Tuesday, July 11, 2023

Slow Dancing to Ellington

Lately on Friday nights I go alone to a swing dance ballroom in one of downtown Baltimore's dicier neighborhoods to recapture my lost youth of 1938. It's a surprisingly diverse crowd, but certain demographics are clear. The female dancers are mostly beautiful and intelligent young women, many of whom drive from hours away to be there, while the male dancers are mostly the sad old men I'd prefer to avoid becoming.
For better or worse I hurt my back as I danced on Friday, so I ended up not able to dance except during the slow songs, and I found myself just listening to big band standards in a ballroom full of fantastic dancers, exactly the way this music was supposed to be listened to.
The experience is like a time warp from a different America - no matter how modern the shirts, you watch people dance to Ellington and Basie and you feel the exuberance of a country in its prime, with so much optimism for its future that how could this roar of energy not conquer the world?
Like so much great classical music, however much or little you like it, you haven't really given any piece of music a chance until you've heard it live. And no matter how white the band, when you hear Ellington's music, the sound picture with live dynamics and cleared away from all its compression and hiss, you realize that this is music as vital as anything in Haydn.
I use the Haydn metaphor deliberately. Like Ellington, Haydn thought of himself as a workman, not a genius, providing entertainment for a social order he dared not critique. And yet from his unique perch, he could innovate as many ornamentations of meaning as anything in Byzantium.
Like Stravinsky, Ellington is meant to be danced to, but like Stravinsky, the music works just as well as pure music. There are so many innovative chords in Ellington's music that I wonder if music theory has ever come up with names for some of his progressions. You can listen nearly as well without the context of dance, and yet the dancers makes it an entirely different experience.
All music can, I think, be divided into four elemental categories: song, dance, conversation, and painting. All music has qualities of all four, but while Ellington's music is primarily of the dance, when you hear a slow song like Mood Indigo, you feel as though you are in the middle of a sung painting.
And as I slow danced with a far too pretty woman I felt as though I was something intrusive about our intimacy. So beautiful was the music that I felt as though I should never dance a song that beautiful with someone whom you're not on intimate terms with. I remembered dancing to it in my college dorm room with a girl I had an on-again-off-again thing with - mostly off. She treated me like crap, but at least I have good memories like that.
Ellington has that dual meaning which only great art has. He's obviously had his many uses in moments of seduction, and yet works like Mood Indigo and I've Got It Bad speak just as well to loneliness and heartbreak. You go to things like this hoping to meet 'somebody,' and of course, there's nobody there. The sensible people 'your' age are busy at home with their kids, the 'insensible' are still getting drunk, and after 40, bars can be a profoundly sad place.
So I found myself sitting at a table alone, and yet again, listening to great music with just myself for company, and regretting it less than I thought I would.

