Friday, September 8, 2017

JHU Osher Class: History of the Symphony - Syllabus

Course Description: There are, as with so many things in life, multiple purposes for the class. The two main ones are these. 

1. To listen to a lot of good music. 
2. To do our humble best to understand what the music means. 

We don't have to understand the music on a musical or theoretical level, though I'm sure many of you would be surprised how easy it is to understand basics of music theory. But moreso than asking you to understand this music in any kind of musical framework, I'm going to ask you to describe the music you hear in all kinds of other contexts - of history and politics, of books and thought, of art and theater, in the contexts of your own lives, and of course, in the context of other music. 

The problem with music as we generally see it is that any experience we have of it is subjective. If we hear a beautiful slow piece of music as a love song, we have to realize that the music is not necessarily meant as a love song, but in the moment we hear the music, our perception of it is true to ourselves and is therefore, in the most important sense, absolutely true. So by sharing those perceptions we can encourage and hopefully inspire each other to perceive more and different and more interesting ways to experience the music we hear. 

These are the classes:

Class 1: Haydn - Founder of the Tradition

Class 2: Beethoven - Glory of the Tradition

Class 3: Mendelssohn, Schumann, and Brahms - Keepers of the Tradition

Class 4: Berlioz - The Literary Symphony 

Class 5: Bruckner, Liszt, and Franck - The Mystical Symphony

Class 6: Tchaikovsky and Dvorak - The Eastern Symphony

Class 7: Mahler - The Symphonic Climax

Class 8: Sibelius - The Shadow Symphony

Class 9: Nielsen, Vaughan Williams, and Ives - The Northern Symphony

Class 10: Shostakovich - The Symphony of the 20th Century

Class 11: Lutoslawski, Penderecki, and Schnittke - The Cold War Symphony

If we have time in any of these classes, there are a number of great symphonists who deserve our time and whom we might get to sample a bit of: a class on the symphony without Schubert and Mozart and Prokofiev and Elgar and Rachmaninov is almost a tragedy, and we'll certainly mention them tangentially. But there are other symphonists who deeply deserve our attention. 

Undeservedly known to non-specialists as minor masters:

Arthur Honegger 
Karol Szymanowski
Alexander Scriabin
Paul Hindemith 
Bohuslav Martinu 
Heitor Villa-Lobos 
Alexander Glazunov 
Aaron Copland (in Europe)
Einojuhani Rautavaara (may soon be forgotten)


Relative Luminaries in their time who've been largely forgotten - many undeservedly:

William Walton (outside of England)
Nikolai Myaskovsky
Malcolm Arnold 
Andrzej Panufnik
Henryk Gorecki
Arnold Bax
Osvaldus Balakauskas
Howard Hanson
Charles Koechlin
Alberic Magnard
Havergal Brien
Boris Tishchenko
Kurt Atterberg
Vagn Holmboe
George Lloyd
Eduard Tubin
Erwin Schulhoff
Harold Shapero
Ernst Toch
Mieczyslaw Weinberg
Alfredo Cassella
Gabril Popov
Franz Schmidt
Roger Sessions
David Diamond
Randall Thompson
Walter Piston
William Schuman
Vincent Persichetti
Elle Siegmeister
Roy Harris

Tragically known only to specialists who know that particularly complex music is much easier to like than you realize:

Karl Amadeus Hartmann
Kalevi Aho
Valentin Silvestrov
Allan Petterssen
Robert Simpson
Per Norgard

Never got the recognition he so richly deserved so richly:

Rued Langgaard

If you've come to this class, I would imagine that you're here because you're already quite fond of music, but you also want to understand more about it. What's most extraordinary about music is that music is both just music that can be enjoyed as music, but because it's just music to which no definite meaning can be attached to the sounds, we can associate an infinity of concepts with music. The reason that music has such a universal appeal for so many people is that it has this dual-concept, can both be appreciated as nothing more than pleasing sounds, and that these pleasing sounds may have infinities of meanings behind them. 

The Symphony is an artistic document that is both extremely vague and extremely specific. The term itself goes back to Old French: Symphonie, and then to Greek: 'Sumphonos', and then even to Aramaic 'Soomponia.' The meaning is 'Sym' harmonious, and 'phonia' sound.  

The ability to hold a person's attention through music without text over a long span of time requires enormous contrasts, invention, discipline, and knowledge. A Symphony is an attempt to fuse the very best of extremely diverse elements of music and pay tribute to the millions of different sounds and forms and contents and cultures which music can show us. The Symphony is a musical democracy through which every kind and possibility of music's meaning is sounded together in dialogue with one another, and it's the ultimate musical, and perhaps even poetic, statement of a culture that means to live together in peace. 

Wednesday, September 6, 2017

Tale 5: Chosen Family - Judges - Complete!!!!

What a Spring. Simcha wasn't talking to Ori. Mary was avoiding Bob. Bob didn't want Simcha in his house. Bethany willingly made herself the object of Simcha's spite against his family by coming over theirs, Simcha'd would show his contempt for the laws and customs which were also his by freely announcing he was leaving to visit Bethany's friends, friends he often didn't like and was sure they didn't like him.

But Bethany, as always, knew how to get everybody back together.

Ori knew that this tohu vavohu is what Chabadniks take on by living in the world of apikorsim like Bob Katz. The other Charedim keep to themselves. Die Toyreh provides six hundred thirteen commandments to keep order in life. No Jew has to lead, all they have to do is wrestle with the decisions of how to interpret laws that are already laid out for them with thousands of precedents for how each law can be studied.

Blood is not red until it leaves the body, and Der Rebbe wanted a thriving, bruising, lean Yiddishkeit that fights for every inch of every Jew's Neshawmeh rather than the clotted and wheezing Yiddishkeit of Charedi sects who never ventured out into Olam HaZeh. He wanted Freylikhkeit, he wanted happiness, and he knew that the greatest happiness is in letting ander Yids grow into their Yiddishe kops. It's horrifying for Simcha to go off the derekh now of all times, but der Rebbe knows best, and if Simcha's going off the derekh, it just means his Tateh has to solicit and harrangue him the way he would any ander yingeh Yid.

It's not like Bethany didn't wear long skirts and sleeves when she was over the Freylik's, but it was not something anyone was shy about correcting. If the skirt didn't cover up everything, if she rolled up a sleeve, if she wore a color too flashy, if she starts humming to herself. Tzakhi tells her 'and you should cover your hair up under a sheytl if you come in' after Rinah gently reminds Bethany that she shouldn't be in a room alone with Simcha, which starts a roaring shouting match between the two brothers. There's that 'korveh' word again. All Tzakhi has to do to win the argument is to stand a few inches away from Simcha's eyes in all his particularly unimpressive gangliness, but sans the Simcha hump. Bethany shows up again two nights later with a large hat. One day Kristina convinces Simcha to let her tag along, Tzakhi calls her an oberkapo and tells her she shouldn't even be allowed to stay with the Katzes.

