Saturday, June 15, 2013

800 Words: The Cast of West Side Story - How They Died

Riff - Stabbed by Bernardo in the rumble underneath the highway.


Bernardo - Stabbed by Tony in the rumble underneath the highway.


Tony - Shot by Chino in the basketball court.


Chino - Beaten to death by prison guards twenty-eight years into his life without parole sentence at Sing-Sing.


Anita - Still alive, happily married to Pepe, having an affair with her grandson’s best friend.


Anybody’s - Impaled accidentally. Slipped on a Birkenstock she left in the middle of the living room and fell on a sports bra hanger.

Action - Still alive, became Bush White House aide.


Ice - Became a multi-millionaire by masterminding a 1980’s Wall Street Ponzi Scheme called 'Play It Cool Securities LLC.' Pushed out of his 50th floor office by his executive vice-president Bernie Madoff.

Baby John -  Married Maria. Eventually killed because of a hit put out by Chino from prison due to his divorcing Maria to marry Natalie Wood, whom he subsequently drowned on a boat.

Maria - Married Baby John to cover up that she was having Tony's baby, became a multi-millionaire by selling the rights to her life to United Artists - Baby John met Natalie Wood on the set and left her. She then used her money to fund the Cuban revolution and proceded to move to Bolivia to be near her one true love, Che Guevara. Whereabouts still unknown and #4 on the CIA most wanted list of freedom fighters in South America.


A-rab - Still alive. Stand-up comic trained for the borschtbelt but arrived just in time for the borschtbelt to disappear. Now makes his living playing to summer camps in Upstate New York and teaches a community college course called the 'Great Comedians and Gang Violence - from Shecky Green to Kanye West.'


Graziella - Broadway chorus girl who became a waitress. Shot at an audition by the director for singing a song from Rent.


Velma - Still alive. Marilyn Monroe impersonator who now moonlights by playing Joan from Mad Men.


Glad Hand - Shot in the late eighties at the inner city school after he quoted Perry Como lyrics to his students to give them inspiration. Student who was arrested called it a mercy killing.


Lieutenant Schrank - Demoted to traffic cop. Killed by Norman Bates after diagnosing him with Multiple Personality Disorder.


Doc - Died of a heart attack when he had a face to face with Dr. Zoidberg and realized they're the same person.


Officer Krupke - Choked on a donut during the 1968 riots.

Tuesday, June 11, 2013

800 Words: What is the Internet - Parts III - VI

III.


Within our lifetimes, it will never be possible to read and listen to the communications of hundreds of millions of people. We simply don't know how to do it, and there are some goals which not even the current speed of technological development will accommodate. It took nearly half-a-millenium to go from the chaos which the printing press unleashed to mastering its capabilities to the point that a totalitarian state could be created. We master new technology quicker than ever before, but we create new technology just as quickly, and those who would foil government control will remain steps ahead of those in government who control it for a long while yet.


A few days ago, we discovered precisely what we already knew. Verizon monitors who's calling us and whom we call, and is ordered to share that information with the government so that they can use it for anti-terrorism investigations. So, in all probability, is every major phone company in the world, and we also learned definitively that internet companies do something quite similar. It doesn't mean that they have the technology or the manpower to listen in on the things we say, we're probably hundreds of years away from anyone developing that level of technological competence. Everyone from former Defense Secretary Robert Gates to former NSA chief Michael Hayden has complained that there’s simply too much data to effectively use the information they have for investigations. But when you call on a cell phone, you're using government-developed technology with satellites which the government helped to install. When you’re on the internet, you’re using a technology which until twenty-five years ago was the nearly exclusive purview of the US Department of Defense. Did we really expect that the US government would rescind those privileges for nothing in return?


What we learned is neither a good nor bad development; it's simply inevitable. And in an era when online companies can aggregate your emails to create personalized advertisements, when satellites can watch the goings on of any street corner from any vantage point on earth, when airport security can look at x-rays of your person, when credit card companies can sell your personal information to the highest bidder, this is the least of our privacy violations.


The United States of America is coming out of a pointlessly war-torn era in which an incompetent president and his nefarious handlers exploited our post-9/11 fears to create a massive security apparatus which was utterly pointless to combat terrorism. It was a 20th century authoritarian reaction to a 21st century problem. To point that out is not the same as saying that there’s no existential threat from terror, because there certainly is, it is only to point out that we overreacted gigantically. We invaded two countries, one utterly without justification. Bombings we conducted in sovereign states like Pakistan and Yemen may have been justified, but they were carried out by remote and shrouded in secrecy. But most importantly, there are 850,000 (!) people working in the United States government with top secret security clearances. What is secret from us is not that secret. It will never be possible within our lifetimes to cull information from hundreds of millions of people, but that doesn’t mean that the government won’t do its damndest to try. But it will fail every time.