Monday, July 10, 2023

Two Good Books: The Handmaid's Tale and The Dean's December


It's a little insane to write about these two books, but they're both near-masterpieces published in the mid-80s and have even more to say to us today than they ever did in their own time. One defines the spirit of our time and one is the zeitgeist's literal opposite. If you say anything uncomfortable about The Handmaid's Tale, you're in trouble. If you say anything nice about late Bellow, you're in trouble. So let's get to it (sticks up middle finger).
Nobody needs to champion The Handmaid's Tale. It's one of my lifetime's most beloved works of literary fiction (if 'beloved' is something you can call it). I still haven't seen the series, but the novel is one of fiction's most claustrophobic visions. As you probably know, it's about women whose options are completely restricted to reproduction or illegal whoredom. The only escape is a still worse place - a place of internment which seems uncannily like the death camps.
The Handmaid's Tale is not just a political pamphlet against fundamentalist Christianity, misogyny, and toxic masculinity. It's a vision of the world that is at once distant and very, very familiar. In the Trump era, it speaks to our fears of what fundamentalist Christianity may become, and we fear it because of so many times already when Christians were like this. But the more difficult truth of The Handmaid's Tale is we fear it because we see it today, and the place we see it is Islamic countries, where being a woman is a dystopia so far beyond anything seen by recent American eyes. The fact remains, there are people whom we're trained to view with sympathy who are the least sympathetic people on earth. If you want to know what life is like in those countries: read The Handmaid's Tale.
The problem of The Handmaid's Tale, if its a problem, is the condemnation it omits. Not the male characters, though the men of this book are viewed with weird sympathy. The missing condemnation is fellow travelers around the world who excuse these fundamentalists because their own goals align with fundamentalist Christianity. In the real world, they're the same Western conservatives who view Putin with sympathy. They're Middle Eastern Muslims, they're even Chinese communists. What they all hate is Western liberalism, Western secularism, Western permissiveness, and however fundamentalist this fictional Christian regime, there are a billion people at least who'd say 'their heart is in the right place.'
How do we know? Because their opposite numbers say the same about Western colonialism, and have justified any amount of totalitarian rule in the name of ending modern imperialism. It's even in my lifetime that Soviet backed dictators killed their countrymen with a speed only the Belgians could match. To be sure, there were individual American-backed dictators just as bad as any Soviet, but statistics don't lie: the Soviets were worse.
This is half the point of The Dean's December - the half which takes place in Bucharest. We think we have it bad, but 'they' have it worse. The plot is pretty simple: a man goes with his wife to her country of origin to visit her dying mother who did everything to get her girl to America. The bureaucrats prevent the daughter from seeing her, the mother dies, hundreds come to her funeral and treat her as a hero because she did similarly heroic things for them. Her funeral becomes a silent protest against the Caucescu regime: the only protest which can't be censored.
Was Caucescu's Romania as terrible as Gilead? Of course not. Romania wasn't even as terrible as America-backed dictatorships like Congo and Indonesia, but Romania is a real place and Gilead is not. Communist Romania was a tyranny of fear that your own relatives could put you in prison; your own friends, your own spouses and children. Betrayal in Eastern Europe was a fact of life, and everyone lived in terror of saying the wrong thing in front of the wrong intimate, all of whom might ruin their lives. And if you knew who your informant was, you simply had to welcome them and treat them as though particularly beloved, else as revenge they could even lie to the government about what you said or did.
But there are people in America who have it just as bad. This is The Dean's December's other half. It's not 'us,' the privileged readers of literary fiction, it's the murdered, many of whose last moments are full of horror and pain we can neither endure nor imagine. The murdered in America are a whole class of people: over a half-million in the last 50 years. These don't count soldiers or police. This is just the stark fact of American life, perhaps the starkest. We respond with horror to mass shootings and police killings, yet to every other type of murder we're conspicuously silent. To solve murder we like to say that soft power is the key, social work is the key, education is the key, better housing is the key; but the truth is, we don't know that. All we know is that gun death kills 30,000 people every year, and there are only two solutions everybody knows kinda work.
One is the force nobody wants to countenance: hard power. Police work. Police presence. Police enforcement. Police force. We can insist on higher standards of policing and still understand that police work is one of the cornerstones of any functioning society. If you want better policing, treat police officers more respectfully, not less. Pay them more. Be nice to them. Stop treating them like the enemy and stop making their change of tactics a higher priority than stopping murder itself. The alternative, we already see, is more murder, more injustice, more danger. Any policeman smart enough to get other options is leaving the job, knowing that their lives are that much more endangered for lack of tactics available to them and no new tactics put in their place. Replacing them will be exactly the corrupt lowlives we want off the beat.
The other solution is that 'thing' nobody thinks is important but defines everything: culture. Everybody says that culture isn't important when the other side makes the argument, then uses it without apology when it's their side who makes the argument. Culture matters. Everybody agrees so long as it's their culture.
But culture only works when included is a culture of agreement and compromise. A culture where people have the same motives is a culture where people get protected. The three sides of American life all have to concede enormous things. The right has to value education, the left has to value policing, and the center has to fund them both. It's all well and good for Republicans to look back to the mid-20th century when we had the world's entire economy and taxes for the highest earners at 94% (marginal), but they willfully misunderstand the circumstances which enabled it. it's nice to dream of the socialist paradises of Scandinavia without realizing that they're only possible with a racially homogenous population of a few million people and some defense money from the US so they can spend everything on social programs. The minute a few Muslims come over, northern Europeans start sounding like Nazis. The minute they need their defense needs taken care of, all that European contempt for us melts into American flags again.
Bellow is one of the greatest writers of the 20th century and in his home country he languishes forgotten - more remembered in Europe than he's been here for twenty years. What Bellow represented was the mid-20th century liberal consensus, and because that's what he represents, his books are uniquely unsuitable for our time because of the unpleasant truths that come with him. He was an American liberal bordering on socialist who almost met with Trotsky in Mexico (the day of Trotsky's assassination), and then turned neoconservative in the wake of late-century urban decay.
Like so many of us, his great strengths were his weaknesses. And Bellow's great insight is that culture is what saves us, and that by letting go of the aspirations to middle class American white picket fences with good public schools, we succumbed to a nihilism from which we still haven't freed ourselves. With that insight came a disrespect for people who did not share his concept of culture; and his worst book, Mr. Sammler's Planet, has an unforgivable scene of breathtaking racism.
But the solution, as always, comes from meeting in the center, and its to the center that we have to look. But which center? A liberal center or a libertarian center? One cares enough to fund schools and police, the other doesn't care. So if you want better, the center has to be liberal, not libertarian, not conservative nor moderate. By managing this compromise, centrists cannot compromise on their own behavior. The 'well-meaning' center can't just sit back and stay affluent, they have to raise taxes through the roof and pay for education, social programs, defense, and policing to the quantity of hundreds of billions each. Either you share the wealth, or you consign a society to dystopia.
I don't know how to end this one.

