Currently viewing the tag: "St. Louis"

It’s not everyday that you go to hear chamber music and Beethoven happens to be the most avant garde composer you hear.

Okay, that’s not strictly the truth. The second String Quartet by Sofia Gubaidulina, composed in 1987, and performed by the Arianna String Quartet last night at the Touhill Performing Arts Center in St. Louis, was way more “out there.” In a relative sense, though, the Beethoven Grosse Fuge, was the more experimental, given that it was composed more than 150 years prior. I had not read the liner notes before hearing, but I had pondered that this had to be late Beethoven, maybe even close to the last composition he ever penned. It had a complexity that belied its composer (based on what most of us have heard before, anyway), dissonance, syncopation, and atonality.

If the composer hadn’t been named, I would have guessed, except for a few passages which were dead Beethoven giveaways, that the piece came from the late 1800s, maybe even the early part of the twentieth century. I was vindicated upon reading the program notes. Stravinsky, described as “one of the great artistic innovators of the twentieth century,” said of it, “this absolutely contemporary piece of music will remain contemporary forever.” It appeared to require a huge amount of energy from the players, who seemed only too willing and able to oblige to the fullest.

As interesting, the work was originally the sixth and last movement of the Opus 130 string quartet. Six movements! But it overwhelmed the audience apparently, so Beethoven wrote a more acceptable one and the Grosse Fuge was issued as a stand-alone composition. While we consider him the master of master composers today, even he had to cow-tow to his audience and patrons.

I’m not even close to a critic or even steeped enough in contemporary chamber music to say much about the Gubaidulina piece, except that it reminded me of Xenakis and a few others I have heard who, best as I can describe it, play with ribbons of sound. Their compositions are characterized by, not so much whole, half, quarter, or any other of the conventional discrete notes, but by streams tossed, thrown, pitched, stretched, compressed, or simply floated into the air. These compositions are a real contrast to the contemporary minimalist composers who go in the opposite direction and take discrete notes and repetition and patterns and rhythms, and subtle changes to them over time, to logical extremes.

The evening closed with Robert Schumann’s Piano Quintet (Opus 44), for which the guest pianist, Einav Yarden, joined the strings. Lush and lovely, of course, but what struck me was the second movement. While described as a “funeral march with two interesting interludes,” I found it to be ethereal, dream-like, hallucinogenic even. Of course, being an amateur viola player, I was captivated by violist Joanna Mendoza’s presentation of the strong solo towards the end of the movement. Apparently, there are only a few “monumental” piano quintets from the Romantic era, Brahms and Dvorak penning the others.

I appreciated the liner notes by Kurt Baldwin, Cellist. They seemed more digestible than most program information I read at these types of events.

Learn more about this wonderful staple of St. Louis’ classical music scene: www.ariannaquartet.com

 

One of my favorite short stories, The Master’s Voices, was accepted for publication by The Dos Passos Review. This is especially satisfying because this story has been kicking around for a long time. Most everyone in my various writers groups are also fond of it. I had it workshopped when I attended the Sewanee Writers Conference. One of my instructors there gave me sage advice: “Get out of the way of your story!” Most fiction writers hear this admonishment at some point, in different guises. But it took me several years to figure out what he was talking about. One of the most difficult things in fiction is not listening to critique (well, it might be for some people, I cherish it), but converting the feedback into revisions without destroying your original meaning and intention of the story, especially in subtle ways. Anyway, the only hint I’ll give about the story is a major theme is the Negro Baseball Leagues and some of the players who have very colorful names. Most people are aware of the Baseball Hall of fame in Cooperstown, NY, but fewer know that there is a Negro Leagues Baseball Museum in Kansas City, MO. I am definitely planning on visiting my next trip across the state (I live in St. Louis).

Your feedback is most welcome!

 

 

You’ve heard the phrase “ghost town.” A town that was there and isn’t today. What about a “ghost city?” When a once-vibrant urban area goes to ground, you can hope for rebirth or say bye bye.

…………………….

First, I wish this essay to be a testament to how a random occurrence can lead to greater insight, inspiration, and ideas for the future.

In the process of cleaning house a few weeks ago, a rather large house filled mostly with books, I came across East St. Louis – Made in USA: The Rise and Fall of an Industrial River Town. This was surprising because there aren’t many books in this house I am not familiar with, even if I have not read them.

