Bless'd be the Name of the Lord

“Can you believe this shit? Look at this—unnecessary line breaks, no punctuation, and what does it mean?” Montalvo, my young son, read me the poem, or rather, showed it to me, since poetry, Gentle Reader, now comes through the phone. Then we got to the comments, after first noting that the offending phone-poem had had over 100 likes.

Well, Montalvo had certainly fomented a firestorm: was it the reference to “illiterate morons,” that had so deeply troubled the unduly sensitive? Or maybe it was the reference to the careful writer—which he, following my lead, abbreviated TCW—that had so riled the paper-thin skinned. Whatever it was, the social networks were not burning, not blazing, but exploding in flames. Think fire in a rum plant.

“Can you believe what morons my generation are?” asked Montalvo, and I took a moment off to contemplate subject / verb agreement. So I barely registered when he said, “Christ, my fucking generation will fucking kill poetry, the way we’re massacring it….”

Right, so now it’s time to swing into paternity—a land I’m traversing frequently, these days.

“You know, there’s a lot of bad poetry out there, and sometimes the worse it is, the more it sells.”

“Is that what you meant when you said some people won the Nobel Prize who shouldn’t have?”

Did I mention that Montalvo is obsessed with the Nobel Prize, to the point of reading the list, just to see who’s there and who’s not?

“Shit, I haven’t fucking heard of most of these guys—I gotta start reading these dudes, figure out how they did it….”

I suggest that he might print out the list, add a few blank years, and then write in his own name. This idea he ponders seriously.

“How can people be such morons!” he explodes, and goes on to tell me about Raju, an elephant in India, and a prisoner for 50 years, who was recently freed. So the elephant freaked and started crying, and now the “experts” are wondering: were those tears real?

“Fifty fucking years, those bastards have kept the elephant, and for twenty-five of them, at least, he’s had shackles with spikes on them digging into his flesh! And those morons are asking if the tears are real? Don’t they know animals have feelings? Fuck!”

“More feelings than some humans do,” I tell him, but guess what? One of the amazing things about the Millennials is that they appear and disappear, or maybe it’s just that they’ve mastered shifting instantaneously time and space, since Montalvo is now cadging coffee from Carly, and asking him and Amil if they believe that we’re alone in the universe. Such questions vex the young….

And now I have to tell him that we people are committing exactly the same atrocities on our own kind as we perpetrate on the elephants. Look at all the prisoners we lock up for years, if not decades, and then release onto the streets. And then I think of the famous scene from The Shawshank Redemption—you know, the one where the prisoner blasts Mozart’s Sull’aria out through the speakers in the prison courtyard. It’s a knockout—and we decide to watch it simultaneously, each at his own computer. It’s a totally Millennial thing.

So I watch as the music soars over the prison courtyard, and is it because Montalvo has some experience of prison courtyards, having liberated—though slightly less legally than they did Raju the elephant—a blue Macaw held captive by its “owner?” Or could it be that the music, some of the most celestial that Mozart ever wrote, is itself getting in? Anyway, my young son’s eyes are widening, and he’s murmuring, “fuck,” under his breath. Tennyson one day, Mozart the next!

Well, that’s a nice introduction to opera, and probably necessary, since Montalvo is joining us tomorrow for the Met broadcast of Otello, and has graciously accepted the invitation by announcing that he’ll go, since there’s no dress code.

“I hate dress codes, don’t you?” he says, as I’m writing away.

“Of course not, I love them,” I tell him; who says only kids get to be contrarian?

“Why,” he asks.

So we have a little discussion about the benefits of decorum, of how having a social map often, surprisingly, gets you to the destination much faster and easier than not. Then you can go home and have a drink, see?

So he sort of gets that, and I go back to writing, and then it’s time to read a poem that he wrote yesterday, when he was felled into the abyss of despair and depression. What was wrong? He couldn’t even tell me, so miserable was he when I had called him yesterday. That, of course, immediately made me start worrying—not for nothing am I my father’s son: had Montalvo formed another mystical relationship with an avian? And if so, had it led to the same result? I worried for five hours until I called him before bed; “I’m much better,” he reported.