Yes, it's April 1994, five months after the release of Schindler's List and one after it wins the Best Picture Oscar. The Oslo Accords may yet happen. The Rebbe may still yet live forever. A million Shoah survivors around Amerikeh und Yisroel live out the full bloom of their resurrected lives with kinder and eyniklach they can only yearn for their briders und shvesters could live to see. Trees of life grown tall and strong without roots. Gott! Far vos mir und nicht zay?

As far as springtime in the history of our people go, this is a particularly relaxing one. So Bethany and Kristina go over to Vicki's house to find some relief, and out of a mixture of pity and Kristina's entreaties, they invite Simcha, who tries weed for the first time in Vicki's bedroom only to wig out as he follows the circular logic of weed smokers that he's too different from this crowd to even try to fit in with them and is so completely out of his element that a wrong decision could kill him. Vicki assures him all he needs to do is go with the flow, just lie back and relax and accept it all. But there's no way he can possibly do that until he hears:

'SIMCHA YOU VILL RELAX!! ACCEPT ZE EXPERIENCE!!! '

Kristina's shriek relaxes him in a manner Vicki's laid back entreaties never could. He lies back, resting his head on Kristina's right breast as Bethany rests her head on his, Vicki on her's, Kristina on Vicki's. As Simcha's paranoid mind takes in the jam rock, prog rock, art rock, and new wave for the first time, he experiences passive acceptance he's never known possible. With its twenty-minute long songs whose drones served for so many Jews a generation older than Simcha as something akin to worship, a religion substitute that was cheaper than going off to an Ashram, giving them the community and belonging and devotion and self-sacrifice to music too mediocre leave unworshipped.

Until today, Simcha met all things were met with the dread - sometimes a joyous dread but nevertheless, a dread omnipresent - the dread of knowing that the world must always be engaged. The laws weren't going to interpret themselves. The books had to be read, the broches chanted, the righteous praised, the wicked condemned, and if they didn't, the world may end. The world is made from Torah, worship, and deeds of loving kindness which to Simcha never seemed particularly loving or kind. Simcha worshipped as any as any Hasid with a decent neshawmeh does, but where was the loving kindness which he read so much about yet saw so seldom? His mother slaved for her children, yet so many times he'd heard her scream at him and nearly as much the other kinder as though she'd rather have been doing anything but what she was doing. What had he ever seen from his parents and grandparents and uncles and aunts and Rabbis and teachers to make him thing that loving kindness was anything more than an imposition? In two months around Bethany, Kristina, and Mary, he had seen and felt more loving kindness than in sixteen years of life among Freyliks. Here are people who are not commanded to be kind, but choose to be.

For the first time in his life, loving kindness seems possible, and it now feels as though the entirety of the Chabadnik community, the entirety of Charedim, the entirety of deh Toyreh, is a system whose sole purpose is to ban all love and kindness and replace it with distractions no more meaningful than a hamster on a wheel. Keep us docile, keep us unloved, keep us unredeemed. Make us believe we're seeing the world as it is when we're shown nothing but the dimmest shadows on the wall. What profit hath a man of all his labour which he taketh under the sun? And if the world ends, who cares? All that matters is love, and indeed, Simcha was very very high.

(7 seconds of Grateful Dead song followed by Swamley bit)



As we said, Bethany knew how to get them all back together. She knew instantly. From the moment Purim was done, her mind was fit with a plan that simply waited for the proper moment to begin its enactment. Purim is a Carnival of Chaos, but the Hebrew meaning of Seder is order. Purim is about the murder of those antisemites who would murder us, Pesach is about freedom, deliverance, an end to oppression and tyranny. Every Purim, we celebrate the cycle of violence's perpetuation, every Passover, we hold out hope that one day, a deliverer will break the wheel of violence forever. 

Was Bethany aware of all this? Perhaps very dimly, for her thoughts are not our thoughts and neither are her ways our ways. The Lord declares that as the heavens are higher than the Earth, so are His ways higher than our ways, and His thoughts higher than our thoughts. And yet, in the endless wisdom of His lofty distance, He determines that a few of us get a little higher in their ways and thoughts than others, and a little closer to His. And as Simcha blazed his way to the stars and thought to himself that all you need is love, Bethany thought to herself that now is time to enact the plan. 



"Is she insane?"

"Bob, you owe this to us all."

"You can't stand them either!"

"I never said that."

"You said that they couldn't stand you!"

"I never said I couldn't stand them."

"Look at how they're poisoning us!"

"What are they poisoning Bob?"

"In 25 years we never fought until they moved in."

"Are we fighting?"

"You didn't even want to do the Purim gathering."

"It was Mardi Gras too."

"Whatever."

"It was for Bethany."

"Bethany didn't want to do it either!"

"She wanted to do something for the Freyliks."

"No she didn't!"

"What do you mean?"

"The Freyliks made her want to do something for them."

"What does that mean?"

"They convinced her to want to do something for them!"

"So?"

"They put her up to this!"

"What are you talking about?"

"They're manipulating her."

"Bob that's absurd."

"They see the sweetest most good natured 15-year-old in the world and they take advantage of her!"

"If any there's any 15-year-old in the world who knows how not to be tak..."

"You don't know these people!"

"Bob, don't be ridiculous."

"They pull you in their net and once you're in you can never get out."

"So what?"

"So what?!?"

"What's so wrong with these people?"

"It's like they have some magic power over you girls that makes you not see what they're doing!"

"Bob, stop this right now."

"No! I won't stop this!"

What is this madness that gripped the goyisher half of this family? It's as though the presence of conspicuous Judaism made them so afraid of being thought antisemitic that it blinded them to the mendacity and injustice perpetrated right in front of them which the Williams family has spent the entirety of American history fighting against so assiduously, so vociferously, so effectively. From George Williams of Salem who spoke out against witch trials in the 1690s to the Reverend Samuel Williams who spoke out against colonist involvement in the French-Indian War; to the abolitionist Very Reverend Granville Williams who turned his pulpit over to Greeley, Emerson and Douglass in his church and whose congregation included Handsome John Brown, to Fleming Williams who went to prison as a conscientious objector in World War I, to the sisters Margaret and Clementine Williams who were beaten by the New York Police in a march for women's suffrage, to Josiah and Augustus Williams who went to the first convention of the Socialist Labor party in 1876. 

Justice, not the faith which perpetrates injustice, was what motivated Williamses from time immemorial. No waiting for salvation in the world to come in their creed but to fight and protect and serve and bear responsibility for those who suffer in this world. A Christianity of conscience, determined to make right for the sins of their fathers.