I’ve spent the better part of my career writing about industrial America from the inside out. As a youth, I worked a summer job once in Chattanooga, TN, loading and unloading tires from boxcars and rail cars into and out of temporary warehouses created from abandoned industrial structures. On my lunch breaks or waiting to be picked up, I’d rummage around the old machinery, occasionally the files and paperwork left behind, and the neighborhoods these manufacturing facilities inhabited. Before that, I remember being “volunteered” by my mother to work one of the first Earth Days in 1970 in, to be euphemistic, one of the less fortunate city neighborhoods, far far away, frankly, from the comfortable suburb my family lived in. We worked abandoned light industrial areas and inhabited residential areas.

Industrial America fascinates me.

If Americans know anything about East St. Louis, they know (1) the flat tire scene in the first Vacation movie, starring Chevy Chase and (2) that it is one of those cities adjacent to one of those much better off cities. I moved my family from Bucks County, PA, to St. Louis in 1997. East St. Louis, directly across the Mississippi River, was known for three things – crime, strip clubs, and decaying industrial sites. I was familiar with these kinds of cities. There are edge cities, prosperous suburban metropolitan cities adjacent to or near the cities everyone knows. Then there are fall off the edge of the cliff cities, decaying cities adjacent to the cities we know, usually (but not always) in the next state over.

When I lived in New York City, I got pretty familiar with Newark. I worked in a refinery in Elizabeth, NJ, adjacent to Newark. Back then (1970s and 1980s), lots of cities in NJ served in the role of fall off the edge of the cliff – Newark, Bayonne, Elizabeth, Jersey City, and others. To the north were the prosperous edge cities like Stamford, CT, and those in Westchester County, NY. When I lived in Bucks County, PA, commuting distance to both New York and Philadelphia, I got familiar with Camden. In my frequent travels to Chicago and environs, I became somewhat familiar with Gary, IN. Later I spent a lot of time in San Francisco and got to know Oakland.

East St. Louis: The Rise and Fall of an Industrial River Town, by Dr. Andrew J. Theising, a professor at Southern Illinois University – Edwardsville, IL, explained to me why East St. Louis is the way it is. It exemplifies the power, in this case destructive, of initial conditions: The city was conceived to cater exclusively to its industrial interests and once those industrial interests decayed to nothingness, the city’s purpose, it’s reason for being, went with it. It has, for all intents and purposes, gone to ground. There is very little left. What institutions and “businesses” remain, or have emerged in recent years, are, according to Theising, public and non-profit and therefore not paying taxes.

Theising’s treatise, eminently readable, is based on scholarly research. The photographic history alone is worth the read. Even in 1918, the city was determined by census statistics to be the second-poorest in the country. Mind you, this was a mere fourteen years after St. Louis, across the river, hosted the World’s Fair when it was America’s fourth largest city. Although simplifications are dangerous, you could say that St. Louis’ money went west (Clayton, MO, is the prosperous edge city for the metro area) and St. Louis’ industrial dumping grounds went east. The government of East St. Louis catered to those industrial interests, at the great expense of its residents.

I was so captivated by Theising’s book that I told him so in an email and he graciously offered to give me a tour (he runs a place called the Institute for Urban Research). I had driven around the city before but it had been about ten years. Yes, I had even visited the strip clubs every so often with an out of town business client on generous expense account.

But I wasn’t prepared for what Dr. Theising showed me.

Fact is, the city has, indeed, gone to ground. So little of it is left. There is a main drag and I was surprised to learn that, while the storefronts were boarded up and there was little activity early on a Friday afternoon, on weekend evenings, you’d be hard pressed to find parking. As portrayed in Vacation, the city is something like 97% African American. In this day and age, that in itself is kind of mind-blowing.

Here are just a few anecdotes illustrating what happens when a city has gone to ground. We toured a new neighborhood. The homes were less than ten years old. In the parlance of the urban planners, it is an “infill” neighborhood. I can’t recall whether it was described as a law or a neighborhood ordinance, but the residents are not allowed to congregate in the front of their homes. Can you imagine? Okay, most outdoor grilling takes place in the back yard, but a law that prevents you from hanging with your family in front, waving to the neighbors walking by? That’s because so many killings take place in these areas from people shooting from cars as they drive by. Yet over ten years, this neighborhood has apparently sustained itself as a quality place to live.