Right, so what was the problem?

“Matters of the heart,” he said.

Remember that? You’re 21-years old, and love is an emotion that they just came out with yesterday, and they haven’t got the formula quite right, or they’re mixing it all up too strong because, damn! Think martinis on an empty stomach after a night of no sleep!

So I read the poem, and we talk about it, and Montalvo decides: it’s going first, the first poem in his book!

“BAM! It’ll hit those motherfuckers like a twenty-ton weight! Man, those dudes won’t know what the fuck I’m talking about! I mean, they’re gonna be saying, ‘what the fuh???’”

Would the careful writer—sorry, that’s TCW—allow that to pass? Of course not, so now it’s time to suggest that readers generally have a lot to do, and if they’re doing you the honor of reading your work, shouldn’t you put in the work to make it as clear as possible?

Does the point get through? Probably not, but I’m getting it, now. The best a parent can hope for is not a pressure hose, but erosion. You’ll see the effect in a couple of centuries.

So back to the writing, and then Carly comes by, and Montalvo has to have him read the poem—the gist of which is that love is all encompassing—out loud to us. Carly does, and likes it well enough to go recite it to his girlfriend, currently bearing their child. I go back to writing.

“Father!” explodes Montalvo, “this is a major moment in my life! A man is reciting my love poem to his lady! This is momentous! They should just give me the Nobel right now!”

Carly comes back, and reports—the girlfriend loved it!

“YES!” cries Montalvo, “PANTIES OFF!!”

Carly agrees: it’s a PANTIES OFF poem…”

Back to writing.

“Hey, Marc, how’s your writing going?” asks Montalvo.

“Interruptedly,” I tell him: if you haven’t guessed it, this post is being written in real time.

“Hunh?”

But now Carly is back, reciting his own poem, and Montalvo is liking it so much he’s sharing it over Twitter.

‘Nine more years,’ I think. Age thirty is the currently accepted age for when the adolescent brain at last, finally, after-having-driven-everybody-nuts-for-years, cedes to adulthood.

Nine years…

Think I’ll make it?

Then I remember a line from the Bible—Job, maybe?—that went something like “…and the Lord sent the locusts, bless’d be the name of the Lord.” I could tell you, but apparently Google hasn’t read the Bible.

‘Aha,’ I think, ‘I totally get it now…’

A Stranger in Several Worlds

I wanted to bring you Handel, that’s what I wanted to do—but could I? In our technical world, shouldn’t it have been possible to run over to YouTube, knock on Joyce DiDonato ’s door, and ask her to sing Piangero la sorte mia, from Giulio Cesare?

So I tried that, and got the following message:

500 Internal Server Error

Sorry, something went wrong.

 A team of highly trained monkeys has been dispatched to deal with this situation.

If you see them, show them this information:

AB38WEMsl82BNwFlnjAjN_pSfOuzgzsjh-uXy0c70ARLtmFIagYeFkcKKttC

ALP2h396ZpWP8XoSMkcQ9JGv70FtwSE5jLFTu0SCmDkn4NxfaBz_ZAk0SOmQ

CbZxXa1qKY3oqivKmBYPBY1-BHQ3uEBkBD_PQbMDVw2igi8a_D445LlPl5FS

NBV_hUh6mxXpv8CUIgKG2PaQ9-W8CeGWQB6jUQ6Af6hf6jl144HmIxOfUIay

7sKJxVlvoRMPDsXcqqzFTn1s6nk082qRs1PSbLhWd0IEUogPlHQ5lsUPQfku

jBQgskIc4PhRrS5ojflfavNV4FfT_NFQSUFO0fI5u0ykmWYomVrb_7PkefQD

In fact, that was only the beginning of the message, which went on with twenty lines or so of gibberish that only a team of highly trained monkeys could understand. And speaking of the team of HTM’s—aren’t we being just a bit facetious, over there are Google / YouTube? Granted, a “500 Internal Server Error” is nothing more than a passing cloud in my day, but what if it hadn’t been? What if I had needed, seriously needed, Piangero? There are times you do, you know…..