Friday, June 30, 2023

My Favorite Piano Recordings


I love jazz and rock piano but none here as my personal middle finger to all my music loving friends who ignore classical music.
Ahem: My favorite piano recordings (chronological order, not preference, containing two harpsichord exceptions):
Igor Kipnis plays Bach Goldberg Variations https://www.youtube.com/watch?v=dhxjqGsyFR4
Leon Fleisher plays Bach Chaconne arr. Brahms https://www.youtube.com/watch?v=0CbAmyCca0c
Gustav Leonhardt plays BWV 1004 (same piece Bach arranged himself for harpsichord) https://youtu.be/B8XFLDlhZQg?t=588
Lili Kraus plays Mozart's Complete Piano Concertos https://www.youtube.com/watch?v=jvRhkZLM__E
Menahem Presler plays Mozart Piano Concerto no. 23 https://www.youtube.com/watch?v=m0Tk3sliZ0U
Ivan Moravec plays Mozart C-Minor Sonata https://www.youtube.com/watch?v=G6hCoWG0KUc
Wilhelm Kempff plays Beethoven Piano Sonata no. 1
Wilhelm Kempff plays Beethoven Piano Concerto no. 4 https://www.youtube.com/watch?v=pjIfzu82HU0
Friedrich Gulda plays Beethoven Hammerklavier Sonata https://www.youtube.com/watch?v=Sf9eZdeS8es
Sviatoslav Richter plays Beethoven Sonata no. 32 https://www.youtube.com/watch?v=DjE1yst49rU
Sviatoslav Richter plays Schubert Sonata D. 784 https://www.youtube.com/watch?v=XAxuFcFSw_g
Radu Lupu plays Schubert Sonata D. 894 https://www.youtube.com/watch?v=BUXcEYaLvw0
Alfred Brendel plays Schubert Sonata D. 959
Clifford Curzon plays Schubert Sonata D. 960
Sviatoslav Richter plays Schumann Toccata https://www.youtube.com/watch?v=waS2A8en7ps
Radu Lupu plays Schumann Fantasie https://youtu.be/0j41RKL4DmU?t=2496
Josef Hofmann plays his Casimir Hall Recital https://www.youtube.com/watch?v=qgsLAQLc6Nk
Mieczyslaw Horoszowski plays Chopin Preludes https://youtu.be/XS0Yzbo99ws?t=819
Alkan Etudes (whoever can play them) https://www.youtube.com/watch?v=VNcgAJLHf7A
Rosalyn Tureck plays Brahms Handel Variations
Friedrich Gulda and Joe Zawinul play Brahms Haydn Variations
Arthur Rubinstein plays Brahms Piano Concerto no. 2
Germaine Thuyssens-Valentine plays Complete Faure Piano Music https://www.youtube.com/watch?v=1eSbHWHel9Y
Rudolf Firkusny plays Pictures at an Exhibition https://www.youtube.com/watch?v=AIizIOyisHc
Alicia de Larrocha plays complete Piano Music of Isaac Albeniz https://www.youtube.com/watch?v=k_0u7AzMItM
Pietro Scarpini plays Busoni's Piano Concerto https://www.youtube.com/watch?v=c1AgOvleAmY
Marguerite Long plays Ravel's Piano Concerto in G https://www.youtube.com/watch?v=fUWsBjt8xJI
Stravinsky Concerto for Piano and Winds https://www.youtube.com/watch?v=pyRX_bq3Tds
George Antheil Airplane Sonata https://www.youtube.com/watch?v=J4on2sedCNg
Steffen Schleiermacher plays Henry Cowell Piano Music
Andras Schiff plays Bartok Piano Concerto no. 3 https://www.youtube.com/watch?v=l7J7L53b8U0
Ivan Wyschnegradsky's 24 Quarter Tone Piano Etudes https://www.youtube.com/watch?v=JiZ5EwSqAd8
Jean-Yves Thibaudet plays Messiaen's Exotic Birds https://www.youtube.com/watch?v=lmjETPAkF70
Pierre Laurent Aimard plays Ligeti Complete Etudes https://www.youtube.com/watch?v=1AyRrIkzrM8
The First Complete Recording of Kurtag's Jatekok https://www.youtube.com/watch?v=w4oaXUdU6kE...
Rodion Shchedrin 24 Preludes and Fugues https://www.youtube.com/watch?v=-0KH-wDfTlc
Nikolai Kapustin 24 Preludes in Jazz Styles https://www.youtube.com/watch?v=LbxKRE7nxWk
Nikolai Kapustin Eight Concert Etudes https://www.youtube.com/watch?v=116QHk9jNGI