East St. Louis has six police officers. Dr. Theising told me the number of 911 calls the city gets per day and I forget the number but I do remember doing the math in my head and it came out to approximately one every five minutes. The city only has about 27,000 residents. When I asked the obvious question, how do six officers respond to a situation every five minutes, Dr. Theising’s expression answered the question simply: They don’t. They can’t. I think the suburban town I grew up in had 200o residents and at least six police officers.

We drove through an intersection well to the east of downtown and Theising pointed out the two grocery stores across the street from each other. Of course, the irony is that the rest of the city is a food desert. You could probably guess that the two stores are competing to see which one goes belly-up first. But here’s the kicker: One of the stores actually pays for a car service to pick up and return customers. Now, I do know that most grocery stores operate on the thinnest of margins. It’s impossible to imagine how a store remains solvent adding car service fare to its expenses.

If you wanted to develop some constructive ventures in East St. Louis, apparently you’d be hard-pressed to even figure out who owns the land. Many residents have had the land passed to them from relatives but never had the records officially revised at City Hall.

Towns surrounding East St. Louis are often incorporated as separate cities essentially owned by the companies who operate the industrial facilities, or once did. Thus, there is no hope of annexing or incorporating adjacent areas.

Truckers which just charged residents of St. Louis like me so much per ton to transport our bulk waste to a landfill or a recycling center routinely dump their cargo in some abandoned lot across the river. You know an urban dystopia has emerged when it is a good thing you see tires sticking up from the ground or a sidewalk. Why, you ask? Because that means someone had the decency to mark where a sewer lid had been stolen so no hapless soul descends to their doom into a sewer line from which the likelihood that someone would hear you scream is next to zero.

But here is the Disney Matterhorn of the tour. Dr. Theising took us to an overlook sandwiched between a functioning agricultural industrial facility and an expansive abandoned property along the river banks. It’s an urban park (Malcolm W. Martin Memorial Park) with an amphitheater cut into the ground and a lookout point so handicap friendly that the poor bastard who pushes the wheelchair up the five inclined stair-stepped walkways probably needs an iron lung when he/she reaches the top. One of those bronze sculptures of a famous person (I guess it’s Malcolm Martin), so real you’re happy it isn’t dark out, greets you. You gaze across the river. Damned if you aren’t equidistant from the ends of the Gateway to the West, the St. Louis Arch. I mean, this lookout point bisects the arch perfectly. It’s almost as if the designers were poking their figurative thumb in the eye of the “prosperous” city across the way. The experience was even richer knowing that, at the top of the Arch, visitors were looking down at us.

I’m looking at you…looking at me. You’re looking at a ghost city. I’m looking at your majestic skyline, unobstructed views, a photographer’s paradise, free parking!

I brought a friend with me for the tour whose knowledge of the arcane of St. Louis (he’s the kind of guy who stops and makes you read historical highway markers) is second to none. I at least consider myself an educated and informed citizen of the region I live in. Neither of us had even heard of this “park” though it was completed in 2009. Yet a family who drove up with Ohio plates somehow knew about it (and evidently were not familiar with the scene from Vacation).

Yet, for all the desolation, the gone to ground appearance, I couldn’t shirk the feeling of hope. East St. Louis was a clean slate, on the surface anyway. I began to envision a 50-year development plan that learned from  the lessons of the original “initial conditions.” I remember a movie, an awful movie, and I think Chevy Chase was in this one, too, with John Candy, where one of them looks out across the wilderness from the deck of some country home, and says, “I see condos…I see shopping malls.” Well, I saw a completely different energy infrastructure, one based on renewable and clean distributed small scale electric power and microgrids, a bicycling community, urban farms, a small scale farm to market where residents walked to the “farmer’s market.” I saw an urban area that rid itself of its “initial conditions.” Converting the rails to trails. Deploying the Internet as the “highway system.” I saw a place where someone like my daughter, soon to graduate with a degree in environmental studies (urban planning, social justice and lots of other things thrown in), and others like her, could start from scratch and begin to build a model community for the twenty second century.

But that was after I stopped reflecting on the geometry, the irony, accompanied by my friend and an expert on East St. Louis, and the silent perennial sentinel, the bronze statue, , all four of us standing (well, for accuracy’s sake, the statue guy is sitting) virtually under the majestic Arch, in homage to the city which no longer ranks in the top fifty by population in the United States.

If America ever had the guts to embrace central planning again, East St. Louis would be a pretty fine place to start. Maybe the city across the way learns a thing or two as well, because maybe it’s on the same path (not that anyone would want to admit that ). Because the alternative, corporate and industrial control, resulted in this ghost of a city.