IV.


Twenty-six seconds of film - that is the surveillance tape which Abraham Zapruder took of the JFK assassination. Had Zapruder left his camera at home, there would be no Kennedy assassination footage, and every sane person would agree that Lee Harvey Oswald was the sole killer of John F. Kennedy. Will computer surveillance increase certainty in people’s minds about what happens, or will it provoke more doubt? Will surveillance be more beneficial evidence to the prosecution, or to the defense?



V.


Information is power. But like all power, there are those who want to keep it for themselves. The world's entire scientific and cultural heritage, published over centuries in books and journals, is increasingly being digitized and locked up by a handful of private corporations.


- Aaron Swartz


Ironically, the reason that information will not be in the hands of an exclusive club is because of people like Aaron Swartz - deeply flawed, narcissistic idealists who do ballsy things which are not quite heroic, neither good nor evil, just fanatical. Julian Assange, Aaron Swartz, Bradley Manning, Edward Snowden; these men (and they’re all men so far) have changed the world we live in because of a dogmatic, intellectually limited insistence upon transparency in everything which governments and corporations do. They’ve democratized knowledge, but they haven't liberalized it. They've saved us from many kinds of corporate and government malfeasance, but they’ve opened up entirely new areas for powerful people to practice exactly that. When knowledge becomes opened up, there will be whole new opportunities for advertisement. If we’re being equally paranoid about transparency as Julian Assange is to secrecy, we might infer an extreme example of the dangers of openness. Corporations will be present regardless of whether they are open or secret, and as such we may have to go back to the patronage system, for which every academic paper or artistic project or schoolbook doubles as a press release for the corporation, the government, the university, or the private benefactor, who funds it; and must include adulatory comments about the benefactors who fund their donations and defend those benefactors' most controversial actions. This is precisely what happens on wikipedia, and unpaid editors cannot compete with the onslaught of paid press people who rewrite wikipedia entries to better fit the facts which moneyed people want the world to see. Like any marketplace, it is especially within the free exchange of ideas that those with money can control. Men like Edward Snowden act as though corrupt governments or corporations would think twice about committing acts of evil in broad daylight. If these evil people have enough money, they can simply brainwash the public into thinking their evil acts never happened.


VI.


The Patriot Act had many stupid items in it. But was it really bad to let the FBI wiretap terror suspects in a manner no different than they do the Mafia and drug traffic? Was it truly wrong to require banks and security brokers to file suspicious activity reports about money laundering (especially now that they’ll have to write about themselves?)? Was it wrong to remove the firewall between the FBI and the CIA so they can pool resources and information about terror suspects?


Let’s pause on that third question for a moment. The firewall between not only the FBI and the CIA, but also between law enforcement and intelligence gathering generally, existed because of the roughshod abuses of J. Edgar Hoover’s FBI: hundreds, perhaps thousands, of unauthorized wiretappings, breaking and enterings into private residences, blackmail on a massive scale, and intimidation of all kinds to anyone who questioned his authority. It had the added benefit of limiting the CIA’s involvement in “black ops”, the third world operations by which the CIA replaced governments which they viewed as ‘Soviet-friendly’ with governments more susceptible to US interests.


The raising of such a firewall in 1978 was considered a major liberal victory at the time. And yet, a quarter-century later, liberals were the first to argue for such a firewall’s destruction - seeing the ending of such a firewall as far preferable to a massive Homeland Security bureaucracy.

It’s much too late to avoid the Homeland Security bureaucracy, but the elimination of the FBI/CIA firewall was probably the wise thing to do, because nobody can possibly cull that much information. But if there is any chance at all for a government to control us after the manner of the 20th century totalitarians, it will be because the intelligence of the world’s most powerful government is pooled together by a Hoover-like figure.

Monday, June 10, 2013

800 Words: What is the Internet - Parts 1 and 2

I.