And it’s no use telling you that Piangero is a knockout of an aria, since what are words, next to the wrenching sadness of the aria? Suffice it to say that Cleopatra—yup, that’s our girl—has lost both a major battle against Tolomeo and has also lost her man, Cesare, as well. And the music is something only a manic-depressive—and a rapid cycler as well—could write. The middle section is as wild as the two outer sections are vein-cuttingly tragic. And DiDonato, who is singing over the top of her game, just nails it.

But it wasn’t to be, Dear Reader, or was it? Because in looking up the lyrics for Piangero via Google, I saw a link for a YouTube clip of DiDonato singing the aria. Would it work if I clicked it?

Cautionary note—following a long tradition, this is undoubtedly bootlegged video from a New York performance, and thank God for it. Yes, the camera bobs up and down and about—at times decapitating DiDonato, at times losing her altogether. But if you can’t stand it, close your eyes and bask. Oh, and if you’d like to know what she’s singing, well—here are the words:

Why then, in one day,
I am deprived of magnificence and glory?

Oh, cruel fate!
Caesar, my beloved idol is probably dead, Cornelia and Sextus are defenceless
and cannot give me assistance. O God! There is no hope left in my life.

I will bemoan my fate
so cruel and brutal
As long as there is breath left in my body. And when I am dead
and become a ghost, I will haunt
the tyrant night and day.

)

And so the Gods who rule over bloggers relented, and let me bring you the clip above. Or who knows—the highly trained monkeys may have come through at last.

Because, for much of the morning, DiDonato declined to sing—sending error messages instead. In fact, everybody at YouTube was spending the morning on the golf course, since I was getting error messages all over the place.

I wasn’t supposed, you see, to bring you Handel, since there was another composer who needed a boost up. And though I’ll listen to the fabulous countertenor Philippe Jaroussky any day, why did I have to listen to him sing works by a guy named Reynaldo Hahn?

Or rather, who was Reynaldo Hahn? Really, if Jaroussky is singing him, shouldn’t I have heard of him? But there he was, the only clickable thing on YouTube this morning. So it was time to check him out, as can you by clicking the clip below.

)

Wow, what a find! And what’s the dope on Hahn?

Well, we can start with what Proust said: “everything I have ever done has always been thanks to Reynaldo.”

True, they were lovers for two years between 1894 and 1896 and then lifelong friends, but it’s still a tribute.

And, in addition to being a fine composer, Hahn—a Venezuelan who later became a French citizen and served in World War I—was a conductor of, especially, Mozart. Oh, and according to Wikipedia, Hahn had “a special gift of attracting important people to his side.”

Nice!

And he must have had the gift from an early age, because he was able to enter the Paris Conservatoire at the age of ten, even though the Conservatoire frowned on child prodigies, and had refused as a child the great Franz Liszt. In the course of his 72 years, Hahn became, in the words of Wikipedia, a “composer, conductor, music critic, diarist, theatre director, and salon singer.”

Lastly, and tantalizingly, here’s what Wikipedia had to say about Hahn:

By the age of nineteen in 1894, Hahn had written many songs about love; however, his worldly sophistication masked shyness about his own personal feelings. He had close intimate friendships with women, and they were clearly fond of the gallant and charming young composer. Cléopatre-Diane de Mérode, a famous beauty of le beau monde and three years older than Hahn, inspired him to write: "I worship her as a great and perfect work of art". Despite this tribute to her, he reportedly loved her only at a distance his whole life. The famed courtesan Liane de Pougy referred to Hahn in her diary as the "sweetness in her life." Though close friends, their relationship ended when de Pougy married. Hahn famously told her: "Goodbye Lianon. I hate married people." Hahn was a closeted homosexual, even though in his personal letters he was frequently critical of homosexuals and homosexuality.