Thank you, Dr. Theising.

William Gass is one of these literary fiction authors who apparently appeals to only the highest echelon of the literary fiction community, whoever they are. These writers intrigue me. I’ve noticed over the years that writers and readers tend to have their favorite “big books” from these literary lions but despise most of them. I love Don DeLillo’s Underworld. My patience for David Foster Wallace’s Infinite Jest became finite at page 60.

Last Saturday I checked out Gass’ latest novel, Middle C, from the library. Coincidentally, that evening I was browsing events around town and Gass was listed as participating in a performance at the Meta Gallery, 3151 Cherokee Street, one of the currently hip neighborhoods in St. Louis (Gass lives in St. Louis, as do I). Well,  of course I had to go.

I love these kinds of events. Random. Vague. Cool. Fashionable. Dubious. Curious. Galleries are a display case for the art, the artist(s), and especially those in attendance. Often, I sense that everyone who shows up thinks: (1) Is everyone else as ignorant about the meaning, value, worth of this stuff as I am? (2) Can I convince everyone here that I’m the only one with the true insight into the displayed works? (3) Is standing in front of one work too long the same thing as dropping a fragile object in a store – you drop it, you bought it kind of thing? (4) It is de rigueur  now that the wine has to suck at these things. (5) Is the outfit she’s wearing like the prize at the bottom of the Cracker Jack box – a bonus for showing up? (6) I am now defined by the company I keep – I hope no one I work with shows up.

In short, everyone is performing. It’s unlike any other type of cultural excursion.

I find ignorance helpful when viewing art. I bring no pre-conceived notions. I am open to possibility. I also find going solo a blessing. I am absolved of conversing – thinking up something intelligent, something creative, something worthy of what I am viewing, words superior to the displayed works in their artistic flourish! Ignorance and solitude, yes. As long as you can stomach all the people staring at you, or using every muscle not to, wondering why you have no partner and no friends.

Annie Minx was the artist whose works were on display this evening.  No idea who she is. I couldn’t discern her in the crowd. But I liked her work. I guess the best way to describe them, pardon my ignorance and creative flourish, is they were Jackson Pollock in relief map 3-D, or multi-colored (multi here meaning every color from the palette) simulated rock that had bubbled up from a volcano, molten mess quickly fused by flowing water, with no supervision. Some of the them reminded me of mounted wildlife trophies. One began to look like a wild boar every time I returned to the beer in an iced barrel out in the alley. Another resembled tree bark. They were all glossy, plastic or solid waste materials perhaps, with acrylic paints, maybe, and they tended to come together at an apex, triangular pyramidal mostly. The ones mounted on white drywall background stood out much better than the ones against the brick wall. There were no price tags on the works. Mercifully, written descriptions, which usually possess the creative flourish of a rock sinking to the bottom of a pond, were absent.

Minx’ works were only one facet of the evening. There was a musical act as well. It was presaged by the music playing in the background, a group called Swell Maps, a 1970s UK post-punk band, I learned, after asking the guys dressed in black tights and muscle shirts hovering around the equipment. The selected pieces didn’t sound very punk to me, more like ambient electronica a la Kraftwerke only fed through a fuzz master. I failed to make a connection between the music and the art but that’s because I was still thinking too hard after two beers. I avoided the flimsy clear plastic cups of Chardonnay, surely laced with White Oak No. 2 from the industrial flavor chart.

The music performance started with a version of Lou Reed’s “Sweet Jane.” The version of this song from the album Rock n’ Roll Animal is one of the best rock songs ever, you know, the one with the best intro to a rock song ever. I looked around the gallery and thought, I am probably the only one here who actually heard Lou Reed perform this song live (three times!) in New York City during the reign of punk rock. That was pretty easy to conclude as most of the crowd hadn’t even slithered out of the womb when I was living in Manhattan when NYC hit rock bottom (I entered college there 1974, the year the city declared bankruptcy).

Then the young guys in tights began to do a punk rock impersonation, or maybe it was a parody, or irony, or cognitive dissonance. Like I wrote, ignorance is so helpful at times like this. They kept asking for requests from the audience, none of which had anything to do with punk, or with the period. I often go to things like this insisting privately that I will only listen, absorb, and not project. I failed (I always fail at this). I shouted out a few requests. At least they were from the 1970s (“666,” Aphrodite’s Child) and/or the post-punk period (“White Wedding,” Billy Idol), I thought, obscure enough that these two whippersnappers could show their crowd how hip they really are, but songs not so underground that two hipsters purporting to parody the era I came of age in wouldn’t have become familiar with. (Wow, that was a tortured sentence, but yet with an artistic flourish, no?)