Between 1450 and 1455, a German tradesman named Johannes Gensfleisch zur Laden zum Gutenberg invented the printing press, and the world was changed in the twinkling of an eye. Books were once produced by hand and calligraphy. They were fancy objects for fancy people created by people with fancy skills. But after Gutenberg, books were a mass produced object for the masses. Perhaps for the first time since the Roman republic, learning was not a pursuit confined to aristocrats. Even if the lower classes only read the Bible, they had more knowledge than ever before, and could go directly to the source of the material. It was only a matter of time before a religious ideology developed that was more in keeping with the spirit of that era. In 1517, Martin Luther posted his 95 theses to the door of All Saints' Church in Wittenberg, Saxony. It railed, as all new movements do, against the corruption of the old order, and that the Catholic Church's teachings on morality were now inextricably linked to money, particularly in the matter of indulgences - a policy by which congregants could buy absolution, and allowed the Kingdom of Heaven to be better predisposed toward the rich than the poor. But most important among those ideas was Luther's idea that  God needs no intercessor into people's lives. With a Bible now present in every God-fearing home, families no longer needed to look to a clergyman to tell them how to worship. According to Luther, salvation could never be  purchased, it was bestowed by faith and by the personal relationship which each believer had with God due to their being able to interpret God's Word for themselves. The world was ready for a man like Luther, and his ideas spread like wildfire, inspiring everything from great community projects to Holy Wars between Protestants and Catholics all over Northern and Western Europe  - including The German Peasants War,The Battle of Kappel, The Schmalkadic War between The Holy Roman Emperor and the noble German followers of Luther, The Eighty Years War involving Spain and the Low Countries, The French Wars of Religion, The Wars of the Three Kingdoms on the British Isles, The Franco-Dutch War, and The Nine Years War which involved them all. Thus began the true decline of Charlemagne's Holy Roman Empire, sustained  for nearly a millennium, and the peace which this empire keep reasonably well within the large chunk of Europe it inhabited and surrounded.

But in all these holy wars, one stands above the rest for its particular level of chaos. The Thirty Years War involved virtually all of Europe, may have killed 11.5 million people and perhaps as much as 40% of the world's German speaking peoples, with some German-speaking regions losing as much as two-thirds of their population. Germany thereafter remained a deeply divided non-kingdom with hundreds of principalities. The German/Frankish scions of the Holy Roman Empire retreated to Austria and founded a new empire there which was synonymous with decline from its very inception. Germany itself never recovered from the trauma of this long war fought almost exclusively upon German soil, and one could make a decent argument that the twentieth century's two world wars happened because of German traumas that were already three hundred years in the past.

There can be no doubt that the printing press fostered so much that is good in this world, but progress is value neutral. For all the progress which these more quickly made books disseminated, the printing press must be held to account for the massive amounts of death which it caused. Like all great strides in progress, it comes with a surfeit of truly lethal peril.

History is not over, and it is pure naive lunacy to pretend that we don't dance on the precipice of a similar era. The computer, and the internet it fostered, is, without a doubt, the most trans-formative invention in human history since the invention of the printing press itself. Knowledge used to be as far away as whatever book was written about the subject at hand, and would often require months to find the correct book, if it even existed. But knowledge is now available at the click of a button. In its original years, we have experienced the awesome life-giving power of the internet. In a matter of a few years, it has transformed everything we knew about commerce, about careers, about medicine, about navigation, about information storage, about journalism, about the arts, about memory, about space and time, and especially about communication, learning, and knowledge. The internet can create so much, but what can the internet destroy?

It hasn't happened yet, and it probably won't for a while longer. But what idea will the internet inspire that will make millions or billions of people to want to kill each other? What information will be spread that will make us kill each other more efficiently or agonizingly?

Something this powerful cannot simply give us unremitting light, and the utopia which the internet often seems like to many of us could not possibly last for centuries.

II.

What we most have to fear in our generation is not the totalitarian temptation. The world has grown too fast to have too much fear of big government anymore, because no government, however invasive, can possibly keep up with the world's developments. All a government can do, whether democratic like America's, or authoritarian like China's, is scramble to keep up with technologies which develop by the day. We live in an era of wikileaks and twitter revolutions. Gerontological dictators are overthrown at the drop of a hat, and excepting North Korea, no dictatorship, however powerful, can seem to stop the profusion of protests against it.

The Arab Spring was not an isolated movement in history - in its way, it was the same movement as Occupy Wall Street, the public employee protests all around America, the anti-Putin protests, the Greek riots, the Iranian election protests, the Burmese monk protests, the Pakistani judges protests, the French pension reform strikes, protests for greater political freedom all over the former Soviet satellites, protests against austerity all around Southern Europe, Ireland, and Iceland. These are all protests by people demanding greater dignity in their treatment from public officials, happening at the same moment, and coordinated by the internet. There is not a single one of these protests which does not have its own justifiable causes. And yet each of them seems so utterly far from accomplishing its goals that one has to pause, at least for a moment, to wonder whether every single one of them has been counterproductive.