Is it that last sentence, with the information that he was a “closeted” homosexual (even in Paris, at that date could there have been anything else?), which makes me hear such sadness, such wistfulness in the song? Consider—he was Venezuelan, but living in another country. He was a gay man living in—well, another country. He drops his close friends when they marry. And he seems to have lived a life hidden even until the present day. I’ve heard of all the people Wikipedia lists as having been friends with Hahn, but Hahn?

A dark horse, indeed….

Missing the Miracle

On the face of it, it looks like the classic “oh, fuck” moment. Or maybe like those dreams I still have, at age 57, of taking an exam for a class that I have somehow completely forgotten that I was taking.

So there the Portuguese pianist Maria João Pires is, sitting at the piano expecting one concerto, and guess what? Yup, the conductor starts off on another concerto completely.

In fact, I came across this last night as I was lurching out of a sleep to feed a body screaming for carbohydrates—in short, I was half asleep. So I wasn’t entirely sure—had I dreamed this? Was it my own nightmare? Had I somehow switched sexes and instruments?

I can now tell you—yes, it’s real. And this video below, shot in 1998, has now gone as viral as it gets in the classical music world; if not a million hits, it’s got a respectable 724,000. And people are saying, “wow, that’s amazing—she plays a concerto she wasn’t expecting, and she plays it perfectly! That’s incredible!”

Only Stephen Hough gets it right: it is and it isn’t.

Maria João Pires didn’t start playing piano a couple weeks ago—she gave her first recital at age 4 or 5. And she’s been practicing and playing ever since; she’s had half a century of grind at the piano. And she’s played this concerto every season in her life. More to the point, Mozart doesn’t pose the technical challenges that Chopin or—God forbid—Liszt do. So the real deal here is that she remembered a piano concerto, to which I say…

…big deal.

I say this because every musician is walking around with a lot of music stuffed between the ears. I sat down to play Bach suites a few weeks ago after an absence of five years, and did I drag out the music? Confession—I’m not even sure I have the music, since the termites have gotten into a lot of it. I had to throw a lot of music away….

Which meant comparatively little, since most of the repertoire is in my head. And yes, my memory is unusually good, but not that good. And not, of course, as good as it was: I could learn a piece without effort in a day or two. As Hough points out, the real miracle is that Pires is a marvelous pianist, and, as it turns out, an interesting person as well. How interesting? Well, check out this portion of an interview with David Patrick Stearns of the Philadelphia Inquirer:

DPS: But certainly you’ve spent a lot of time alone as a student practicing.

MJP: I never did it because I had no time. I was always very busy with other things…I had children very early and I had to take care of everything. I never had much time for the piano. I was always an amateur somehow. I did the career … it was not on purpose. It was not wanted and it was not very natural.

DPS: But you have such a natural facility for piano.

MJP: I don’t think so. I have small hands. Many technical problems – not many but some. Of course I found my own body language with the piano and my own way of getting out of my problems but they’re still problems. The other thing is I don’t really like to play concerts. I don’t like to be onstage. That’s not a comfortable thing for me.

An amateur? Well, as a Buddhist, Pires is saying it, but the rest of the world is. Here, ripped off from her biography on Deautsche Grammophon is a quote from The Times of London:

“I can’t think of a pianist with a more ideal command of Chopin’s style. Pires trips through the roulades with filigree dexterity, but her tone is so thoughtful, serious and weighty that they arrive with immense emotional profundity.”

OK—so an amateur with “filigree dexterity….”

Also an amateur who won the Beethoven Bicentennial Competition in 1970, and who has performed around the world ever since. Although not, incidentally, much in the United States: she was reluctant to play or travel to America during the Bush years.

And an amateur who really prefers to share the stage—her peeve with Chopin is not the pianistic difficulties he presents, but that he started the piano recital; it has bedeviled her all her life.