Needless to say, they did not “perform” my requests. It wasn’t clear whether they knew of what I requested. Neither of them even offered up a Billy Idol sneer straight out of MTV. I gave them the benefit of the doubt, and figured they were playing along with me, another layer of irony. When I yelled out 666, the only guy there much older than I looked over at me and laughed a knowing chuckle. I thought maybe he was William Gass. Or maybe I just had it wrong from the get go. One of the guys in tights could also have been named William Gass. The William Gass I was looking for never performed, least not before I left.

I am looking forward to reading Middle C.

I’ve heard Chamber Project St. Louis a half a dozen times now in various venues around St. Louis, most recently at the Schlafly Tap Room downtown. What is remarkable and admirable about these four young ladies is that they are also managing their own business affairs – marketing, sales, website, rentals, venue arrangements, piano rental, and much more I am sure. It is difficult enough to eke out a living in classical music and the arts, but to do it all on your own is quite a challenge. Most musicians launch off an existing platform, an institution; these ladies are creating one.

But even that’s not all: They are bringing chamber music to new venues. How many times have you heard a violin, viola, flute, and harp in a bar? By doing so, they are undoubtedly attracting new patrons, young patrons, patrons that don’t need to drape their mink coats or Burberry overcoats over the back of their chairs. Imagine being able to sway and move, or even tap your foot to the music you are listening to! If you don’t like sitting for an hour, you can stand in the back. I heard them in the Spring at the Tavern of Fine Arts in the Central West End, over a glass of wine (or two) and a cheese and bread plate (and other choices). Chamber music is awakening, morphing into entertainment with options for how you experience it (not that I don’t love going to traditional concert halls, too)

The program last week at the Tap Room featured a harp, and music that spanned two and a half centuries. The Song of the Lark for flute and harp was the first piece, by Charles Rochester Young, a contemporary composer. It was followed by a Mozart (late 1700s) Duo for violin and viola, a harp solo by G Donizetti (early 1800s), and finished with Petit Suite by the French composer A Jolivet (mid-1900s). Just getting to see and hear a harp up close was treat enough! During the first piece, the harpist did something to her instrument to make it sound like a snare drum. To me, this was a stunning effect. She played it in spots like a guitar. Or at least it sounded like one to me. The piece itself reminded me of Debussy’s Prelude to Afternoon of a Faun. One thing about a Flute and a Harp: Both can run up and down the musical scales lightning fast and fast runs were certainly featured in this work. I’ve also never seen a harp string break, but one did (it hung there like a child being punished in the corner), and the players recovered marvelously.

The Mozart piece, I have to say, was typical in the sense that the viola was slaved to the violin. I’ve been a struggling viola player at various times in my life and have an ever so tiny chip on my shoulder. And not that I could ever have played hard, solo parts if they were ever written for me. But still. Anyway, the piece came across as lovely and, again, just so enriching to hear Mozart in a bar with huge tanks of beer and ale one floor below. He probably would have liked that. Finally, by the third movement, it seemed that the viola had parts equal to the violin, as they seemed to do a question an answer type of dance between them, exploring something deep.

During the Donizetti, we really got to see the harp up close and personal. The movement of the arms off of and onto the strings, and the shoulders as an extension of the instrument, is a thing of splendor.

The final piece, the Jolivet, also led my mind to Faure, Debussy, and Ravel and the impressionistic music of France and Europe in the late 1800s. This piece flowed off the stage deliberately and with great sensuality, and in the third movement I think I detected fragments of Middle Eastern musical themes, and different rhythms. In the last movement, the flute player switched to a piccolo and the piece ended playfully, as if there was dancing on board a ship, wherein the harp sounded to me much like a piano.

I guess I have a sentimental reason for hoping Chamber Project St. Louis achieves lavish success. When I was a teenager, playing the viola in the Chattanooga (Tennessee) Youth Orchestra, I formed a chamber group with some friends and we played a few “gigs” around town. We even got paid when we played at the Jewish Community Center, to this day the only time I have ever made a dollar with that instrument (five dollars to be exact!). Our group was a little lopsided. We had three or four violins, one viola, and I recollect that we had a cellist, and maybe even another instrument or two. We booked our own gigs too. I suppose our parents helped. But I think about how much fun we had giving it a go.

