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calimac ([personal profile] calimac) wrote2025-10-21 12:57 pm

reimagining Górecki

When the composer Henryk Górecki died 15 years ago, I wrote a post largely about how I'd discovered his music. Excerpts:
Sometime in the mid 1980s, DGK, explorer of new and unusual music, showed me an obscure LP he'd picked up out of random curiosity. Packaged as the soundtrack album to a French film called Police, it consisted in fact of a full recording of a modern Polish symphony for soprano and orchestra. Neither on the record album nor anywhere else that he looked was there much information to be had on the work or its composer, one Henryk Górecki. DGK was astonished and spellbound by the audacity and craft of this music, and, unlike with many of his passions, when he played it for me I was too. ... For years, this marvelous piece of music remained our secret shared passion that hardly anybody else had heard of, like The Lord of the Rings in its early days. When I began to collect CDs a few years later, I found a German import with this work on it, and bought it quickly. Imagine our astonishment, then, when in 1992 a new recording of it on Nonesuch, a well-known American classical label - conducted by David Zinman - became a monster hit and the toast of the classical world, the first contemporary work to reach the top of the classical charts. The musical equivalent of the Lord of the Rings paperbacks had hit the stands. Suddenly our obscure passion was the talk of the town.
The resemblance with being an early Tolkien fan hit me forcibly, though I wasn't old enough to remember that personally. Of course, we didn't think we were literally the only people who knew this piece, but nobody we knew did and no critics we read mentioned it, so it remained our secret gem. And then, all of a sudden in 1992, as with Tolkien in 1965 its fame exploded and everybody, at least in the field, knew it and was talking about it all the time.

Now DGK has sent me a scholarly (but readable) article on the history of the Third's reputation before the Zinman recording. It didn't have the wide renown of subsequent years, but no, it wasn't that obscure. It was played and commented on. True, some people hated it (and still do!) but it was generally praised and considered remarkable. I guess we just never came across those. Though in fact DGK tells me that he'd gone looking for the record after reading a review in Fanfare, the review magazine for fans of the truly esoteric in classical record collecting. I hadn't known of that alert, but it proves the point: there was awareness and praise of the work.

But the article makes the situation remind me even more forcibly of Tolkien. For, of course, there were lots of reviews of The Lord of the Rings when it first came out in 1954-55, and articles about it later; it just wasn't the widespread popular phenomenon it became after 1965. And, as with Górecki's Third, though there's an assumption that it was generally panned when new, that turns out not to be true. There's an article in the upcoming Tolkien Studies 21 - which is in press right now - called "Reconsidering the Early Critical Response to The Lord of the Rings" by Matthew Thompson-Handell, which reveals that the general early critical response to the book was quite favorable, even among some of the reviews which have gained a reputation as pans. The guy who wrote, "This is not a work which many adults will read through more than once"? That's taken totally out of context and does not express what he meant. Read Thompson-Handell's article and you'll see.
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alierak ([personal profile] alierak) wrote in [site community profile] dw_maintenance2025-10-20 10:11 am

AWS outage

DW is seeing some issues due to today's Amazon outage. For right now it looks like the site is loading, but it may be slow. Some of our processes like notifications and journal search don't appear to be running and can't be started due to rate limiting or capacity issues. DW could go down later if Amazon isn't able to improve things soon, but our services should return to normal when Amazon has cleared up the outage.

Edit: all services are running as of 16:12 CDT, but there is definitely still a backlog of notifications to get through.

Edit 2: and at 18:20 CDT everything's been running normally for about the last hour.
calimac: (Haydn)
calimac ([personal profile] calimac) wrote2025-10-19 07:46 pm

concert review: SF Music Day

Today I did get up to the City early on. But as I didn't need to be there until 12.30 instead of 10.00, it was easier.

The topic was SF Music Day, an annual event I'd never heard of before. The promoters take over the Veterans Building for an afternoon, presenting 6 events (each slightly less than an hour) in each of three concert spaces in the building. Times are coordinated, so attendees can hop from one room to another, but I didn't. Most of the items in Herbst Theatre, the main space, were jazz-oriented, so I planted myself for the entire afternoon in the cavernous and echoing room on the second floor where the classical performers were. The acoustics were fine for the music, but it was difficult to make out any spoken words from anybody.