And yet when it comes to Jews, the baptismal ceremony always stops at the water's edge. They can't call a spade against us because god forbid they occasionally get accused of racism or prejudice. Is it so wrong to be prejudiced against evil? Is it evil to tell us minorities when we're wrong? What are we? Children? It's just more proof that they'd still rather not let us into the country club. It's so horrible to look at that angel every day for a third of a lifetime and know that she just wanted you because I secretly pissed her mother off, not that in twenty-five years Anne's ever said anything, but look at those pursed fucking chicken lips. There's no way she ever liked me. A quarter century and I'm still just a fancy pawn for the shikseh brat to make a passive aggressive fuck you to her mother. Thirteen generations of Harvard students, distantly related to ten Presidents, ancestors who had Emerson and Hawthorne over for tea, more sources of old money from colored labor than the world ever had room for, whoop di fucking do you three-hundred-fifty years of WASP khaleryes! What the fuck has any Williams ever really known about injustice? All this narrishkeit about social justice and equality, it's all a goddamn act for all these Stepford people whose most stressful decision every day is which color alligator shirt to fucking wear. None of them ever make a controversial statement without eighteen years of planning how to get it exactly right and only make jokes that are too lame to laugh at.

(another Swamley bit)





"Nu? You're completely meshuggeh."

"It's gonna be great."

"It's already a disaster."

"Nu? What are you talking about?"

"My Tateh and yours won't be in the same room. Nu? No Jews are in the audience."

"Isn't that exactly what you wanted?"

"Yeah, but..."

"You're going to be amazing!"

"Nu? Well if I'm not it's too late now."

"If I can give you one bit of advice?"

"Nu? What's that?"

"Stop saying nu so much."

"I was wondering how long it would take you to ask me to do that."

"I figured it wasn't a tic."

"How'd you know?"

"You never said it when we first met you."

"No, nu it's just something I do to mess arum with people I like." 

"Hah. Alright, it's time." 

Bethany sees that Simcha's voice is trembling with nervousness, but as they've spent more time with each other, he's become much more relaxed about certain things, most particularly about the prohibition of Negiah.

The principle of Shomer Negiah comes from Vayikrah, or Leviticus. In Vayikrah Perek Yud-Khet, Pasuk Vav, or Leviticus 18:6, it is written "Any man shall not approach his close relative to uncover nakedness; I am God." Thirteen verses, or p'sukim, later, it is written in the Torah that "You shall not approach a woman in her time of unclean separation, to uncover her nakedness." These prohibitions on incest and period sex have over time clearly evolved for many Orthodox Jews into the very idea that touching any woman who is not one's wife is forbidden, a prohibition which some Orthodox Jews carry to the point of not touching their own children, parents, or even wife in non-coital situations. And yet the examples that we needn't be nearly so stringent are everywhere in the Rabbinic critical tradition. It's true that the Tannaim, or 'repeaters', sages from an era of 200 years spanning from the life of Christ and the Second Temple's destruction through the genocide of 580,000 Jews by Rome brought on by the Bar Kokhba rebellion, to the compiling of the Mishna at roughly 220 AD, record a somewhat more expansive prohibition of coming near, or Karab, any of the arayot, any of the biblically prohibited relations, be they merely adulterous or truly incestual. But the Tanaim also mention the prohibition against coming near any woman who is Niddah, meaning when she's in her menstruation period. If 'Karab' or 'coming near' means literally approaching a woman at any point, rather than a more poetic and forbidding 'coming near', which may even have a fully ejaculatory meaning. But if 'coming near' merely means approaching, then why the further prohibition on coming near any woman who is menstruating? 

Further more, the Rambam, Moses Maimonedes, traditionally the greatest of the Rabbis of the Rishonim period and perhaps the greatest of all post-Talmudic Rabbinical authorities, is far more liberal. What is forbidden is affectionate or lustful touching, but the perhaps unpreventable and inevitable casual touching of each other can be gone about without mental censure. Yosef Caro, composer of the Shulchan Aruch and traditionally the greatest of the Acharonim, meaning 'the last ones', the current era of Rabbinical authorities beginning around 1600, agrees with Maimonedes's interpretation. The Ramban, or Nachmanides, traditionally Maimonedes's only really authoritative rival among the Rishonim, takes the liberality still further, and says that Negiah it is not a true interpretive prohibition but an Asmachta, something based on an obviously incorrect interpretation of a biblical verse the meaning of which is interpolated from what many see as an implied meaning. 

Rabbi Freylik never went so far as to stay away from his wife or children, but he would never ever allow himself to touch a woman not among them, and how much even less so an attractive teenage shikseh. Simcha, on the other hand, fully aware he can cite Nachmanides if ever he's caught by a family member, longed for the day when when Bethany would touch him again. 

And when Simcha knocked on her door the night of Purim after the fight between their fathers and burst into tears the moment he answered it, she immediately kissed his tears, held him in her arms, stroked his hair. And as his yud grew into a zayin, it was a truly bittersweet half-entrance to delights of a next world to which he knew he did not and could not belong. Could Simcha have kissed her back? He had no idea and dreaded to find out. As far as he was concerned, his father's behavior proved that any moment when he was admitted to the company of nations was a fleeting one. He did not belong with them, he was not among them, and he never would be. 

But afterward, the hugs became frequent and ever longer, Simcha did his best to go limp so that he would experience nothing but the ruach of luminous joy through which he was but a conduit; closing his eyes with the Simcha, the Freylichkeit, which seemed to flow through his body for the first ever time in his life. Rabbi Freylich would describe the experience as Shivut Ratzon, Bob Katz would describe the experience as dopamine. 

Bethany saw Simcha's trembling, and as she let him into a nineteen second hug, she walked him over to her back door to the porch and yard where the Seder would happen. When they were at the open door, she turned him around, and gave him a gentle nudge forward through it. 

And one hundred UU and Quaker teenagers erupted into cheers.

(More Swamley)

"And now we are partaking of the ceremony of 'Urchatz' which means ritually washing our hands. The only difference between washing hands and ritually washing them is that I'm not using soap."

People laugh.

"We now dip the parsley into the salt water which we eat. It probably sounds disgusting, but don't worry, it's supposed to be."

People laugh more. 

"This, now, is the ceremony of Yachatz, in which we break the middle of these three Matzohs into three parts, and I go hide the middle part of the middle Matzoh, called the Afikomen, somewhere in the house, which the children will later go looking for. The reward for finding the Afikomen is that you get to eat the Afikomen for desert, which strikes me at least as the worst possible reward."

A near explosion.

Simcha enters the house to find a place to hide the Afikomen. He could have made this Seder much more like five hours long Seders of his youth with various biblical interpretations of all these rituals manifold and myriad, but who could possibly want to hear them? Look at these goyim with their smiles of vacant gut vet, if they're anything like Bethany, that anxious friendliness is aching to be filled with purpose. What is friendship and good will if it's never tested? These people are yearning to laugh at something, anything, to have some kind of permission to be skeptical. Even if it's permission to laugh at somebody rather than something, so what's the big deal if I have to play Yiddishkeit's equivalent to a minstrel or a nance?