These ladies of course are trying to make a living adding new dimensions to the chamber music experience in St. Louis. Plan to enjoy their next gig and support them when you can!

On November 2, St. Louis’ Arianna String Quartet performed Passport: Latin America in their “house” (The Touhill Performing Arts Center at University of Missouri-St. Louis), a program consisting of works from three contemporary Latin American composers and including a flute player. In addition to reveling in the new compositions Arianna continues to bring to our metro area, I was struck by their courage in having a program of all new music, music from a part of the world we don’t tend to associate with “classical” music.

You know, whenever you go to hear a major orchestra or chamber group, if they include a contemporary work (usually a big if), the organizers invariably sandwich it between two known and popular works, or at least recognized composers. I’ve always speculated the reason they do this is because if it’s scheduled first, many people will show up late, and if it’s scheduled last, many patrons will leave early. It’s like you have to put the bitter pill inside a scoop of ice cream to get patrons to swallow it!

The first piece, Quartet No. 1 by Osvaldo Costa de Lacerda (Brazilian) was playful, almost like a pop tune, but somber as well, and seemed balanced among the different instruments. I have to confess, I didn’t “feel” any Latin rhythms, but maybe that’s just me. I didn’t take any notes on the second piece.

The third piece, Leyendas: An Andean Walkabout (2001), by Gabriela Lena Frank (Peruvian, Chinese, Lithuanian, Jewish, and born in Berkeley, California), well-exemplified for me what the flutist, Alberto Almarza (Chilean), called a “layering of cultural realities…a reflection of the society” during the lecture preceding the program. This piece began with tribal-like percussion, guitar-like strumming rhythms, then glissando from the violin and high energy-tremelos. The second movement featured pizzicato (plucking the strings) and strange bowing I’ve never seen before, almost as if the music was not really mean for these instruments. I detected Latin dance and rhythms for sure in this piece, and even some tunes I’d more associate with Hollywood westerns. By the end it was rip-the-strings-off pizzicato!  In the third movement, the players had to endure playing harmonics measure after measure – I say “endure” because harmonics are really hard to play right (at least they were for me, when I played viola). A blend of western United States and Mexican Mariachi band type sound began the last movement, which ended with bouncing bow strokes that reminded me of a horses’ clappity-clap on the high prairie.

To me, the point of hearing contemporary music for the first time isn’t necessarily to like or not like the music but instead to experience a different context, a new way of putting notes together  that borrows from convention but also reaches for something new, to challenge our ears and our brains. Almarza said during the lecture that composers don’t invent anything, they open windows to a library of sounds from around the world. I would courteously contest that statement in general, but certainly see how it applies here.

The Arianna String Quartet continues to bring variety, sophistication, energy, and contemporary innovation to the St. Louis chamber music scene. They deserve our support!

It was annoying enough to be diverted while flying, land at an unintended airport, wait out a storm, and then arrive home three hours late the evening of September 7. But I was also missing the season’s first performance of the University of Missouri-St. Louis’ (UMSL) Arianna String Quartet. It was especially disappointing because, as someone who plays a viola, I was really looking forward to the world premier of a quintet written specifically for Arianna violist, Joanna Mendoza.

Now here is where I was redeemed by social media. At the Arianna Facebook page, someone posted a comment about the performance and I casually responded that I had been waylaid and was so sorry I missed out. How welcome it was, then, that Joanna herself messaged me (it’s not out of the blue – I took lessons for a few months from Joanna several years ago, so she does know who I am) and offered me a CD of the performance. How could I refuse?

As lovely as the first pieces were, Haydn String Quartet, Opus 33 No. 2 (“The Joke”) and the Shostakovitch String Quartet No. 3, it’s Kenji Bunch’s “String Circle” I want to tell the world about. The composer, a violist, joined the quartet.

The concert was labeled “celebrations” and indeed, this piece fulfilled that word to a t (and a l and a b and all the other letters). I would describe it as a amalgam of Americana themes and styles including jazz and rockabilly (walking bass lines), southern mountain music (hillbilly), American West (Marlboro man), Americanized Irish jig, Aaron Copeland, Broadway musical, what I heard as television sitcom themes (e.g., Mary Tyler Moore, Andy Griffith), and even rock n roll. Like alchemists, the players spun a golden tapestry out of what might at first appear disparate fragments.

