Music

The numbering of musical works

This entry was posted in Music Writing and tagged music writing on by

The other day while driving, I heard a familiar-sounding piano sonata on WCRB. It was one I’d heard before, in fact one I was familiar with. I could accurately anticipate the music, which was obviously Mozart’s, in some spots. But I couldn’t place the damn thing! When I reached my destination, I stayed in the parking lot and kept the radio on to the end. The announcer said only that it was Mozart’s “Piano Sonata No. 2.” This wasn’t very helpful, since there are different numberings in different editions.

The numbering of musical works is tricky in general. For many composers, there are generally accepted numbers, but Mozart’s sonatas aren’t the only case where there’s confusion. Schubert’s symphonies are usually numbered 1 to 9, even though No. 7 is just a sketch. The “Unfinished” is No.8 and the “Great C major” the 9th in this scheme. Some lists, though, have just eight symphonies. They make the “Unfinished” the seventh and the C major symphony the eighth, or vice versa.
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Peer Gynt at Symphony Hall

This entry was posted in Music and tagged Massachusetts music on by

What’s a concert review doing in this blog on writing? Well, it’s increasingly become a blog on whatever I think people will enjoy reading about, so why not? I’ve blogged about accompanying silent movies, and incidental music for a play isn’t that far removed.

Symphony Hall in Boston has been the site of a lot of great experiences for me. Some are faded in my memory. It’s likely that there’s one which, if you could remind me of it, would make me say, “Of course! Nothing could top that!” Right now, though, I can’t name one that was more breathtaking than last night’s presentation of Peer Gynt.
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Accompanying Son of the Sheik

This entry was posted in Music Personal and tagged music silent movies on by

The next silent movie which I’ll accompany on Twitch will be the 1926 Son of the Sheik on February 14, “Valentino’s Day,” at 8 PM Eastern US time. Following an old tradition, I’ll precede it with a short, Young Mr. Jazz, starring Harold Lloyd. If all goes well, I’ll have some new equipment to improve the sound.

Son of the Sheik was Rudolf Valentino’s last movie. He died shortly after its first, limited public showings. It was based on a novel that had no connection to his earlier movie, The Sheik, but was retrofitted to be a sequel. Valentino plays two title roles. He’s the Sheik as well as his son Ahmed. They sometimes appear in the same shot thanks to double photography.

Spoilers ahead.

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Deva Prison

This entry was posted in Music My writing and tagged history liberty music religion on by

I’m the kind of person who always needs to have a project or two going. Things have been slow in that department lately, and FAWM is still about six weeks away. The two novels I wrote were enjoyable to do, but fiction isn’t my strongest point. The research I did for them has proven fruitful, though. I thought about writing a book on the Protestant Reformation and its effect on the emergence of personal freedom. I can’t claim to be a professional historian, though, and the readership would undoubtedly be small.

But I can write songs. The idea I’ve developed is a song cycle which combines music and history while connecting to my novels. Hans Lorenz is Thomas and Frieda’s son in The Magic Battery and Spells of War. He’s a small child and isn’t developed much as a character, but he has strong musical abilities. In this cycle, the adult Hans is the singer of songs which could get him into bad trouble for the ideas they expressed; but doing that runs in his family. (His father was on trial for his life, his mother’s book was burned, and his grandmother was killed in prison, accused of witchcraft.)

The first song, which I’ve put up on SoundCloud, is “Deva Prison.” It presents history which most listeners won’t know, so it’s followed by a short talk by “Hans” to his audience about the facts behind the song. This is a pattern which I plan to follow in other songs in the cycle.

A fact that might get a few people more interested: Dávid Ferenc, the subject of the song, was the founder of Unitarianism.

If I achieve my goal, this cycle will present some important history which isn’t familiar to most modern audiences in an entertaining way. Let me know what you think.

Song copyrights 1

This entry was posted in Commentary Music and tagged copyright music writing on by

Reports about a copyright lawsuit by Ed Townsend’s estate against Ed Sheeran recently caught my attention. The suit claims that Sheeran’s song “Thinking Out Loud” infringes on “Let’s Get It On,” usually attributed to Marvin Gaye but co-authored by Townsend. The claim was that Sheeran improperly used “harmonic progressions” and “melodic and rhythmic elements” from the earlier song, but a federal court has ruled there was no copyright violation. That got me thinking about the whole issue of song copyrights.

To start by making my own views clear, I’m in favor of copyright. Some libertarians argue that creative works aren’t tangible objects and thus shouldn’t be subject to property rights, but I think the concept of ownership is as applicable to creations of the mind as to physical creations. Copyright prevents one person (or corporation) from taking someone else’s creation and profiting without getting consent or offering compensation. I think 95-year copyrights are inappropriate, but living creators should enjoy protection against the appropriation of their work.
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Lully and music under Louis XIV

This entry was posted in History Music My writing and tagged France history music on by

Jean-Baptiste LullyHere’s my latest for the Online Library of Liberty: “The Politics of Music Under Louis XIV.” Under Louis, successful art was art which he liked, by people he liked. In music, that meant Jean-Baptiste Lully, who got monopoly privileges from the king.

There are lots of famous German and Italian composers from that period, but French composers who weren’t Lully didn’t have much of a chance. Lully finally killed himself by conducting too vigorously.

My favorite obscure composers 3

This entry was posted in Music and tagged music spohr on by

This post is something new. I’m thinking of making blog posts on classical music a regular feature here, for no better reason than that I love it. Liberty Fund has published several articles I’ve written on classical composers. If computer security expert Bruce Schneier can devote a post every Friday to squid, I think I can diversify too. I’ve added a WordPress category, “Music,” for these posts.

Here I’d like to talk about some composers whom I like but aren’t currently as well-known as the regulars on concert programs. The idea for this came when I learned that Vivaldi was known only to a few in the nineteenth century. He came to prominence, oddly, because of a piece which Fritz Kreisler wrote himself but attributed to Vivaldi. On the other side of the ledger, Louis Spohr and Joseph Joachim Raff were among the top-ranked composers of the nineteenth century but aren’t heard very much today.
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