sometime in Junior High or High School.  Then when I went to Interlochen in the summer of 1993, my string quartet coach selected this movement for us to work on all summer - to my great pleasure!  Our excellent first violinist was from South Africa, and you can hear that he was busy when we played this!

After an opening chord, the Exposition is under way!  It repeats at 1:45.  The Development begins at 3:25.  I particularly like the figure in octaves that occur at the 4:15 mark!  The Recapitulation is at 4:48.   And with Haydn (like Mozart and especially Beethoven), the Recap never really sees an end to the development of the material....

Track Three: Mozart’s String Quartet No. 19 in C “Dissonance” (K. 465) - 1st mvt. performed by the Emerson String Quartet     10:30

Mozart, Wolfgang Amadeus [Composer] – Mozart: String Quartet No.19 in C, K.465 - "Dissonance" - 1. Adagio - Allegro

As a young adult Mozart became familiar with Haydn’s string quartets and was amazed by them.  He began working on a set of six quartets which he dedicated to Haydn - they are known as the “Haydn” quartets.   He spent three years working on them on and off again - which is amazing considering he often composed whole symphonies and operas in a matter of weeks.

Mozart's published dedication page (1 Sept. 1785):

“To my dear friend Haydn,

A father who had resolved to send his children out into the great world took it to be his duty to confide them to the protection and guidance of a very celebrated Man, especially when the latter by good fortune was at the same time his best Friend. Here they are then, O great Man and dearest Friend, these six children of mine. They are, it is true, the fruit of a long and laborious endeavor, yet the hope inspired in me by several Friends that it may be at least partly compensated encourages me, and I flatter myself that this offspring will serve to afford me solace one day.....”

This last of the six is known as the “Dissonance Quartet” because of the extraordinarily dissonant and tonally ambiguous opening of this movement.  When it was published it is reported that several people asked for “corrected” scores! 

Haydn initially wondered if there were mistakes in the opening of this movement but later wrote that “if Mozart wrote it, he must have meant it.”

And yet after the dissonant opening, the subsequent movement (the Exposition starts at 1:58) is as perfectly classical (yet incredibly intricate) as one could imagine.   The Exposition repeats at 4:19.  The Development begins at 6:38 and the Recapitulation is at 7:56 - beginning with yet another voicing of Theme I!

Haydn heard these quartets at a private performance, with Mozart playing in the quartet (sometimes Haydn played quartets with Mozart as well, he on violin and Mozart on viola).  Afterwards, Leopold Mozart wrote in a letter to his daughter Nannerl, Mozart’s sister, that Haydn spoke to him after the concert saying, “Before God, and as an honest man, I tell you that your son is the greatest composer known to me either in person or by name. He has taste, and, what is more, the most profound knowledge of composition.”

Given Haydn’s musical brilliance and gracious, generous nature - and the mutual respect and affection between he and Mozart - this comment seems likely to be historically accurate.

Track Four:  Haydn’s String Quartet No. 72 in C “Emperor” (Op. 76 No. 3) - 2nd mvt. performed by the Emerson String Quartet     6:34

Haydn, Franz Joseph [Composer] – Haydn: String Quartet in C, H.lll, Op.76, No.3 - "Emperor" - 2. Poco adagio, cantabile

When Haydn was in England, he really enjoyed their national anthem - “God Save The King”.   He wanted to compose a memorable hymn that could serve that purpose for his country, and he definitely pulled it off with the “Emperor’s Hymn.”   It quickly became Austria’s first national anthem and today is the national anthem of Germany.  Haydn wrote this quartet movement using the “Emperor’s Hymn” as the basis for a theme and variations.  The melody is presented five times - once by each instrument in the quartet, and then again by the first violin at the end.  Right after the five minute mark, the first violin shifts the melody up an octave.

At 5:20, the cello begins holding a long, sustained D.  At around 5:35, the tension releases as the cello makes an upward run leading to the climax of the melody and of the piece - which sounds like a glimpse into the dimension of heaven.

Track Five: Haydn’s Sym. No. 90 in C - 1st movement performed by Adam Fischer & Austro-Hungarian Haydn Orchestra   7:26

Franz Joseph Haydn – Symphony No.90 in C Major

I play this symphony for the boys all the time in the living room - especially in the morning!