But was there any Jew in the world who needed more to laugh at it all than Bob? Simcha could see Bob's face melting in the presence of a cynicism about a subject which who knows if any shikseh ever treated with irreverence around him since a childhood no doubt spent in the presence of women who made him seek solace in the arms of a shikseh. 

Permitting himself glances at all the shiksehs as though he were looking directly at the sun, he could certainly see what Bob saw in Mary in this veritable Kinneret's worth of shikseh goddesses. Maydalehs too beautiful to seem quite human, blue-eyed pasty sirens who never blinked, who travelled in packs and never associated with anyone outside the pack with anything more than a five word answer to a question. Whose open-faced beauty seemed to radiate virtue and compassion and a desire to listen rather than talk. If such a woman deigned to show interest, what Yiddisher kop could experience the slowing of time?

Simcha returned, and it was time to ask the four questions. Bethany had shown him a number of books she'd found that had the Four Questions in them. All of the books had the usual stuff about justice and liberty and equality, drawing the usual parallels to the injustices of our time. Nothing in them was particularly interesting to him. But there was one which fascinated him: a book of Four Questions in a hundred eight different languages. Simcha had an idea.

But first, it's time for the Four Questions. He does exactly as Bethany instucted him six times, and tells Bob to sing out the Four Questions. "Ma Nishtana HaLeila HaZeh..."

Simcha then intones it himself in Yiddish from memory. 

Tateh, Ikh vilt freygen tzu dir di arbeh kashes! Farvos iz di fun peysekh andersh fun ale nekht fun a gants yor? Ale nekht fun a gants yor esn mir alerley grinsn; ober di nakht fun peysekh, esn mir bitere grinsn." 

At one point a little further he stumbles a bit, which provokes tumultuous applause of awe at his feat. 

He then asks who knows Spanish and passes the book with 324 Questions to Esteban Soldado; another classmate from San Francisco Friends whose parents fled the Somoza regime in Nicaragua, "Qué hace diferente a esta noche de todas las [demás] noches?..."

Simcha asks who knows French. The book is passed to Shannon Englander in a white dress, and instantly strikes Simcha like a thunderbolt as the most beautiful woman he's ever seen. Pourquoi cette nuit se différencie-t-elle de toutes les autres nuits?

Who knows Chinese? It goes to Jennifer Han. Who knows Hindi? Vihaan Chaudry does. Who knows Portuguese? Beatriz Goncalves, whose father Joao came to Massachusetts to help his cousin on a fishing boat thirty-five years ago and was befriended by Reverend Frank Williams as a young man because he sold Reverend Frank his catch every day while the Williamses were at their vacation home in Nantucket. 

Who knows Bengali? Sophia Maji. Who knows Russian? Gyenna Kostovetzky. Who knows Japanese? Gyenna's best friend Jacob Rosenstein who has seen Akira 100 times and My Neighbor Totoro at least fifty. In twenty years he will be nearly 300 lbs, living in his parents basement and sending rape threats to female gamers on twitter. 

German? Who could it be but Kristina? It wasn't going to be Alenna Gwynn. "Was unterscheidet diese Nacht von allen anderen Nächten?"

Peace finally seemed so very close at hand...

(Swamley bit) 

Simcha has no idea what to say to these people in the aftermath of his greatest triumph. They all congratulate him, one or two of them even say Mazel Tov, which of course comes out as Mazel Tawff, and tell him how amazing it was to experience something so different, he says thank you and nods his head, not knowing what to say next to people so supportive, but glowing with possibilities unknown. They ask him all sorts of questions, real questions, about Pesach and meaning of various customs like the Karpas and the Four Sons and and the Korech, the mixing of the bitter herb Maror with the sweet applesauce Charoset, and they mostly appear interested in any long explanations he can give as only the sincerest of teenagers can be. This is the greatest and most valued Simcha has ever felt in his life. 

One girl has particularly hung on his every word. Zara Stewart, a girl whose two inveterate pastimes at fifteen were boys and psychiatrists, whose Jewish father she hadn't spoken to in two years, and whose mother's father moved up from Bakersfield to be the proper father she never had. When Carl Ebling himself was fifteen, he heard a rousing speech at the Central California Bund headquarters from Dr. Reinhard Schafer of Pismo Beach. He was a personal guest of Dr. Schafer, who drove every week to the Ebling homestead outside of Bakersfield to care for his younger sister's polio without charge. Mary Ebling couldn't walk, but she lived until a bed sore killed her in 1970, and to this day, Dr. Schafer was the greatest man he'd ever met.

Dr. Schafer told the Central California Bund that he came from a glorious country of great and humble people of the land, zo much like ze salt of ze erss people in zis room. But like regular Americans, the Germans are beset by humiliation after humiliation, and who can deny them their wrath in the face of such weakening of spirit? Germany has finally awakened to realize that a foreign virus lives in their midst. Madness is rare in individuals - but in groups, parties, nations, and ages, it is the rule - and it is madness to think that the world will not eventually be dispelled of by this Jewish virus. Knowing is not enough; we must apply. Willing is not enough, we must do. None are more hopelessly enslaved than those who falsely believe that they are free, so America, blessed not only with riches beyond bounty but with such a pure Anglo-Saxon strain, is the natural partner of Germany as a liberator of the world that can make way for a new and greater form of human. To forget one's purpose is the commonest form of stupidity, so all America needs is the will to do what Germany began. Rise up ye millions, and embrace your greatness, for whatever you do or dream, you can, begin it. Boldness has genius, power, and magic in it. If Dr. Schafer thought that Hitler was the greatest man in the world, then how could such a wonderful man ever be wrong?

Toward the end as cleanup begins and Bethany's more distant acquaintances leave, not before each saying their goodbye to Simcha. Things are winding down and everybody's slowly cleaning up while hanging around the living room couch and eating the Matzoh which they all somehow find delicious. Kristina motions for Simcha to come with her into the basement. 

"Simcha, I just want you to know how amazing an experience it was to have known you."

"Known me?"

"I'm afraid I must leave in a few days. My father is dying."

"Oy. I'm so sorry Kristina. I hope his memory is always a blessing."

"It will be."

"Are you close to him?"

"He is my best friend."

"That must be wonderful."

"It was. He was so happy to know that I had a Jewish friend."

"He was???"

"He said it was his greatest hope for my time in America."

"But weren't you going around with that Jewish guy for a while?"

"Zat was different. With you, I feel I have experienced true Judaism."

"True Judaism?"

"Ze thing in itself." 

"What's that?"

"...Tzelem Elohim?"

"You know about Tzelem Elokim?!?"

"Zere were so many things I wished to talk with you about."

"Barukh Hashem!"

"You have changed zo much in ze short time ve have known each ozzer."