With nearly 100,000 dead in The Syrian Civil War, it is definitively time to say that the Arab Spring was not the first step in a flowering for democracy. The Arab Spring's march toward freedom was tenuous at its best times, coordinated by a blindly idealistic educated class which believes that it can work with the  Islamic parties while controlling the Islamists' most hardline elements. But how long can this civil war in Syria go on without sucking in major involvement from neighboring countries? If that happens, as it is likely to , The Arab Spring may be remembered not as the 21st century's great democratic flowering, but as the first definitive step in the march from 20th century totalitarianism back to the chaos of previous eras.

What we have to fear is chaos. Today's political insanity is not an extremity of big government, but an extremity of small government. Of course, we have to fear libertarian conservatives and objectivists who want to reduce government regulation to null, provide no services to the public, and create an uneducated mass of wage slaves. But we also have to fear libertarian socialists and anarchists who want to do away with the entire idea of wage labor and replace states with autonomous collectives answerable to only themselves. If such a movement spread it would create economic chaos on a level comparable to the worst of the Great Depression, with consequences perhaps as far-reaching. For the moment, one movement clearly holds greater sway in public opinion than the other, but if the liberal American left and center become any less effective than they already are at opposing the American right, perhaps such an option will come to seem ever more attractive to many. Both are grounded in the same fevered utopian dreams which produced communism and fascism in the 20th century, and young people who subscribe to them now may find themselves horrified at what their beliefs have wrought by the time they reach their full maturity.



A Brief Ellington Playlist

"What distinguishes Ellington's best creations from those of other composers, jazz and otherwise, are their moments of total uniqueness and originality. There are many such flashes in his oeuvre, and it is a pity they are virtually unknown to most non-jazz composer colleagues. Perhaps this is due ot the fact that you cannot go into the nearest music store or library and obtain the orchestral scores of Duke Ellington. There is no Ellington Gesamtausgabe, alas, although this is something that should become someone's life work. However, even if such scores existed, they still would not readily disclose the uniqueness of which I speak. For Ellington's imagination was most fertile in the realm of harmony and timbre, usually in combination. And as played by some of the finest musicians jazz has ever known, the specific effect produced in performance and on records is such that no notation has yet been devised to capture it on paper."

- Gunther Schuller

Subtle Lament

Blue Light

Mystery Song

Azure

Jack the Bear

The Clothed Woman

If this is not music indicative of the highest possible genius, then genius has no meaning.

Friday, May 31, 2013

800 Words: It's Finally Time to Understand The Rite



Here it is, so far, The Rite of Spring’s ultimate performance. The opening gala of Disney Hall, the first and thus far greatest monument to classical music in its 21st century guise. An architectural hymn to Esa-Pekka Salonen’s LA Philharmonic in which The Rite of Spring trumps Beethoven’s 9th Symphony as the centerpiece of the classical canon.


I’m also tempted to say that this performance at Disney Hall is not only the greatest performance I’ve ever heard of the Rite of Spring, I’m tempted to say that this is the first adequate performance. I have never been so electrified or terrified by an orchestra’s virtuosity as I have by this performance, but surely there is a performance of this music to be heard that is just as virtuosic and brutal, but much more lyrical, much more human, much more in keeping with the piece’s original conductors’ conceptions (Monteux, Ansermet, Stravinsky himself) but with far better orchestral playing. This is a Rite of Spring made from steel, the Rite which inflamed Prokofiev’s imagination - it gives us the dehumanization of the 20th century in sound, but it does not give any of the vernal bloom, hopefully the vernal bloom of the 21st century, which the Rite proposes. A few years ago, I watched Gustavo Dudamel rehearse the (then) Simon Bolivar Youth Orchestra in this piece at the Kennedy Center - it was the greatest live performance I ever hope to hear of The Rite of Spring in my lifetime, and yet the conception they gave was as inadequate as any other. And yet through Dudamel’s too fast tempos and the orchestra’s unwillingness to play with any individuality in the quiet passages, you still found yourself embraced in enthusiastic exuberance. The virtuosity on hand may not have had Salonen’s LA players’ mastery, but they did offer a rough-hewn joy which the LA players sound as though they don’t know exists.


It’s taken 100 years, but orchestras can finally play this music, and listeners can view The Rite of Spring on its own terms. In the 2000’s, it’s finally possible view the entire history of music thus far through the Rite of Spring’s prism. Finally, we know a little bit about what this music means.