The slow introduction gives us a glimpse of Theme I, which is introduced properly at the 1:00 mark when the movement “kicks in”.  Theme II enters at 1:42.   Theme I reappears at the end of the Exposition.  The repeat occurs at 2:43 or so.  The Development starts at around 4:26 or so and makes great use of both themes.  One reason I like this symphony so well is because the themes are so easily identifiable, and the repeating first note of Theme I makes it easy to listen for in the development.  Theme II has a distinctive arpeggio feel which also makes it fairly easy to listen for.

The Recapitulation begins at 5:39.

Track Six:  Haydn’s Sym. No. 95 in C Min - 4th mvt. performed by the Royal Concertgebouw Orchestra & Sir Colin Davis    3:43

Haydn, Franz Joseph [Composer] – Haydn: 4. Finale (Vivace) - 4. Finale (Vivace)

This is the final movement to this work.  The contrapuntal writing is fantastic!  And yet it is so melodic at the same time.

A Brief Exchange With Robert Reich (brief on his end at least...)

I occasionally read Robert Reich’s blog.  In case you are not familiar with him, he was Clinton's Secretary of Labor and is currently the Chancellor's Professor of Public Policy at the University of California at Berkeley.  He is also a frequent political commentator on television.

I sent him this email today:

Dear Mr. Reich,

I am an admirer of yours, particularly of your steadfast defense of the American worker.  However, I must point out a disagreement with a point you raised on your most recent blog entry.

“But waiting too long to reduce the deficit will also harm the economy – spooking creditors and causing interest rates to rise."

Your most recent blog states that government deficits tend to raise interest rates.  I believe this to be false. Government deficit spending introduces new money, new reserves, into the banking sector. That means that banks have more reserves in the aggregate system to satisfy their reserve requirements. Deficit spending puts downward pressure on the overnight lending rate, because there are extra reserves in the system (since the government has spent more into the economy than it has taxed out of the economy), so the price of lending reserves goes down.

So the idea that the Treasury would have to raise rates on Treasuries because of a deficit would create the nonsensical situation where the interbank lending rate would be falling to zero (because of excess reserves from the deficit spending) and yet rates on Treasuries would be rising because those same banks are refusing to buy the Treasuries and receive a return.

Perhaps Japan is an instructive example.  Their debt-to-GDP ratio is way higher than ours, and they have received (meaningless) credit downgrades.  Yet their interest rates are nil.

Note that my point should give your interests (a fair environment for workers) even more leverage in the current discussion as it alleviates some of the unnecessary fears politicians try to use to encourage us to gut socials programs.

thanks for your time!   Steven Stark

And then I got an email back!  Only one sentence, but I was thrilled!  It read:

"I probably agree with you more than I disagree, but I wanted to make an argument that even mainstream economists could understand."

Interesting!

The London Symphonies part three

OK, this is a quick wrap up of my rankings of Haydn's London Symphonies.  I have decided to redo my rankings based on a more systematic approach....but first, the preliminary rankings of the remaining eight symphonies:

8 - No. 100 in G Major "The Military".   Very dramatic second movement with military-style brass and percussion.

7 - No. 94 in G Major "The Surprise".   The first movement is an excellent example of Haydn's monothematic mature style.  The second movement is so well-known it borders on cliche.   But if you listen to it fresh (it may take a try or two), it is a very inventive theme and variations.  

6 - No. 101 in D Major "The Clock".  One of Haydn's most joyous first movements.  The last movement also features some fantastic counterpoint.

5 - No. 93 in D Major.  Such an elegant first movement.  I usually like quicker tempos, but I like the slower version by Sir Colin Davis and the Royal Concertgebouw.   So graceful and clear.   The second movement is a wonderful theme and variations with a bit of Haydn's trademark humor when the bassoon squawks a loud solo note towards the end.

4 - No. 97 in C Major.  As I mentioned in the last entry, I sure do love the power of the Theme 1 in contrast with the graceful beauty of the waltz-like Theme 2.

3 - No. 98 in Bb Major.  The first movement is fantastic, and the second movement is perhaps the best slow movement of the lot.   The last movement is in sonata form as well, so it is quite weighty on its own.

2 -  No. 103 in Eb Major "The Drumroll".   The introduction of the first movement starts off with a huge timpani roll.  This is one of Haydn's best movements.   It's the only one where the slow introduction makes a reappearance later in the movement.   The second movement is a wonderful theme and variations.