"I suppose I have."

"Can you ever go back now to being like your family?" 

"I didn't want to be like my family before."

"You may find you vant to be like zem more zan you know."

"Now that I've been with you all for so long, I don't think I can ever be like them again."

Kristina bends down, stretches her long arms around Simchas hump to cradle him in her arms. She moves in slowly but resolutely, and gives him an eighteen second kiss.

"Please. Forgive us."

With that, Kristina went upstairs and leaves Simcha as long as he needs to ponder the mysteries of what just happened. 

"I just went downstairs thinking you and Bethany were down there and saw what happened. Did you really just kiss Simcha?"

"You obviously saw it. Yes?"

"Oh my god."

"You find zat odd?"

"Are you really such a slut that you would even kiss that thing?"

"Zo vat if I did?"

"He's revolting! And it might be OK if he were prettier on the inside than the outside. But you know his family, you've heard what he said about us. He hates women!"

"You are a very dangerous person Alenna."

"What?"

"Ve knew many people like you at home. You will either learn ze lessons ve did, or people after you will learn ze lessons you vill teach zem."






Tuesday, September 5, 2017

Tale Five - Chosen Family - Judges - 85%

What a Spring. Simcha wasn't talking to Ori. Mary was avoiding Bob. Bob didn't want Simcha in his house. Bethany willingly made herself the object of Simcha's spite against his family by coming over theirs, Simcha'd would show his contempt for the laws and customs which were also his by freely announcing he was leaving to visit Bethany's friends, friends he often didn't like and was sure they didn't like him.

But Bethany, as always, knew how to get everybody back together.

Ori knew that this tohu vavohu is what Chabadniks take on by living in the world of apikorsim like Bob Katz. The other Charedim keep to themselves. Die Toyreh provides six hundred thirteen commandments to keep order in life. No Jew has to lead, all they have to do is wrestle with the decisions of how to interpret laws that are already laid out for them with thousands of precedents for how each law can be studied.

Blood is not red until it leaves the body, and Der Rebbe wanted a thriving, bruising, lean Yiddishkeit that fights for every inch of every Jew's Neshawmeh rather than the clotted and wheezing Yiddishkeit of Charedi sects who never ventured out into Olam HaZeh. He wanted Freylikhkeit, he wanted happiness, and he knew that the greatest happiness is in letting ander Yids grow into their Yiddishe kops. It's horrifying for Simcha to go off the derekh now of all times, but der Rebbe knows best, and if Simcha's going off the derekh, it just means his Tateh has to solicit and harrangue him the way he would any ander yingeh Yid.

It's not like Bethany didn't wear long skirts and sleeves when she was over the Freylik's, but it was not something anyone was shy about correcting. If the skirt didn't cover up everything, if she rolled up a sleeve, if she wore a color too flashy, if she starts humming to herself. Tzakhi tells her 'and you should cover your hair up under a sheytl if you come in' after Rinah gently reminds Bethany that she shouldn't be in a room alone with Simcha, which starts a roaring shouting match between the two brothers. There's that 'korveh' word again. All Tzakhi has to do to win the argument is to stand a few inches away from Simcha's eyes in all his particularly unimpressive gangliness, but sans the Simcha hump. Bethany shows up again two nights later with a large hat. One day Kristina convinces Simcha to let her tag along, Tzakhi calls her an oberkapo and tells her she shouldn't even be allowed to stay with the Katzes.

Yes, it's April 1994, five months after the release of Schindler's List and one after it wins the Best Picture Oscar. The Oslo Accords may yet happen. The Rebbe may still yet live forever. A million Shoah survivors around Amerikeh und Yisroel live out the full bloom of their resurrected lives with kinder and eyniklach they can only yearn for their briders und shvesters could live to see. Trees of life grown tall and strong without roots. Gott! Far vos mir und nicht zay?

As far as springtime in the history of our people go, this is a particularly relaxing one. So Bethany and Kristina go over to Vicki's house to find some relief, and out of a mixture of pity and Kristina's entreaties, they invite Simcha, who tries weed for the first time in Vicki's bedroom only to wig out as he follows the circular logic of weed smokers that he's too different from this crowd to even try to fit in with them and is so completely out of his element that a wrong decision could kill him. Vicki assures him all he needs to do is go with the flow, just lie back and relax and accept it all. But there's no way he can possibly do that until he hears:

'SIMCHA YOU VILL RELAX!! ACCEPT ZE EXPERIENCE!!! '

Kristina's shriek relaxes him in a manner Vicki's laid back entreaties never could. He lies back, resting his head on Kristina's right breast as Bethany rests her head on his, Vicki on her's, Kristina on Vicki's. As Simcha's paranoid mind takes in the jam rock, prog rock, art rock, and new wave for the first time, he experiences passive acceptance he's never known possible. With its twenty-minute long songs whose drones served for so many Jews a generation older than Simcha as something akin to worship, a religion substitute that was cheaper than going off to an Ashram, giving them the community and belonging and devotion and self-sacrifice to music too mediocre leave unworshipped.

Until today, Simcha met all things were met with the dread - sometimes a joyous dread but nevertheless, a dread omnipresent - the dread of knowing that the world must always be engaged. The laws weren't going to interpret themselves. The books had to be read, the broches chanted, the righteous praised, the wicked condemned, and if they didn't, the world may end. The world is made from Torah, worship, and deeds of loving kindness which to Simcha never seemed particularly loving or kind. Simcha worshipped as any as any Hasid with a decent neshawmeh does, but where was the loving kindness which he read so much about yet saw so seldom? His mother slaved for her children, yet so many times he'd heard her scream at him and nearly as much the other kinder as though she'd rather have been doing anything but what she was doing. What had he ever seen from his parents and grandparents and uncles and aunts and Rabbis and teachers to make him thing that loving kindness was anything more than an imposition? In two months around Bethany, Kristina, and Mary, he had seen and felt more loving kindness than in sixteen years of life among Freyliks. Here are people who are not commanded to be kind, but choose to be.

For the first time in his life, loving kindness seems possible, and it now feels as though the entirety of the Chabadnik community, the entirety of Charedim, the entirety of deh Toyreh, is a system whose sole purpose is to ban all love and kindness and replace it with distractions no more meaningful than a hamster on a wheel. Keep us docile, keep us unloved, keep us unredeemed. Make us believe we're seeing the world as it is when we're shown nothing but the dimmest shadows on the wall. What profit hath a man of all his labour which he taketh under the sun? And if the world ends, who cares? All that matters is love, and indeed, Simcha was very very high.