For a hundred years, The Rite of Spring has been the END OF MUSIC. Wagner, whose bicentennial was last week, seemed to foretell the end of music, but he was merely John the Baptist to Stravinsky’s Jesus. Wagner destroyed tonal harmony’s reliability, but he did not destroy tonality’s dominance. It was only with Stravinsky that a replacement arrived in tonality’s place, and that replacement was pure, unadulterated rhythm - pickled with chords salty enough to give those unexpected rhythmic punches as much sting as possible. That riot, exactly 100 years and two days ago, was so many different events wrapped into one meta-event that it’s impossible to do justice to its importance, or to accurately portray precisely what happened on May 29th 1913, or to not read into the event all sorts of things which did not happen at this event. In so many ways, the premiere of The Rite of Spring marked the end of classical music’s hold over the larger public, the end of harmony’s dominance over rhythm, the end of musical sophistication’s primacy over musical primitivism, and the end of civilization’s confidence it has greater answers to the questions of the world than its barbarian bretheren. The Rite of Spring’s entrance into the world marked all of those events for precisely what they were, and yet it marked none of them.


The Rite of Spring, much more than either Pierrot Lunaire or 4’33, is the end of Classical Music. Not the music, just the term as an unassailable, universal definition.
Even the greatness of Gustav Mahler has come to universal acceptance, but the canon upon which everyone agrees ends with The Rite of Spring. Everything after The Rite of Spring is still being debated - and not even Stravinsky’s later work escapes such debate. Does music history have a purpose? Must all classical music be at the vanguard of modern and modernist developments to be truly great? Does classical music stand apart from the developments of other musical genres or apiece? There is not a single work post-Rite by a single composer, not a one, whose music is not disputed over ideological debates which are now a century old. With The Rite’s premiere, classical music lost its primacy to world culture. The riot at the Rite emboldened composers everywhere to challenge their public, and as a result, the public deserted the concert hall in droves for a new kind of music that did not make such strenuous demands. And ever since, not enough people have believed in classical music for there to be a universally accepted definition of the term. What can classical music mean when nobody cares what it means?


(The ‘dangerous’ street music which young Stravinsky would have heard when unsupervised.)


When Stravinsky, a highly superstitious Russian Orthodox adherent, claimed that he was merely the ‘vessel’ through which this work passed, he probably meant it in a more spiritual sense. But in a more general sense, he was absolutely right. The Rite of Spring may require far more compositional technique to assemble than a Joplin Rag or a side by Louis Armstrong’s Hot Five, but Stravinsky was right alongside them in the promotion of rhythm as music’s new engine. But whereas Joplin and Satchmo grew up on the bayous of the American South, and came by their dance rhythms in an entirely naive context, Stravinsky grew up an unhappy upper-class scion of Polish aristocrats whose father was a leading Bass at the Mariinsky Opera in St. Petersburg. Seemingly like all rebellions throughout history, the rebellion of music against harmony was due to a collusion of charismatic people from society’s bottom caste with the disaffected custodians of privilege. All Stravinsky had to do was to be a stenographer and arranger who listened to the folk music of lower social classes, he could then appropriate the music for a sophisticated foreign audience that disguised the music through enough dissonance and rhythmic irregularity that only a veteran Russian music lover could recognize the sources at all. The result, in The Rite of Spring at least, is music which glorifies ‘the people’ as only an aristocrat could - for their lack of individuality, for their primitive urges, for their bloodlust, and for their stupidity. Not for nothing was there a man in the audience of the Rite’s premiere who shouted ‘Colonize Them!’ In many ways, Stravinsky’s music is the very essence of what we now call ‘radical chic’, and is perhaps much closer to the Leninist ideal than anything written in the Soviet Union.


And in a sense, Stravinsky was absolutely right to glamorize these ‘unsophisticated people,’ and his interest in the music of lower social classes - however condescending - was a real interest which generated real interest for their music in his listeners. After The Rite of Spring, many composers felt as though it was their duty as people of money and privilege to use their advantageous position to shock their public - and thus alienated their usually privileged public just as much. This public, feeling as though the aristocratic confines of the concert hall were no longer safe for them, had to venture into more populist havens to feel the solace and reward that they used to rely upon their own set for. And thus, they began to patronize the music of the lower classes - lower classes whose music continually inspired Stravinsky throughout his career. And because concert hall patrons then became patrons of the music hall, the vaudeville house, the jazz club and bar, and eventually the rock club and festival and the hip hop club, their attention was focused upon a new and different kind of music made by people whose life experiences were completely different from theirs. And thus, the experiences of the lower class became part of the upper class experience, and vice-versa. Classical composers began to appreciate popular music, not as soil to be pilfered, but as something deserving of true respect in its own right and understood on its own terms. Meanwhile popular musicians began to appreciate classical music, not as something forbidding and incomprehensible, but as something worth studying - and that in turn made their music more technically sophisticated. And the audiences of both were able to appreciate each to each - a mid-century middle class family of open mind could appreciate Beethoven, Basie, and The Beatles with equal passion - and it was Stravinsky which made this bridge possible. So therefore, perhaps Stravinsky’s ballet is not only more totalitarian than any music work written in the 20th century, but also more democratic.