I heard train whistles, fiddles, dulcimers, mandolins, crows cawing, and the whispers of a sad broken old man comically crossing the Western Plains on his mule, as if he was in an episode of the Road Runner cartoon. The third movement was somber, elegiac, like residents were waiting for the last light to go out in their dying Midwestern town, and then the walking bass line in the cello took us into the grave. As percussive as the fourth movement begins, then growing playful, perhaps a horse trotting up to a saloon, it has a big finish. And the final movement is rhythmically complex (more like the Shostakovitch).

It’s gratifying when something I write agrees with something in the liner notes I haven’t yet read. At the beginning of the fourth movement, heavy on the pizzicato, I wrote down “gathered meeting.” I’m not sure what I meant except that this phrase, among other things I’m sure, refers to how, at a Quaker Meeting (what they call their Sunday service), the comments people make as they contemplate life in silence are related by a common theme. Bunch’s composition wove together so many familiar sounds from contemporary America, some as embedded in our consciousness as iconic images from film (think Hitchcock or Gone with the Wind), but a common experience unites them all. In the advance program notes, Ms. Mendoza describes String Circle as “the sounds of old friends coming together. And who are old friends but people with whom we have many common experiences?

As thankful as I was for the CDs, the one common theme running through my head as I listened was that this was no substitute for the live performance. Especially with chamber music, you are one not only with the music but the emotions, the expressions, and the movements of each of the players.

The Arianna Quartet is a treasure. And now, I believe they have released a new CD of the Janacek quartets. Check their website . And catch their next performance.

I know about incandescence, I’ve been the victim of incantations (don’t ask), and have heard of contatas. Last Sunday, I heard Paul Muldoon’s Incantata, a long poem, read aloud by Eamonn Wall, and interpreted by St. Louis composer Barbara Harbach for nine instruments – violin, viola, cello, piano, flute, clarinet, bassoon, horn, and trumpet. This was quite an original performance combining spoken word and music, distinctive forms and sounds, side by side.

A nice thing about a city like St. Louis is that it is large enough to attract some of the world’s finest artists, especially in the classical music scene. But it is small enough that you can actually engage these folks and learn some things without being intermediated by the media. I had met Ms. Harbach at a literary function earlier this year and have struck up an email dialogue with her.

She was gracious enough to answer two questions I had about her premier work:

-Why this number of players? Answer…the poetic story is on a large scale and she needed a small chamber orchestra to match that scale (as opposed to, say, a quartet or a trio).

-Why a conductor? Answer…the piece has complex cross rhythms that needed a conductor to keep together. More than six players gets a bit tricky to keep it all together.

As briefly as possible, the story concerns an Irish artist, Mary Farl Powers, with whom Muldoon had a tumultuous romance with, who elects not to treat her cancer using modern treatment methods. The liner notes for the program note that the poem is both a lament and a dissent from the artist’s fatalistic world view.

Each of the five movements, or musical interludes (?), has an easily identified fragment, that builds effortlessly into the theme. Memorable moments in the music for me were the transition from happy and spritely to somber and cautious in the first movement (“Powers”); the beautiful piano solo in the second movement (“Nocturne”) and the few measures of a string trio; the way the third movement (“Composed of Odds and Ends”) changes from a Irish jig like dance to a march, from pastoral and rural to patriotic; and the low jazzy rumblings building into a slow long crescendo to end the fourth movement (“Bitter-Sweet”). The fourth movement also features a lovely piano entrance.

I wished the fifth movement (“Coda”) gave me more of an impression of an ending, a wrap up, a tying together of the loose ends, rather than an abrupt piece of punctuation. I wanted more, not less, is what I mean.

Harbach’s complex rhythms were nevertheless quite approachable and appealing. I mean, it wasn’t like it went from Rastafarian to boogie or anything. I hope a CD is forthcoming so I can spend more time focusing on both the reading and the music. Even for the writer that I am, I have a terrible time focusing when I listen to a reading. It is so much easier for my mind to accompany music than the spoken word. I can’t wait to try get both sides of my brain working on this one again, though!

About the group that commissioned this work – Poetry Scores (St. Louis) apparently is known for pushing boundaries, synthesizing forms, and multi-media. It was noted during the intro that the group recently staged a combination of poetry readings and burlesque dancing. Sorry I missed that!