(7 seconds of Grateful Dead song followed by Swamley bit)



As we said, Bethany knew how to get them all back together. She knew instantly. From the moment Purim was done, her mind was fit with a plan that simply waited for the proper moment to begin its enactment. Purim is a Carnival of Chaos, but the Hebrew meaning of Seder is order. Purim is about the murder of those antisemites who would murder us, Pesach is about freedom, deliverance, an end to oppression and tyranny. Every Purim, we celebrate the cycle of violence's perpetuation, every Passover, we hold out hope that one day, a deliverer will break the wheel of violence forever. 

Was Bethany aware of all this? Perhaps very dimly, for her thoughts are not our thoughts and neither are her ways our ways. The Lord declares that as the heavens are higher than the Earth, so are His ways higher than our ways, and His thoughts higher than our thoughts. And yet, in the endless wisdom of His lofty distance, He determines that a few of us get a little higher in their ways and thoughts than others, and a little closer to His. And as Simcha blazed his way to the stars and thought to himself that all you need is love, Bethany thought to herself that now is time to enact the plan. 



"Is she insane?"

"Bob, you owe this to us all."

"You can't stand them either!"

"I never said that."

"You said that they couldn't stand you!"

"I never said I couldn't stand them."

"Look at how they're poisoning us!"

"What are they poisoning Bob?"

"In 25 years we never fought until they moved in."

"Are we fighting?"

"You didn't even want to do the Purim gathering."

"It was Mardi Gras too."

"Whatever."

"It was for Bethany."

"Bethany didn't want to do it either!"

"She wanted to do something for the Freyliks."

"No she didn't!"

"What do you mean?"

"The Freyliks made her want to do something for them."

"What does that mean?"

"They convinced her to want to do something for them!"

"So?"

"They put her up to this!"

"What are you talking about?"

"They're manipulating her."

"Bob that's absurd."

"They see the sweetest most good natured 15-year-old in the world and they take advantage of her!"

"If any there's any 15-year-old in the world who knows how not to be tak..."

"You don't know these people!"

"Bob, don't be ridiculous."

"They pull you in their net and once you're in you can never get out."

"So what?"

"So what?!?"

"What's so wrong with these people?"

"It's like they have some magic power over you girls that makes you not see what they're doing!"

"Bob, stop this right now."

"No! I won't stop this!"

What is this madness that gripped the goyisher half of this family? It's as though the presence of conspicuous Judaism made them so afraid of being thought antisemitic that it blinded them to the mendacity and injustice perpetrated right in front of them which the Williams family has spent the entirety of American history fighting against so assiduously, so vociferously, so effectively. From George Williams of Salem who spoke out against witch trials in the 1690s to the Reverend Samuel Williams who spoke out against colonist involvement in the French-Indian War; to the abolitionist Very Reverend Granville Williams who turned his pulpit over to Greeley, Emerson and Douglass in his church and whose congregation included Handsome John Brown, to Fleming Williams who went to prison as a conscientious objector in World War I, to the sisters Margaret and Clementine Williams who were beaten by the New York Police in a march for women's suffrage, to Josiah and Augustus Williams who went to the first convention of the Socialist Labor party in 1876. 

Justice, not the faith which perpetrates injustice, was what motivated Williamses from time immemorial. No waiting for salvation in the world to come in their creed but to fight and protect and serve and bear responsibility for those who suffer in this world. A Christianity of conscience, determined to make right for the sins of their fathers.

And yet when it comes to Jews, the baptismal ceremony always stops at the water's edge. They can't call a spade against us because god forbid they occasionally get accused of racism or prejudice. Is it so wrong to be prejudiced against evil? Is it evil to tell us minorities when we're wrong? What are we? Children? It's just more proof that they'd still rather not let us into the country club. It's so horrible to look at that angel every day for a third of a lifetime and know that she just wanted you because I secretly pissed her mother off, not that in twenty-five years Anne's ever said anything, but look at those pursed fucking chicken lips. There's no way she ever liked me. A quarter century and I'm still just a fancy pawn for the shikseh brat to make a passive aggressive fuck you to her mother. Thirteen generations of Harvard students, distantly related to ten Presidents, ancestors who had Emerson and Hawthorne over for tea, more sources of old money from colored labor than the world ever had room for, whoop di fucking do you three-hundred-fifty years of WASP khaleryes! What the fuck has any Williams ever really known about injustice? All this narrishkeit about social justice and equality, it's all a goddamn act for all these Stepford people whose most stressful decision every day is which color alligator shirt to fucking wear. None of them ever make a controversial statement without eighteen years of planning how to get it exactly right and only make jokes that are too lame to laugh at.

(another Swamley bit)





"Nu? You're completely meshuggeh."

"It's gonna be great."

"It's already a disaster."

"Nu? What are you talking about?"

"My Tateh and yours won't be in the same room. Nu? No Jews are in the audience."

"Isn't that exactly what you wanted?"

"Yeah, but..."

"You're going to be amazing!"

"Nu? Well if I'm not it's too late now."

"If I can give you one bit of advice?"

"Nu? What's that?"

"Stop saying nu so much."

"I was wondering how long it would take you to ask me to do that."

"I figured it wasn't a tic."

"How'd you know?"

"You never said it when we first met you."

"No, nu it's just something I do to mess arum with people I like." 

"Hah. Alright, it's time." 

Bethany sees that Simcha's voice is trembling with nervousness, but as they've spent more time with each other, he's become much more relaxed about certain things, most particularly about the prohibition of Negiah.

The principle of Shomer Negiah comes from Vayikrah, or Leviticus. In Vayikrah Perek Yud-Khet, Pasuk Vav, or Leviticus 18:6, it is written "Any man shall not approach his close relative to uncover nakedness; I am God." Thirteen verses, or p'sukim, later, it is written in the Torah that "You shall not approach a woman in her time of unclean separation, to uncover her nakedness." These prohibitions on incest and period sex have over time clearly evolved for many Orthodox Jews into the very idea that touching any woman who is not one's wife is forbidden, a prohibition which some Orthodox Jews carry to the point of not touching their own children, parents, or even wife in non-coital situations. And yet the examples that we needn't be nearly so stringent are everywhere in the Rabbinic critical tradition. It's true that the Tannaim, or 'repeaters', sages from an era of 200 years spanning from the life of Christ and the Second Temple's destruction through the genocide of 580,000 Jews by Rome brought on by the Bar Kokhba rebellion, to the compiling of the Mishna at roughly 220 AD, record a somewhat more expansive prohibition of coming near, or Karab, any of the arayot, any of the biblically prohibited relations, be they merely adulterous or truly incestual. But the Tanaim also mention the prohibition against coming near any woman who is Niddah, meaning when she's in her menstruation period. If 'Karab' or 'coming near' means literally approaching a woman at any point, rather than a more poetic and forbidding 'coming near', which may even have a fully ejaculatory meaning. But if 'coming near' merely means approaching, then why the further prohibition on coming near any woman who is menstruating? 