So yes, The Rite of Spring meant all these things, and yet it meant none of them.


But in order to talk about what the Rite means, you ultimately have to talk about its performances. When I look at Stravinsky’s score, when I listen to the early recordings, I hear a different performance in my head than the one which Esa-Pekka Salonen gave - one more balletic, more apiece with Stravinsky’s other music, more suffused with Mendelssohnian lightness (the Mendelssohn piano concerto was, after all, the only piano concerto Stravinsky learned well enough to play in public). We have now reached a point when The Rite holds no terrors, and it is directly correlated with some people now viewing it as the most ‘important’ piece of music in music history. If this music means that much, then some people will master it and play it in such a way that its mastery is fully demonstrated. What we hear in the Salonen performance is the ultimate masterly performance of the Rite of Spring, and it has all the terror within it which that implies. What we hear is the full destructive power of the Rite unleashed upon an audience that waited nearly a hundred years to experience it in full. What we don’t hear is the work’s incredible life-giving side.




(Pierre Monteux conducted the premiere in 1913. This is from exactly fifty years from then, and exactly fifty years from now - with the London Symphony, when he gave the 50th anniversary concert at the age of 88. Even the formidable LSO couldn’t come close to mastering the work, but to this day, no one - not even Stravinsky himself - conducted The Rite of Spring more perceptively. Below is a better performance by him, but even the Boston Symphony can't quite handle it...)




When I picture my own ideal performance of the Rite, The winds of the introduction would be pellucidly clear, the tempo and dynamics in the Augers of Spring would be held back so that the buildup can be more meaningful, and the music can positively explode with virtuosity when we get to the Ritual Abduction. The Spring Rounds would be understatedly elegant and not undanceably slow, and the polyrhythms of the Ritual of the Rival Tribes, the Procession of the Sage, and the Dance of the Earth would be as clear as a bell, neither with the elephantine heaviness of the old slow performances, nor with the vulgar ‘con blasto’ approach done at tempos too quick for you to hear which notes you’re missing. The opening of the second movement would be done a shade slower and many times softer than is today’s norm, but with a romantic flexibility one generally doesn’t associate with Stravinsky (but is there in the score for all to see) that during the dances of the young girls would at times veer into faster than today’s norm as well - but nevertheless, the feeling of the beginning would be fundamentally slow and langourous, until we get to the Glorification and Naming of the Chosen One - where the work arrives at it’s true explosion - and the full power of the orchestra is finally unleashed - twenty minutes into the work’s roughly 30 minute duration - with a tempo which most orchestras would find impossibly fast and playing out with as much loud ugliness as orchestras generally distribute evenly throughout the work and with NO SLOWDOWN FOR THE EVOCATION OF THE ANCESTORS!  But once we come to the Ritual Action of the Ancestors, the tempo is slowed down to a crawl for the most langourous, most sensually chromatic, most feral, and yes - most terrifying - action you can get. And then, finally, for the Sacrificial Dance - take the brakes off, and go for Stravinsky’s original speed - once pronounced unplayable, but now easily within the purview of semi-professional orchestras. How do we know this, because believe it or not, perhaps the performance which comes closest to giving us this tempo, and all all the rest of what I list above, is the semi-professional Boston Philharmonic, conducted by Benjamin Zander. But there is no way that the Boston Philharmonic can be any more up to all the demands than the greatest orchestras of the 1930’s.