1 - No. 104 in D "The London".    Perhaps Haydn's greatest first movement, it perfectly encapsulates everything about his mature style.  It is monothematic, with a constant flow of inevitable, effervescent melody.   The development is particularly wonderful.   The remaining movements are wonderful - the melody of the finale is iconic - a rustic, spirited dance.

My plan for the new list is to rank the symphonies according to movement - put all the first movements in order of most well-liked, then the second movements, etc.

Then I will times the first movement scores by 6, the second movement scores by 5, the finale scores by 4 and the minuet scores by 3.  This will weight the scores of the movements a bit according to importance.

Then I add it all up! 

Note that with this system, I will reverse the numerical order of preference for the sake of the score - the favorite will be ranked #12,  and the least favorite will be ranked #1.

So if a symphony's first movement is ranked #4, it's second is #7, its 3rd is #2, and it's 4th is ranking #9, then it's score would be (4x6)+(7x5)+(2x3)+(9x4)=101.

I expect my rankings to change quite a bit.  I particularly anticipate symphonies No. 99 and 95 to climb and No. 103 and 104 to fall a bit.  We shall see!

This will take me while, of course.  And why I am doing it?   Because it's the kind of thing I enjoy.......what can I say?  I love listening, but I love it even more when done systematically.    

The London Symphonies part two: Sonata-Allegro Form!

The first movement of a classical symphony is almost always in sonata-allegro form.  Understanding this form and listening for it enhances one's enjoyment of the piece immensely, just as understanding the form of a sonnet help a reader appreciate a poem.

Here is a an outline of the form with a brief description of each section:

Introduction (optional) -  Exposition (repeated) - Development - Recapitulation - Coda

Introduction - Haydn loved slow introductions.  They often contained little foreshadowing figures of themes to come,  but basically they seem to settle a listener in - like a prelude.  Because of its contrast to the rest of the movement, the slow intro also gives the following allegro an added sense of momentum - an explosiveness of joy.  Sometimes I think of them like Greek choruses, preparing the audience for what is to come.    11 of the 12 London symphonies have slow introductions at the beginning.

The Exposition contains the main thematic material of the movement.   We hear Theme One right off the bat (after the intro) in a Haydn first movement.   Theme One is in the main key of the piece.  It is usually presented once or twice with some variation, and then a bridge of melodic development eventually takes us into a new key - in a classical symphony, the dominant (the key that is the fifth note up from the main key).   Haydn often presents Theme One again in the new key - these works are often called "monothematic" and are quite common in Haydn's mature style.  No. 94, the "Surprise" Symphony and No. 104, the "London" Symphony are good examples of monothematic expositions.

Just as often, however, a new melody (Theme Two) is presented in the new key.  No. 97 is a good example of a symphony using two Themes (the second is lovely - a waltz-like melody).    Most descriptions of sonata-allegro form will show "Theme One and Theme Two", but Haydn's use of the monothematic style shows us that for this developer of the form, key relationship was more important than a thematic difference.

And sometimes Haydn will do both!   For instance in No. 100, the "Military" Symphony, we hear Theme One in the original key and in the dominant key, but then another theme is presented in the dominant key as well which figures heavily in the development - our next section.

But before we move on, I must mention that the Exposition in a classical symphony is repeated.  This gives the audience a good chance to become familiar with the Themes.   If you are learning to follow the form of a symphony, catching the repeat is one of the first things to try to do.  Then try to identify the Themes.

The Development is where the composer leads us into the woods.  It's the true explorative drama of the piece as the Themes are broken apart, played backwards, turned upside down, sent through a myriad of harmonic centers, and thrown around like a hot potato between the orchestral sections.   Finally, after leading us away from home, the Development must lead us back again as it creates a focused tension which must resolve into...

The Recapitulation, which is the return of Theme One in the original key.  There is usually no verbatim replaying of the Exposition.  You will hear the same ideas, including the bridge materials most likely, but they may be treated a bit differently.   And this time the bridge material will not lead us into the dominant key.  We will stay in the main key for Theme Two as the piece establishes an overall harmonic resolution.  We see again that key relationship is the main drama of classical sonata-allegro form.  

The Coda is extra material at the end to add extra affirmation to the home key.

And there is a summary of sonata allegro from.

Now, using the London Philharmonic recording with Eugene Jochum conducting, I will give the specific time points where these different sections begin in Haydn's Symphony No. 97 in C Major.  