And in a field dominated by, well, dominating personalities, Maria João Pires is self-effacing. Or rather, her focus is outward—here’s what she says later in her interview with Stearns:

People care about careers and themselves and all the business that is around music. And that is, for me, somehow, nonsense. Art has nothing to do with that. Competitions take the soul out of the musicians. And the first moments you want to make music in your life it’s for reasons other than business. And in competition you feel like you have to kill someone to have his place. This is horrible. This is not art. So I would like to give young people the possibility of taking the mission of the society in the world. Not fighting against that but finding new ways. I’m not saying to change the world. This is very pretentious. What better than to have artists in projects in many places in the world where problems are big. It’s not decent that we’re eating a lot and having a lot of luxury and people are dying because they have no food or no water. Our mission should be to try to change things. And art is something that can give people their dignity back.

She started a school in Belgais, Portugal, and the experience wasn’t…well, wait. She says she learned a lot, and she might be, as a Buddhist, the last person to describe the experience as bad. At any rate, she applied for Brazilian nationality, and her relationship with her native country may be strained.

There are pianists who somehow win your heart, who manage to take on the prodigious technical demands on the piano, and throw them off completely. Martha Argerich is one, Radu Lupu another. They’re people who know: it’s not about them, still less about the piano. It’s all about the music.

Not Your Average 11-Year Old....

I decided not to let it in. Yes, it’s totally stupid; yes, it’s destructive; yes, it’s unnecessary. But this pretty little head decided not to stress out about the government shutdown. And guess what? I also decided that if all the wise heads in Washington couldn’t avert a shutdown, then I might as well shut down too. So I went to the beach this morning, lolled in the water, and watched green palms float against an azure sky. Shutdown!

And yesterday? Well, I discovered the first opera that Mozart ever wrote—a 70-minute affair all in Latin on the story of Apollo and Hyacinth by Ovid. Mozart wrote it when he was eleven, but as the conductor, Ian Page, pointed out, you stop thinking about that. Why? Because, as you can hear in the clips below, the music is terrific. 

I came upon the opera because I had spent part of the afternoon with Philippe Jaroussky and Nuria Rial, two tremendous young singers who work remarkably well together. Jaroussky, at age 35, is in his prime as a counter tenor—and he’s thoroughly in charge of his voice, which is gorgeous. And he seems to be one of the golden boys for whom everything came easy: he started singing when he was 18, and by 20 he was a professional. And his career has soared. And just to prove how spectacularly unfair the gods can be, Philippe happens to look like this….

OK—full disclosure: all of this would be enough, ordinarily, to make me hate him. But I’m over it—I told you about that beach, didn’t I? And in many ways, not to have struggled and flopped—as I certainly did, and both—is to have missed out on some good lessons.

And yes, for anyone wondering—Jaroussky sings on my team….

And Nuria? Well, she’s Catalan, and is utterly expressive in renaissance and baroque music. And with that Jackian sense of fairness that increasingly is coming out, here she is:

At any rate, I spent yesterday afternoon busy with Rial / Jaroussky, listening to this really smashing concert. And why not? The world was spinning out of control, crisis was imminent, the wolves were howling at the door. Why not spend the afternoon with some extraordinary musicians playing some ravishing music?

In fact, I’m giving you, dear Reader, permission right now. Cancel your life for the next hour and a half, put your index finger on that arrow, and surrender to some of the most beautiful music I know. And no—don’t feel guilty! Call the boss and lie outrageously—invent an excuse. Consider all the time Victorian ladies spent having sick headaches—whole days prostate! You can take an hour and a half….

You know what? In the scope of things, not much matters except for art and music. In a hundred years, no one but a few scholars will know about the great shutdown of 2013—and very few will care. But people will still be listening to Mozart and Monteverdi, and reading, of course, Life, Death and Iguanas.

And you know what I like? These musicians just don’t force it—their playing is as free and effortless as it looks. It’s the best thing about baroque music; you don’t have to work that hard, you don’t have struggle to be heard over 100 musicians behind you, twenty or thirty of whom are blasting brass players, as you labor away at the Dvorak concerto.

Which is what I felt yesterday, as I toddled my way through a Bach suite. I remembered Joyce DiDonato working with a young singer, and telling him, “don’t worry about making a big sound, just think about creating the conditions to make a big sound….”