But there’s not a single performance of The Rite of Spring which gives you all of that, or even the majority. Perhaps the earliest conductors of the score understood all that, but none of them had an orchestra to live up to their demands - and often had to slow the tempo of the faster sections so that their orchestras had a fighting chance. Later conductors like Ancerl, Markevitch, Dorati, Davis, Ormandy, Solti, and Abbado could give us good approximations of the score that told you ‘some’ of the story, but none of them could give us the whole thing. Perhaps some truly perceptive musicians, like Bernstein and Boulez, could give you a little more than ‘some.’ and none of them, not even Boulez, could consistently drill an orchestra to the point that the score could be fully mastered. It’s only in our day, with supervirtuoso orchestras under super-technician conductors like Chailly, Fischer, and Jansons that orchestras sound like they’re finally getting the Rite into their bloodstream. When a conductor is truly inspiring in our day, like Gergiev, or Rattle, or Michael Tilson Thomas, the results can still be as exciting (and as dirty) as ever before. But inevitably, the more masterful the orchestra sounds, the more capacity there is to make The Rite of Spring sound dull, no longer like the world-incinerating threat it always has but just another kid-glove masterwork. We still await a conductor who can give us all that technical mastery combined with all that drama suffused with all that lightness (Vladimir Jurowski? Daniel Harding?...)




Nietzsche used to speak of how music can only express the sentiments of bygone eras - by the time Beethoven expressed the spirit of enlightenment in music, or Mozart the Rococo Era, or Bach the protestantism of Martin Luther, the spirit of that time had vanished completely. But what era does Stravinsky express? Every piece of music he wrote seems to express the spirit of a different time and place. And in the case of The Rite of Spring, it expresses an era so long dead that it has no recorded history. If anything, Stravinsky is a composer who - like most great composers, only moreso - expressed bits and pieces of the future, and no piece of music in the twentieth century revealed that future more strikingly than The Rite of Spring. The Rite of Spring is encoded onto the DNA of jazz as no other classical work could ever be. The Entertainer and The Potato Head Blues are the lush green valley out of which jazz grows, but The Rite of Spring is the mountaintop to which all popular musicians with artistic ambition aspire to climb. Ever since Joplin and Satchmo, Jazz moved ever closer to the sophisticated tonal dissonances of its chords and the asymmetrical jabs of its rhythms - present for all forms of popular music like a holy grail to which they can aspire for the sophistication that will not only move the ‘popular musical tradition’ forward into territory unknown, but also assimilate other genres to the classical tradition, so that perhaps they can become one and the same. Several famous jazz musicians like Ornette Coleman,, Alice Coltrane, Hubert Laws, and Charlie Parker have all directly summoned The Rite’s ghost in their music making. How long is it before rock, its energy exhausted a generation from now as jazz’s energy is exhausted in ours, turns to classical music just as frequently as Jazz does today, and inevitably hits upon The Rite of Spring? Leonard Bernstein compared The Rite of Spring to Bebop, Gustavo Dudamel calls it Heavy Metal. Because ultimately, what The Rite of Spring expresses is not the past, it's the future.

The Rite of Spring may be about the inevitability of spring returning, but it provided classical music with a century-long winter (thus far). It did nothing less than destroy classical music as we knew it, and thanks to performers like Esa-Pekka Salonen and the Los Angeles Philharmonic, we have finally come to terms with its destructive force. However, we still haven’t come to terms with its life-force. The Rite of Spring is about the entire life-cycle, life as well as death, sex as well as murder. No performers have come along yet who unleashed the expressive potential of The Rite of Spring in its entirety, but now we know what that entirety will look like. And such a performance can only come when popular genres meet again with classical genres. The Rite is the beacon by which ‘popular’ genres know that they are growing. One day, there will come a musician who expresses something with tonal dissonance and asymmetrical rhythm even beyond The Rite of Spring, and such a work will illuminate the lighter half of even this forbidding masterpiece. it will contain polyrhythms and polytonalities beyond the Rite of Spring's thorniest passages, but where the Rite of Spring was forbidding and suffused with 'otherness', this work would be suffused with Mozartian (Armstrongian?) light, and Beethoven (Beatlesesque?) humanity. And such a work would then illuminate the life-giving side of The Rite of Spring, which would no longer be a forbidding monster in its wake, but an uplifting, joyous celebration of life and death in permanent cycle. What now seems so primitive, dark, and 'other' in The Rite of Spring is in fact the first stage in which a new civilization gains its humanity and speaks with its long muted voice - a voice which has grown in eloquence every year since. When the day comes that world music assembles a canon as important to world history as the 'classical' canon, the aspirations of music will be universal again.