Intro:  0:00  - this is a relatively short intro by Haydn' standards.  It definitely features some foreshadowing of things to come!

Exposition/Theme One: 1:12  - so explosive!

Theme Two:  2:26  - so beautiful!

Exposition Repeat/ Theme One: 3:06

Theme Two:  4:20

Development:  4:59   - Can you pick out the different pieces of the themes he uses?  He focuses mainly on Theme One, but there are some quicker violin passages which sound like the ascending short notes in Theme Two.   There's probably many other references, including bridge material, that I have not found yet.

Recapitulation/Theme One: 6:10 - It doesn't take long to depart from the Exposition.

Theme Two: 7:07  -   Ah, still beautiful!

Coda:  8:24 -  It starts like Theme One, but quickly reinforces C Major to the end.

And there is another Haydn masterpiece.   Nine minutes goes by pretty quickly when one knows the form and can admire Haydn's concise, clear execution.

By the way, the Cleveland Orchestra under George Szell is another great recording and very different in style.  I prefer the Jochum because of the general level of gusto, but the Szell has wonderful clarity.

I will be back soon with the rest of my London Symphonies list.    And then I will be back again with a more thorough evaluation, which I expect will change the list quite a bit!

A Great Piece from Clara Schumann

Robert Schumann’s wife was Clara Wieck Schumann, one of the preeminent concert pianists of her day.  She was also a wonderful composer, and her pursuance of that art in a male dominated culture, where women were accepted as performers but not as composers, is a tribute to her perseverance and her great love of music 

Despite Robert’s support, the culture even caused Clara to doubt the role of women as composers (though she loved doing it).

Last night I listened to the first movement of her piano trio in G minor, and it was a wonderful experience!  The piece features a very memorable opening melody and the form is clear.  I look forward to listening to the remaining movements later tonight - and I will definitely be revisiting the first movement soon.

This is excellent music written by a brilliant musician and and a true cultural pioneer.

The London Symphonies

The last twelve symphonies written by Haydn are often referred to as the London Symphonies.   They were written specifically for concerts in London, and many were even written in that city during Haydn's two lengthy and successful visits towards the end of his career.

Although there is MUCH to explore in all of Haydn's symphonies, these are often considered his crowning achievement in the symphonic form.  He had done much to develop the form of the symphony over his career (he is often referred to as "the father of the symphony"), and composers, such as his great friend Mozart, took a lot of Haydn's ideas and ran with them, helping to standardize them even more.

Haydn, innovator though he was, also lived long enough to see what Mozart and others had done with the symphony and was able to be influenced in return!   Basically, he was in the unique position of being both an innovator and a "perfecter" of the classical symphony.   He also did the same with other hallmark genres of the Viennese Classical style - the piano sonata, and particularly the string quartet - where his personality shines forth perhaps more than in any other area.

But back to the London Symphonies.   I like to listen systematically, so I though I would rank the works as a method to explore them more.   I wouldn't take my ranking too seriously of course.  They might change dramatically after another year of listening!   But it's a fun way to explore Haydn's music, so why not?

My methodology is fairly haphazard, but there is still a bit of one, so here it is!   I weight the first movement substantially more than the others in importance.   The second slow movement is also very important - a "weighty" part of the piece.   The last movement has less importance, it is usually a bit of light (albeit fast and furious) fun at the end, and the minuet movement is definitely last - it is mostly a nice break from the more substantive sections.  When judging movements, I give a lot of points to themes I deem beautiful, to counterpoint, and to the overall melodic flow and structure of the piece.  And by the way, the first movement of each symphony (except one) begins with a slow introduction before the main themse are presented.

I will give a few comments on each symphony, but these are just brief summaries of my opinions.  I am spending a lot more time listening to and writing music than writing words these days - but hopefully there is enough to make exploring these pieces even more interesting for any interested music-lovers.

I have explored many different recordings of these pieces, but my default choice is The London Symphony Orchestra conducted by Eugene Jochum.   Sometimes the sound is a bit too reverb-y and mushy, but there is almost always passionate music-making, rousing tempos, joy and a certain grandness to the sound.

I also want to say that Haydn is my all-around favorite composer/musician for many reasons.  All of his symphonies receive A's in my grade book.   But it is still fun to give out some pluses and minuses!  So here goes!