Right—as a very bad Buddhist, I got that. Which is why yesterday I was listening to the resonance of the instrument, and not trying to make any sound louder than that resonance. Why? Because as long as the instrument is resonating, the sound is free, and is just as loud as it needs to be. 

I played half an hour, and then put the instrument down. I’m halfway to where I was in my prime—in a couple of weeks I’ll be there. Let them buzz and do, as the poet said—I’m shutting down!
 

When Mother Goes Bad....

The definitive performance of an aria entitled "The vengeance of Hell boils in my heart...." We're not all of us lucky in our choice of mothers....

Stage set for an 1841 production of the Magic Flute.

In Angustii

Well, Jack was bugging me, so I had to do it.

I had written about that sociopathic piece of music, the Grosse Fuge. And thrown in “And this, from a student of Haydn?”

That wasn’t right.

And Jack didn’t approve. So I struggled with him for a while. I mean, hey—how many people read this blog? How big is Haydn’s reputation, next to mine? And if we were gonna worry about anybody, shouldn’t it be Beethoven?

Not right.

Damn it. Look, Jack—and by the way, aren’t you dead?—it’s not that big a deal. And Haydn himself was famously a nice guy. Gracious. Good. One of his contemporaries called him the embodiment of Enlightenment's ideal of the honest man. (OK—give in to temptation, haul out the French. L’homme honnête! Now that’s class….) So he probably wouldn’t mind.

Marc.

Shit, am I ever gonna be free of you! I’m 56 years old, and you’re still able to say my name—Marc, and note the lack of exclamation mark! You had the quietest voice and, somehow, when you spoke, the heavens moved. Dammit—go putter in the garage. Build something. Stop bugging me—I haven’t defamed Franz Joseph Haydn.

Guess the response!

So I dug it out, the Lord Nelson Mass. Oh, hell, we’ll do the Latin (also classy): Missa in Angustii. Haven’t heard it in years, though I once played it for Raf, and argued it was a more sincere, more—well—honest work than Mozart’s Great Mass. Why not hear it again?

It’s amazing.

Also proof that the old can pull a surprise or two. It’s certainly traditional in content—the text follows the traditional Latin Mass. But wow—what the guy does, from the very first notes!

It’s pure terror.

OK, I enjoyed it enormously. Perfect music for a morning trot. Came home and looked it up. And discovered that, as usual, I’m not particularly original.

Everybody else thinks so too.

Well, that damn father of mine wouldn’t let me rest. He put me to read the whole article: here’s the skinny. The mass was written in that period when Napoleon was very near to conquering Europe. Austria was on edge, nerves were frayed. Haydn composed the work not knowing—no one did—that Napoleon had been defeated, and called it Missa in Angustii. A mass for troubled times, is sometimes the translation. But why not do the simpler thing?

A Mass in Anguished Times.

And was that enough for the old man?

NO! Then I had to download The Creation from Amazon—and pay 18 bucks as well—AND I had to read the biography of Haydn in Wikipedia.

OK—and are you listening, Jack?—here it is. Father is a barrel maker—or something, can’t remember. Mother was a servant. Musical family. Haydn at age six is sent to a relative to live and to develop himself as a musician. This the relative enables him to do, though he also doesn’t feed the child very well. Haydn serves as a choirboy until his voice changes. Actually, after. The empress complained that he sounded like a cow.

Thirty years in the employ of the Esterhazy family. Isolation for much of that time. And yes, he wore livery and did chores. Also composed like a fiend.

Had a completely unhappy marriage, which of course at the time he could not dissolve. So both he and his wife took lovers.

Several trips to London. Return  to Vienna. Teaches Beethoven, who predictably (and metaphorically) bit the hand that was trying to feed him. Composes the Creation over three years at the very end of the 18^th century.

Well, I listened to the first and part of the second sections.

And—you can guess this, right?—it’s friggin’ A.

And here again, he starts out with an amazing section of the chaos—the void before God filled the world. Full of dissonance, completely surprising.

Well the old man was right, as old men often are. The old Haydn reveals himself as something completely new. And my dead Jack is true to life—a fair guy who wants his kids to do the right thing.

Now will you go away?