Monday, May 27, 2013

My Favorite Album - Der Mazur's Contribution

So here we are almost exactly a year after my contribution to Evan's Sight and Sound movie list, and this was far more difficult for me. There are 2 reasons I feel uniquely unqualified to talk about "My Favorite Album." First, although I love to rate, and rant, and criticize artistic endeavors, when it comes to picking favorites, my tastes change and shift too rapidly. My top 5 favorite movies list probably has 20+ films on it, and if you asked me a week from now, it wouldn't be the same 20 movies. Secondly, I love music and revel in my own musical tastes, but by and large I hate albums. For most of my life, albums were formulaic things made by music industry executives. 12 to 15 tracks long; the first track is good but never the best song, or the one with the most radio play; track 4 is the big hit single that's on the radio all the time; track 7 is the single fans like more than track 4, but is less popular in the mainstream; track 10 is something the artist really loves, but it isn't that great; the last track is usually the worst on the album, and everything else is just filler. Sometimes there's a "secret track" but it's always something funny or a demo version, only for the hardcore fans (all track numbers ±1). There are only 3 types of albums I like: 1) the mix-CD - not a best-of album, a mix made by a friend who thought not just about what songs to include, but the order which would elicit the strongest emotional reaction. 2) the concept album - it's like a mix-CD made by the band, less personal, but just as well thought out. 3) the live show recording - some artists are just as good, if not better, heard live. So I'm going to go with Evan's instructions, and choose an album "which means more to [me] than any other in the world."


I developed a love of Count Basie many years after first seeing his cameo in my favorite Western film, Blazing Saddles. I loved the way his orchestra swung hard, but still retained an ease about it. Basie's piano always seemed to twinkle over top the band filling the dead spaces with elaborate riffs, making it seem simple and obvious. While I can't pinpoint exactly when I first started to listen to Frank Sinatra, I shouldn't need to tell anyone why you should listen to Frank Sinatra.

As for the album, it was Sinatra's first live album to be released commercially. It's got most of Sinatra's best songs, a few charming monologues, and Basie's band has a big enough sound to stand up to Sinatra without being overpowered, or overpowering. Highlights include Come Fly with Me, Fly Me to the Moon, amazing instrumental versions of All of Me, and Makin' Whoopee, and Luck Be a Lady (which wasn't on the original LP). If you are a fan of either Sinatra or Basie, the original Ocean's 11, the movie Swingers, cocktail culture, 90s swing revival bands, or AMC's Mad Men, I highly recommend this album.

Around 1999, I bought the CD of Sinatra at the Sands, and thought it was a great album. The music swings in a way that is tight, without sounding overly rehearsed, a difficult accomplishment for a show that ran for 4 months. The It enjoyed a place in my CD wallet when I started driving, I took it with me to DC when I came up for college, as I didn't have an iPod, and often grabbed it and 1 or 2 other discs when I would visit my grandfather, aunt, uncle, and cousins, in Maryland for holidays. Freshman year, I think it was second seder at my aunt and uncle's house, after dinner I put on my headphones and my grandfather asked me what I was listening to. I said, "Sinatra and Count Basie at the Sands" and he told me that was one of my grandmother's favorite albums. He bought it on vinyl for her when it was released in 1966, and somewhere along the years it got lost, or sold, or just plum worn out. He smiled, and his eyes had a far-away look about them. I never knew my grandmother, she died 4 years before I was born. We always lit her yahrtzeit candle, but for whatever reason we didn't talk about her much. We had a few pictures of her from my parents wedding, but I never heard stories about what she was actually like. I didn't know if I had her ears, or her sense of humor, but for the first time in my life I felt a connection to her. My grandfather died a few months later, a couple of weeks before the start of sophomore year. Whenever I want to think of him, I listen to songs off this album, and whenever I listen to songs off this album, I think of him, and smile.

While I think everyone should hear this album, I don't expect it to show up on anyone else's favorites list. I know I wasn't the first to get overly sentimental thinking of an album, and I'm sure I won't be the last… unless I just took the longest to get around to writing my post, in which case, sorry, Evan.

Der Mazur is a saxophonist, encyclopedic pop culture connoisseur, and occasional guest blogger for Atomic Sam who lives in DC. The editor is also truly, truly shocked at seeing Der Mazur vulnerable for the first time in their ten year friendship. He likes it...
Click here for La Cohen's Contribution
Click here for Il Greenwood's Contribution
Click here for Der Thobaben's Contribution
Click here for Doundou Tchil's Contribution
Click here for Eta Boris's Contribution
Click here for HaWinograd's Contribution
Click here for Le Malon's Contribution
Click here for Atomic Sam's Contribution
Click here for La Swaynos's Contribution
Click here for Boulezian's Contribution
Click here for HaZmora's Contribution
Click here for The McBee's Contribution
Click here for Le Drgon's Contribution
Click here for The Brannock's Contribution
Click here for The Danny's Contribution
Click here for The Drioux's contribution
Click here for El Reyes's contribution
Click here for My contribtuion