For those unaware, Harbach is an organist, harpsichordist, and prolific composer and much of her music is available on CD. I’ve got several of them. She incorporates subtle American themes and sounds, and has been compared to Aaron Copeland, but after I listened a few times, I kept thinking about Dvorak and how his New World Symphony, to me anyway, whispers America although I doubt I could ever articulate why. It just does.

Harbach’s music is beginning to whisper to me as well. And, let’s not forget, she’s a woman. How many lady composers of “classical music” do you know? I know only one – the obscure Amy Beach from the early 1900s.  That alone makes Harbach’s music uniquely interpretated compared to all the male masters you know all too well.

Time’s a wastin’ for times to be changin’.  This lady should be heard whether you are around to see her or not.

Yes, I made that word up, “exponentialized.” Surely, a little latitude is allowed on your own blog!

But what I am referring to are acrylic mixed media works by artist Grant Miller (who hails from Kansas City) at a show a few weeks ago courtesy of the Cecille R. Hunt Gallery, Webster University, St. Louis.

http://www.webster.edu/news/releases/images/grantmiller1.jpg

http://www.webster.edu/news/releases/images/grantmiller2.jpg

http://www.blackandwhiteartgallery.com/press/miller.pdf;

http://oneartworld.com/artists/G/Grant+Miller.html

Miller constructs elaborate and exceedingly intricate three dimensional spaces from linear elements – interconnected lines, shapes, frames, and rope.  If you took all the shells of buildings (down to the girders and wiring) from a city skyline and jumbled them all together, you might get an inkling of what results in Miller’s work. They reminded me of labyrinths which themselves are interconnected and woven together. Three-dimensionalized. Exponentialized. Strangely enough, though, the resulting structure is anything but chaotic but rather seems to my eye to have an inherent structural stability, as in you couldn’t destroy it with wrecking ball if you tried.

As a music analogy, you might think Wagnerian, dense, robust, relentless, but every note connected to every other note and word (in the operas anyway) in some way.

The narrative description provided at the gallery (which, frankly, almost never make a lick of sense to me), say they are about overexposure (such as to cyberspace -hey, that’s where we are now!) and information overload. Perhaps, but here is what Miller’s work did to me: I felt like I was the center of these elaborate structures and that caused me to think about my relationship with the vastness (structural complexity?) of my interconnected world and even in specific ways, such has how I “connect” with people through this blog.

Then I realized something. This blog may be part of that vast astral cloud known as cyberspace but I’ve been connecting with a few people on a one-to-one basis through it. So, what results from this blog is perhaps the antithesis of Miller’s representations. A few solid human connections distilled from the miasma of information overload.

I found interesting to think about. I am anything but exponentialized at this moment.

Anyway, Grant Miller’s work is worth a closer look. I can’t recall anything quite like it.

So, I attended the Saint Louis Symphony Orchestra’s Chamber Music concert (a woodwind quintet and a violin soloist) Wednesday evening November 18 2009 at the Pulitzer Museum in St. louis. It was sublime, marred by only one thing, which bothers me every time I visit the Pulitzer. There was a  museum docent standing behind the musicians the entire performance. It is an utter distraction. Who insists that a docent stand there the entire performance? And by the way, in such a glorious space (you have to see this place to believe it, wide open, concrete, just lovely), why have the concert arranged like every other concert, where listeners have to sit still in rows and columns?

Since the music was supposed to be correlated to the art, why not allow everyone to just wander around, experience the art and the music within the spaces, so to speak? After all, space is what the design of this museum is all about.

Which brings me to… Every time I go to the Pulitzer, there are more docents standing around than visitors. And they stare at you, And they follow you around. And they are sometimes on top of you to where you can’t even hold a quiet conversation with the people you came with without feeling like your privacy is being violated. It is the height of irony that such a glorious and open space (I do love it, don’t get me wrong) feels so confining. Even just approaching the entrance doors, you see some burley guy standing right there with his arms crossed, like your public enemy number one just for wanting to patronize and support the museum. I fully understand the need to protect the art. But can’t they find a less intrusive way of doing this? I go to museums all around the world and this is the only one that feels like it’s run by Homeland Security.

The one positive from all this is the first time this happened, I came home and wrote a one-act play about the experience.

Imagine if the notes and sounds from the woodwind quintet and violin solo followed you around, nestled up to you, surrounded you, and “spoke” to you about the art you are viewing? Now that would be an experience!


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