Further more, the Rambam, Moses Maimonedes, traditionally the greatest of the Rabbis of the Rishonim period and perhaps the greatest of all post-Talmudic Rabbinical authorities, is far more liberal. What is forbidden is affectionate or lustful touching, but the perhaps unpreventable and inevitable casual touching of each other can be gone about without mental censure. Yosef Caro, composer of the Shulchan Aruch and traditionally the greatest of the Acharonim, meaning 'the last ones', the current era of Rabbinical authorities beginning around 1600, agrees with Maimonedes's interpretation. The Ramban, or Nachmanides, traditionally Maimonedes's only really authoritative rival among the Rishonim, takes the liberality still further, and says that Negiah it is not a true interpretive prohibition but an Asmachta, something based on an obviously incorrect interpretation of a biblical verse the meaning of which is interpolated from what many see as an implied meaning. 

Rabbi Freylik never went so far as to stay away from his wife or children, but he would never ever allow himself to touch a woman not among them, and how much even less so an attractive teenage shikseh. Simcha, on the other hand, fully aware he can cite Nachmanides if ever he's caught by a family member, longed for the day when when Bethany would touch him again. 

And when Simcha knocked on her door the night of Purim after the fight between their fathers and burst into tears the moment he answered it, she immediately kissed his tears, held him in her arms, stroked his hair. And as his yud grew into a zayin, it was a truly bittersweet half-entrance to delights of a next world to which he knew he did not and could not belong. Could Simcha have kissed her back? He had no idea and dreaded to find out. As far as he was concerned, his father's behavior proved that any moment when he was admitted to the company of nations was a fleeting one. He did not belong with them, he was not among them, and he never would be. 

But afterward, the hugs became frequent and ever longer, Simcha did his best to go limp so that he would experience nothing but the ruach of luminous joy through which he was but a conduit; closing his eyes with the Simcha, the Freylichkeit, which seemed to flow through his body for the first ever time in his life. Rabbi Freylich would describe the experience as Shivut Ratzon, Bob Katz would describe the experience as dopamine. 

Bethany saw Simcha's trembling, and as she let him into a nineteen second hug, she walked him over to her back door to the porch and yard where the Seder would happen. When they were at the open door, she turned him around, and gave him a gentle nudge forward through it. 

And one hundred UU and Quaker teenagers erupted into cheers.

(More Swamley)

"And now we are partaking of the ceremony of 'Urchatz' which means ritually washing our hands. The only difference between washing hands and ritually washing them is that I'm not using soap."

People laugh.

"We now dip the parsley into the salt water which we eat. It probably sounds disgusting, but don't worry, it's supposed to be."

People laugh more. 

"This, now, is the ceremony of Yachatz, in which we break the middle of these three Matzohs into three parts, and I go hide the middle part of the middle Matzoh, called the Afikomen, somewhere in the house, which the children will later go looking for. The reward for finding the Afikomen is that you get to eat the Afikomen for desert, which strikes me at least as the worst possible reward."

A near explosion.

Simcha enters the house to find a place to hide the Afikomen. He could have made this Seder much more like five hours long Seders of his youth with various biblical interpretations of all these rituals manifold and myriad, but who could possibly want to hear them? Look at these goyim with their smiles of vacant gut vet, if they're anything like Bethany, that anxious friendliness is aching to be filled with purpose. What is friendship and good will if it's never tested? These people are yearning to laugh at something, anything, to have some kind of permission to be skeptical. Even if it's permission to laugh at somebody rather than something, so what's the big deal if I have to play Yiddishkeit's equivalent to a minstrel or a nance?

But was there any Jew in the world who needed more to laugh at it all than Bob? Simcha could see Bob's face melting in the presence of a cynicism about a subject which who knows if any shikseh ever treated with irreverence around him since a childhood no doubt spent in the presence of women who made him seek solace in the arms of a shikseh. 

Permitting himself glances at all the shiksehs as though he were looking directly at the sun, he could certainly see what Bob saw in Mary in this veritable Kinneret's worth of shikseh goddesses. Maydalehs too beautiful to seem quite human, blue-eyed pasty sirens who never blinked, who travelled in packs and never associated with anyone outside the pack with anything more than a five word answer to a question. Whose open-faced beauty seemed to radiate virtue and compassion and a desire to listen rather than talk. If such a woman deigned to show interest, what Yiddisher kop could experience the slowing of time?

Simcha returned, and it was time to ask the four questions. Bethany had shown him a number of books she'd found that had the Four Questions in them. All of the books had the usual stuff about justice and liberty and equality, drawing the usual parallels to the injustices of our time. Nothing in them was particularly interesting to him. But there was one which fascinated him: a book of Four Questions in a hundred eight different languages. Simcha had an idea.

But first, it's time for the Four Questions. He does exactly as Bethany instucted him six times, and tells Bob to sing out the Four Questions. "Ma Nishtana HaLeila HaZeh..."

Simcha then intones it himself in Yiddish from memory. 

Tateh, Ikh vilt freygen tzu dir di arbeh kashes! Farvos iz di fun peysekh andersh fun ale nekht fun a gants yor? Ale nekht fun a gants yor esn mir alerley grinsn; ober di nakht fun peysekh, esn mir bitere grinsn." 

At one point a little further he stumbles a bit, which provokes tumultuous applause of awe at his feat. 

He then asks who knows Spanish and passes the book with 324 Questions to Esteban Soldado; another classmate from San Francisco Friends whose parents fled the Somoza regime in Nicaragua, "Qué hace diferente a esta noche de todas las [demás] noches?"

...

Monday, September 4, 2017

History of the Symphony Class 1: Haydn and Mozart - Founders of the Tradition (Beginning)

My technique has always been to write out a script and then depart from it as much as I can. So without further ado....

JHU Osher History of the Symphony Class 1: Haydn and Mozart - Founders of the Tradition

Afternoon everybody! So first I'd like to present you all with a hearty welcome to The History of the Symphony. My name is Evan Tucker, and my best qualification for teaching a class on the History of the Symphony is that I'm the youngest person to have ever listened to one. 

I have to admit that the title is a bit misleading. There is, as with so many things, a dual purpose for the class. One purpose is to listen to a lot of good music, the other purpose is to do our humble best to understand what the music means. We don't have to understand the music on a musical or theoretical level, though I'm sure many of you would  be surprised how easy it is to understand basics of music theory. But moreso than asking you to understand this music in any kind of musical framework, I'm going to ask you to describe the music you hear in all kinds of other contexts - of history and politics, of books and thought, of art and theater, in the contexts of your own lives, and of course, in the context of other music. The problem with music as we generally see it is that any experience we have of it is subjective. If we hear a beautiful slow piece of music as a love song, we have to realize that the music is not necessarily meant as a love song, but in the moment we hear the music, our perception of it is true to ourselves and is therefore, in a sense, absolutely true. So by sharing those perceptions we can encourage and hopefully inspire each other to perceive more and different and more interesting ways to epxerience the music we hear. 