The highlights came at the end. Pianist Elizabeth Schumann thundered her way through Mussorgsky's Pictures at an Exhibition and loaded it with enough tone color that an orchestration seemed superfluous. Then she surprised everybody by choosing for an encore Gershwin's "Embraceable You," but encores have a long tradition of clashing strongly with the main work. Then Schumann came back with four of her colleagues from Ensemble San Francisco for an energetic and catchy run through Dvořák's Op. 81 Piano Quintet.

The day had begun with the Benicia Chamber Players, who regularly perform on both sides of the Carquinez Strait, in two movements from Schubert's "Rosamunde" Quartet, the work I missed yesterday, and a squeaky squawky work by Gabriella Smith. Then some of the young chamber musicians who are the subjects for master classes at Kohl Mansion played movements from string quartets and piano quartets by the Viennese classicists.

In between these and the closing numbers, we got a couple more varied groups. The Turas Ensemble is two barefoot sopranos who sing ethereal versions of I know not what, because I couldn't make out any of their spoken explanations of what they were doing, or their lyrics either. Some songs unaccompanied, some with dulcimer or hurdy-gurdy or whatnot. And the Berkeley Choros Ensemble play instrumental popular music from Brazil, rather pleasant to listen to and moving enough to encourage one older couple to get up and dance, or at least sway together, to the music.

Getting out of a concert in the City at 5.45 on a Sunday - not Friday or Saturday when places would be crowded - would ordinarily be a perfect time to seek out a restaurant for dinner. But today I felt no urge to do that, and went straight home instead, where I'm partaking what I ought.
calimac: (Haydn)
calimac ([personal profile] calimac) wrote2025-10-18 10:24 pm

two concerts in a day

It was going to be three, but going up to the City for a morning string quartet event and then dashing back down here for the afternoon seemed a bit much to attempt in the current state. So two it was, both community orchestra events in my local area.

The Winchester Orchestra under James Beauton essayed a Halloween concert. It had both Danse Macabre (excellent solo work by concertmaster Bill Palmer) and Night on Bald Mountain (the old, Rimsky-edited version of Mussorgsky's score). It had Stokowski's arrangement of Bach's Toccata and Fugue in D Minor, favorite music of evil scientist organists everywhere. The orchestra struggled with the beginning of the fugue. It had a dance from The Firebird, and they struggled even more with that. It had music from two movies, Psycho (with the conductor making a stabbing motion with the baton when we got to that scene, as if the music wasn't clue enough) and The Mummy Returns. And we had a ten-minute précis of Johan de Meij's Lord of the Rings Symphony in an orchestrated version (the original is for concert band). It summarized up three of the five movements: Gandalf, Lothlórien, and Hobbits, and they did that one very well.

The Palo Alto Philharmonic under Lara Webber began with Of Paradise and Light by Augusta Read Thomas for strings, a weak echo of Barber's Adagio, and continued with the Suite for Viola and Small Orchestra by Vaughan Williams. This concerto, for that's what it is, in eight short movements is from VW's pastoral side with no hint of the hairier directions his music was taking by 1934 when he wrote this. But it's not top-drawer VW pastoral either, though soloist Jenny Douglass played very well. For a conclusion, Brahms's First. There was some blattiness, but for the most part this came off lucidly and excitingly. This work is naturally very heavy, but here it was both light and powerful, a nice trick if you can pull it off.
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calimac ([personal profile] calimac) wrote2025-10-17 11:05 pm

absence

Been away for a couple of days. Not on my favorite form of vacation. Now back. Very thirsty, mostly.
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calimac ([personal profile] calimac) wrote2025-10-14 09:24 pm

posthumous Le Guin

Ursula K. Le Guin's Book of Cats (Library of America, 2025)

The Word for World: The Maps of Ursula K. Le Guin, edited by So Mayer and Sarah Shin (Silver Press and AA Publications, 2025)

Le Guin, cats, and maps - three of my favorite things. How could I resist? I ordered both of these (the second is from the UK, and is in connection with an exhibition) in advance, not knowing what I was going to get.