12 - Symphony No. 96 in D Major "The Miracle".   This work received its nickname because of a London performance where the audience rushed the stage in enthusiasm for the music.   Then a chandelier fell to the ground where they had been sitting and no one was hurt!    The story seems to be fairly credible, however somehow the nicknamers got the wrong symphony!   When studying the dates and programs, music historians discovered that it was actually symphony No. 102 in Bb that was played at that concert.   So sometimes No. 102 is called "The Miracle", but mostly No. 96 still wears the title.

The first theme of this piece is quite good.  However, the rest of the movement seems a bit thin.   The second and third movements are quite nice, and the fourth is lively, albeit a little thin on counterpoint.

11 - Symphony No. 99 in E flat Major.   This piece is still growing on me for sure.  It is one of the few where listening to a different recording from the Jochum has served me well.  Because of this, I may have a bit of a late start on this symphony compared to the others.  I prefer the Royal Concertgebouw orchestra conducted by Sir Colin Davis.  The Jochum seems a bit stuffy at times, and the Davis recording is crisper and livelier.  The second movement in particular came alive to me when I heard the Davis recording.

The first theme is energetic and presented in the tonic and dominant keys.  There is a second, contrasting theme as well which is a bit "proper" sounding to my ear.  The Exposition as a whole, and particularly the opening theme and bridge materials associated with it, are actually pretty great.  And the third and fourth movements are nice.  At least one respected critic I have read ranks this symphony in his top four or five out of the twelve.   I will keep listening.  I predict that it could keeping growing on me!

The problem is that all the London twelve are pretty great (and still growing on me).  I guess one of them has to be number 11.    ;)

10 -  Symphony No. 102 in Bb Major.   This is regarded as one of Haydn's absolute best works, however the themes are not super appealing to me.   The first is a bit short and repetitious and the second is hard to pick out.    From the development to the ending is absolutely fantastic, however.    The second movement is one of the best out of the London twelve.  The third and fourth movements are OK.

9 - Symphony No. 95 in C Minor.   This is the only minor symphony out of the twelve.  And it is also the only one not to feature a slow introduction before the exposition.  Once again the themes are not super memorable and the movement is not very heavy on counterpoint.  The second and third movements are wonderful, however.  They feature beautiful cello solos, particularly the trio (middle part) of the minuet (3rd mvt).   And the last movement is one of Haydn's very best.  From about the middle point on, this short movement moves likes the dickens with tons of counterpoint.    

I will continue this series soon.  In the next installation, I will include a brief summary of sonata-allegro form, which is used in all of Haydn's opening movements (as in all "classical" symphonies) and often in other movements as well.

Advice from Mr. Burns

I once sent Harry Shearer an email asking his advice on making it in the entertainment business.   His reply applied to far more of life than just that narrow band.  It read simply,

"Talent is good. Luck is better. But nothing beats brute persistence."

Debate Tonight

Obama's central mistake in the last debate was that he mistook political theater for a rational policy discussion.   He needs to be smart, but snappy when getting his points across.   Also, I really hope that he points out again that Romney's health care plan does not cover those with pre-existing conditions.   That was a blatant attempt by Romney to mislead viewers last week. His policy preserves the current status quo.  Obama pointed this out by calmly explaining why what Romney said isn't so, but he needs to be less wonk-ish and more direct.   

And Obama must remind voters that, not only does Romney want to force women to remain pregnant against their will, he picked a VP nominee who would like to force raped women to remain pregnant, even if they are teenagers and their rapists are family members.   I hate typing this stuff, I don't like controversy, but it's the truth.

Let's hope for a good and honest debate tonight!  

Danse Macabre

This is a little jump start on the Halloween season!  Note that the solo violin has tuned down the E string a half step to create a tritone with the open A.  

Thank you Mr. Saint-Saens!  Also check out his excellent cello concerto in A minor.

How Much.....?

I think a really good exercise is to change our language about work and income.   What if we answer the question, "What do you make?" with our work, instead of with our income?  For instance, a teacher makes educated students.  A police officer makes security.    

Then our income level becomes the answer to the question "What do you take?"

I think this is a more accurate way of thinking about it.   Our income is what gives us our power to consume - to take.  Our work is what we do for others - how we serve others - what we make.

And I am not implying that there is anything wrong with taking - many people do wonderful things with the income they take, and many people deserve to take more than others because of the nature of their work.   But I think this way of thinking helps us with our priorities and how we give respect to others.

I Have Got It.