If you've come to this class, I would imagine that you're here because you're already fond of music, but you also want to understand more about it. What's most extraordinary about music is that music is both just music that can be enjoyed as music, but because it's just music to which no definite meaning can be attached to the sounds, we can associate an infinity of concepts with music. The reason that music has such a universal appeal for so many people is that it has this dual-concept, can both be appreciated as nothing more than pleasing sounds, and that these pleasing sounds may have infinities of meanings behind them. 

Now, dual concepts, dualities, dialectics, whatever you want to call them, will have an enormous importance in this class. I had a friend who used to tell me, exasperated with my tendency to do this, that there are two types of people in the world: those who don't divide the world into two types of people and those who do. Dividing the world into two camps can, obviously, be a very dangerous slippery slope, and if we indulge in what's generally referred to as dialectical thinking, it's very important to understand that it can never be anything more than an intellectual game we can use to theorize about the world and there is absolutely no scientific value to it without going through the exact same process scientists do - thousands of trials and errors through which recorded data and statistics. Which is exactly how not to think of the humanities. How, statistically speaking, do you ascend to the skies and see Platonic forms or see beyond the world of appearances to Kant's thing in itself. And even if you did, how would you come up with the scientific measurements for it?

This probably seems like a much higher philosophical paygrade than anybody signed up for, but the point is this: Science can explain the facts of how music is made, but four thousand years of recorded culture have not given us any scientific rules about why we experience music the way we do. Science, for all its progress, hasn't even come up with a widely accepted explanation of why humans evolved to listen to it. 

So let me ask you to do an exercise. Do me a favor and imagine for a moment, that you're talking to someone who is completely tone deaf, or an alien who speaks perfect English but has no understanding of music. Now try to explain music in such a way that the person you're talking to doesn't question your sanity. Let's see how easy this is... (point out flaws in people's explanations)

The best possible definition of music I could ever come up with is that it's made of vibrations and patterns through which make you perceive connections and associations in your brain which you never realized were there. So the obvious problem is that how is this description different from what a psychotically ill person experiences? 

But even if music is a collective insanity of us all, there are some insanities in the world which are truly benign, and I don't think I'm wrong in thinking that if music comes from a piece of neurologically faulty wiring that can damage the rest of our brains, then to put this insanity to the purpose of music appreciation, then music is easily the best possible use of our mental defects. 

The first duality we have to talk about is a duality that is seen throughout the problems of music appreciation. For a long time, nearly a hundred years, classical musicians have been mostly discouraged from discussing what music means. 'Just play it' is usually what we hear. According to this school of thought, a key like C-Major (play C-Major, play Mendelssohn's Wedding March - probably most famous piece in the world in C-Major) doesn't mean happiness, it just means C-Major. A piece that sounds like you could dance a waltz to it is not a waltz unless the composer specifies that it's a waltz. This kind of thought is called a 'positivist' thought. A positivist thought doesn't mean that a thought is happy or optimistic, it just means that the thought is definite. It means that this concept has an absolute meaning which, if properly studied, can be completely understood. According to positivism, every word and concept we use has an absolute meaning, and if you understand the absolute meaning, you've understood the world better. 

(see if you can get discussion going about what the problems with positivism might be... attempt at discussion may fail...)

To me, at least, the main problem with this way of looking at the world is that meanings always change. The use and purpose of every object changes from person to person, every person has their own memories, their own associations, their own ideas, their own background which they bring to every meaning. If there are absolute meanings, then why, after a million years of human existence, have we found proof for the truth of so few absolute beliefs over the millenia? 

What might be some beliefs that have been proven absolutely true?

The best absolute meanings we've come up with are the meanings by which science and technology work. You can't argue that science is true because every piece of technology exists as a testimonial to the fact that science is correct. The question with science becomes that if science can poison the entire planet, if it develop so many weapons to kill us all, is finding the truth at all really worth it? 

So I promise we're going to get to music in a minute, but please just bare with me, because this is important. But what do you think might be the problem with this idea that meanings change from person to person and we should therefore always respect people's beliefs?

My biggest problem with historicism, and again, this is a very very very simplistic explanation of philosophical problems about which millions of pages are written, is that it's a very slippery slope to nihilism that says that if there is no absolute meaning, there's no reason to act in the interests of immediate gratification. It's though there is no reason to find any meaning at all. And the idea that everything is meaningless is its own kind of absolute meaning. 

The only solution, at least as far as I'm concerned, is to accept that there can be no truly definite statements about the truth, and that we have to go through life as though we can find them. If we think we can discover the truth, then there is no limit to how much we can inflict suffering on other people in pursuit of the truth. But if we think there's no such thing as the truth, then we can justify any action at all, no matter how evil, as being good. There would be no end to how much we can manipulate others or others can manipulate us, and give us all manner of lies as to why. 

And it's this tension between these two beliefs: 1. That the truth is something innate and ascertainable, and 2. that the truth is mutable and changes from place to time to person, that created the spiritual environment that enabled the form of the symphony to spring up - a music that had a religion-like devotion to the severest possible seriousness, but at the same time, is meant to make us worship nothing more than the music itself. It's the first kind of 'high' or 'serious' music that questions if any kind of actual spiritual transcendence is possible, yet also gives us music that clearly imagines that this kind of transcendence can still be achieved. (long elaboration)

It's, ultimately, neither of these but the tension between the two which creates it. 

It begins, in so many ways with Bach, who was as devout a Christian as ever existed. He probably never had a doubt in his life that wasn't assuaged by the fervor of his belief.  Many of Bach's beliefs - religious, political, and musical - were old-fashioned even in his time. But until Bach, the vast majority of the greatest art music was sacred, and ultimately meant as an act of worship. The ultimate intended audience was God, not us, and even if the rest of us weren't exactly bystanders, our interest was sort of secondary. Church music was like celestial mood music in which we appreciated our nearness to God, but we were just spectators. Bach, however, was a Protestant who believed that God had a personal relationship with every worshipper without a clergyman as intercessor. Protestants needed a music whose spirituality you could feel with the same immediacy that any listener could feel from the eros of any love song.

But the moment Bach provided his sinners with this music was, by and large, the 1720's through the 1740's, the same period that saw the emergence of secular, enlightenment thinkers who did more to de-throne God from the center of the universe than any thinkers before or since: Voltaire, Rousseau, Montesquieu, Vico, David Hume, fairly soon thereafter Immanuel Kant would number among them and so would Jefferson and Hamilton. If mankind is on equal footing with God, he just might start viewing God with animus considering the things God has put humans through... but even if people, particularly back in the 18th century, want to overthrow God, then after 1500 years in which God is the undisputed ruler, then God can only be overthrown by using God's own language. ..... (long elaboration)

If Haydn and Mozart weren't talking about these ideas in their spare time (assuming they had any), then you can be sure that their employers were...