The Book of Cats is not a regular Library of America publication - it's short (about 100 pages) and on thicker, lightly tinted paper. It's not a complete collection of her writings on cats - no Catwings, no essays on the life of Pard. But it does have a lot of cat poems, only some of which have been previously published, and a couple of author-drawn picture stories, one on the art of cat arranging (or how to lounge in a typical feline fashion), which has only been seen before as a rare pamphlet, and a cat-and-mouse superhero comic, and some other illustrations, and a delightful series of letters among cats about proper behaviors, like Head Scratching:
When the Female Human is facing the wrong way in bed she needs to be rearranged, so I come and scratch the top of her head until she turns over and faces the correct direction so that I can lie down beside her pillow with my butt in her face and go to sleep.
Lastly, an annotated and dated list of all 20 cats which had custody of UKL in her lifetime (plus a photo of her at age 3 petting the first in the set), from which I figured that the one I met on my one visit to her house was Lorenzo aka Bonzo, whom she introduced to me as an "elderly gentleman" as he lay cradled in her arms.

The Word for World intersperses maps, mostly hand-drawn by UKL herself, with essays by various hands. Some of the maps are previously published, some are not. The unpublished ones include maps of Earthsea with tiny differences from the published ones, further talismanic maps of the Valley of the Na, diagrams of seasons on Werel (the one from Planet of Exile - keep up, now), and most interesting, a map of the provinces, principal cities, and major rivers of Orsinia, which does look a lot more like Hungary than it does like Czechoslovakia - I always thought it would.

I've never found critical writings on Le Guin to be as interesting as those on some of my other favorite writers, and that's true here too. The only essay I got much out of was the one by her son Theo, which talked about influences - the vital role of the ranch Kishamish in her life, a map of St Helena she found in France which may have affected her style, a comparison of her aesthetics with those of Tolkien. I really appreciated that.
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calimac ([personal profile] calimac) wrote2025-10-13 09:37 pm

Eichler

Today the first rains of the season arrived. It poured heavily and wetly for about four hours, which is longer than the heavy downpours usually last around here. Nevertheless I ventured out into it, and I was far from the only one, to the local history museum for an evening talk about Eichlers.

No veteran residents in Silicon Valley need to be told what that means. An Eichler is a home built by the developer Joseph Eichler, who in the 1950s-70s was one of the many builders busy turning the local orchards into tract housing developments. Eichlers came in various models, but they all had a strong family resemblance, and until the imitations ("Like-lers") came along, looked like nothing else for sale in the middle-class housing market.

For one thing, they were built in post-and-beam construction, with no load-bearing walls. That meant those walls could be light or intermittent or even made of glass. The resultant opening up to the outside (many Eichlers came with courtyards or atria) and the Prairie School-like expansiveness of the beam-driven construction is what made Eichlers feel like "Frank Lloyd Wright for the masses," more effectively than Wright's own Usonian houses.

Eichlers are easily recognizable from the outside by their beam ends, grooved wood on the facades, and low-slung roof rises. To this day there are whole blocks in this area with nothing but Eichlers.

The speaker was a real estate agent who specializes in Eichlers. He talked a lot about maintaining sale value and on remodeling to update Eichlers (original construction was a bit shoddy) while keeping the mid-20C spirit of the original. Most of the audience were Eichler owners concerned about whether their neighbors were going to build second stories. I grew up in an Eichler but haven't lived in one for many years; I may have been the only person there whose primary interest was in architecture as an art form. Nevertheless when I asked a question along those lines, the speaker proved to be well-informed.

I learned something of the history of Eichlers, both the firm and the style of houses; and where exactly they are. I learned that the realtor keeps maps of Eichler developments, such as this one of my town; my family's Eichler was in Fairbrae Addition, the big red blotch in the middle of the map. Here, this is a typical Eichler.
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calimac ([personal profile] calimac) wrote2025-10-12 08:41 pm

three concerts

1. The concert I went to up in the hills was a wind octet concert I was reviewing for the Daily Journal.

With a remote winery setting and with a fancy hot hors d'oeuvres and wine buffet out on the balcony beforehand (the grilled salmon skewers were delicious), this was a concert designed for the well-off to enjoy themselves. The general location, in the thoroughly Well-offville part of the area, and the extremely steep admission price, also contributed to the effect. I wouldn't have gone if I hadn't been comped as a reviewer.