I have got it. If some people running for office are so concerned that so many American don't pay federal income tax (they are not counting payroll tax, federal fuel tax, state income tax, sales tax, etc.), then why don't they propose raising the minimum wage to $15 an hour? Sooooo many more people would be paying federal income tax.

But wait, now some are saying that some businesses cannot afford to pay that much? So basically there are businesses out there that need people to be poor in order to stay in business?

Then why are we complaining that they don't pay federal income tax again?

A Few Quick Thoughts....

A few thoughts after some exchanges on a conservative religious blog.

One:  These days, even critics of homosexuality accept that one is born that way, that it is not a conscious choice.  Yet they still reject gay marriage, which of course means that they think gay people are better off living lives without an immediate family.  My immediate family is absolutely integral to the meaning of my life.  Therefore, I see opposition to gay marriage as asking others to trade family life for lives of isolation.  And this is cruel.

Two:  We are standing on the shoulders of the ancients, not holding them up.

Three:  "God loves me more than he loves you."    Calvinism in a nutshell.

What's Going On?

 

This is just a quick note (mostly to myself, but also to online friends) about what's been going on.
 

I spend my mornings hanging out with the family.  Susan, Severin, Wolfgang and I play with cars, trains and play-dough.  We listen to music and dance, we get frustrated and go to time-out, we visit the Science Museum of Oklahoma, we go to the bookstore, we tell jokes, we dig in the dirt and run through the sprinkler (when it's not 111 degrees, like it was today), we play make-believe constantly - we are dinosaurs, construction diggers, fish, etc, etc.

It's busy!

Then I teach my lessons in the afternoon, supplemented by live performances and session work.

Time is still there for other things, but the required energy and focus sometimes are not!


However, I have been working on another string piece.  The title is still up in the air, but it will be something like "A Wandering Wind On A Prairie Pond"  or "Water Under Wind" or something like that.

I expect to have the first draft done sometime this month.  The key signatures are a bit difficult for high school, but I am hoping that an advanced group might have some luck with it.  A good college string section would be ideal.

I also hope to complete another, less technically demanding high school piece in 2012, and perhaps attempt some pieces for middle school orchestra.  I would love to work more as a composer/clinician with different groups - something I have really enjoyed doing in the past.

After getting a few more string pieces and performances under my belt, I hope to try a full orchestral work.  My goal would be to pursue subject matter reflective of the Oklahoma landscape and story.

Chamber music is my ultimate goal, and I look forward (with trepidation) to the day when I am able to premiere a string quartet.

I have also been listening to the music of Franz Joseph Haydn for several months now.  I am studying scores, reading more biographies and giving careful listens to his symphonies and string quartets.   This summer, we are lucky to have had the inaugural Oklahoma Haydn Festival at Mayflower Congregational Church here in Oklahoma City - the church I attend.

I had been rediscovering the music of Haydn for a few months when our organist announced the new festival and, needless to say, I was excited and flabbergasted at the timing.   I look forward to becoming involved with it next year.

I hope to write more about Haydn soon - he was a musician who built himself from the ground up, coming from truly humble beginnings.  Through his abilities and the circumstances of his career and relatively long life, he was a real rarity in history - an innovator, developing the Viennese classical style particularly in the realm of the symphony, the string quartet, and the piano sonata, and thereby building a foundation for Mozart and Beethoven, and yet he was also a perfecter - particularly in his works written after hearing the music of his great friend and true kindred spirit, Mozart.

Here are a few quick listening recommendations for anyone interested:

Symphony no. 39 in G min - a fantastic example of Haydn's mid-career "Sturm and Drang" period.   Storm and Drive!   Make sure the recording is a brisk tempo.

The "Fifths" string quartet in D minor - Opus 76 No. 2.   The opening movement is dominated by a motif of descending fifths.  Listen for them underneath many of the melodic passages.

The first movement of the "Drumroll" Symphony, no. 103 in Eb, from his last group of 12 symphonic compositions knows as the "London Symphonies".     Wonderful slow introduction, great melodic writing in the exposition  - powerful inventiveness in the development.

I hope to write more soon about my current hero of musical history.

In other news, I am still developing writings in my Theology From The Plain series, which is an attempt to write quick, clear descriptions of my current views of.....that which is.   It's a systematic attempt to organize and analyze my thinking, and of course any input from others is invaluable.   I hope to get a few things up in 2012.

To any readers, I wish you all the best in your current endeavors!!   I would love to hear about them.