However, I'm glad I did go, because the music was excellent, and so were the acoustics of the tiny hall. Two each of oboe, clarinet, bassoon, and horn played one of Mozart's serenades for that combo. (No flutes? Some claim Mozart didn't like the instrument. Others claim that that's false.) Then a piece by Ruth Gipps, who is one of those mid-20C women composers like Florence Price who is slowly bubbling up from obscurity. And a modern arrangement of excerpts from Smetana's 19C opera The Bartered Bride, complete with a narration amusingly emphasizing how confusing the plot is.

2. Up in the City, the Attacca Quartet took a brisk and compact Haydn quartet (Op. 50/5) and a brisk and compact Bartok quartet (no. 4) and played them to be even more brisk and compact. Also a piece by David Lang (daisy) in his characteristic style of repeating fragments until they add up to something; and a collection of miscellaneous pieces that weren't listed in the program and which I didn't catch what the first violinist said about them.

On my way to this concert, timing was such that I was able to stop off at a farewell party for a household of three that I know who are moving to Ireland this week (one of them being able to claim citizenship there by virtue of ancestry), not the only people I know leaving the US for good. Fortunately the dire implications of this did not dominate the conversations, and everyone was in a rather cheery mood. Many people there whom I knew in the 1970s and '80s but haven't seen much since. We're all a lot older.

3. Harmonia California, a little nonprofessional string orchestra, did a gratifyingly good job on some Mozart (including the delightful but little-known K. 136 Divertimento) and Bach (the Double Violin Concerto), and then ventured into two obscurer pieces from the turn of the 20C, both excellent works it was a pleasure to hear: Anton Arensky's Variations on a Theme of Tchaikovsky and Samuel Coleridge-Taylor's Four Noveletten. Gratifyingly well worth going to.
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calimac ([personal profile] calimac) wrote2025-10-10 07:22 pm

the accursed scholarly paper

Well, maybe not that accursed. This is the fourth time I've given this paper - it was premiered less than 15 months ago - and only the second time something went wrong.

The first time was the other time. I was ill and isolating at the conference and couldn't read the paper. So the papers coordinator did it for me.

This time was for a regular meeting of a Zoom group online. In the middle of reading it from the Word copy on my screen, my computer froze. I had to apologize and take a break. In the end, I had to hard-reboot the computer (i.e. press the power button) and it took almost 20 minutes to get everything up and running again, counting all the kerfluffle I'd spent trying to avoid having to do that. How embarrassing.

The other two times went very well indeed. So yes, maybe not that accursed.
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calimac ([personal profile] calimac) wrote2025-10-09 12:39 pm

figuring out Taylor Swift again

Some time ago I wrote of my delighted discovery of Taylor Swift's Tiny Desk Concert, in which she played her songs in simple arrangements I found agreeable, unlike the overproductions of the Eras Tour which was Not For Me.

A few commenters gave suggestions of other TAS numbers I might find agreeable, but they didn't mention what turned out to be the gold mine. Quite recently, DGK sent me links to a couple videos extracted from a documentary film called folklore: the long pond studio sessions, which is on Disney+. The songs are a bit much of a sameness for me to want to listen to all at once, especially with the documentary natter in between, and the songs are more immediately impressive than they are lovable, though the ones I heard first are growing on me rapidly - but only in these versions; I listened to other performances and, nah. Any one or two of them - not just those two - are in this version very much the kind of popular music I want to hear.

Apart from the addition of a guest vocalist on one song, it's just her and two guys, variously on piano and acoustic guitar, occasionally a little light percussion or a soft electric guitar which only once threatens to get even slightly loud. Very soft and gentle and intimate, and quite sophisticated and complex songwriting.

Here's the two songs DGK sent me. The rest can also be found on YouTube with a "long pond studio sessions" search.