Yearly Archives: 2024


The language of music isn’t exactly Italian

Musical annotation is a language in its own right. Its words come from Italian, but the syntax is very different, and the meaning of the words often is too. I’m sure linguists have studied it in detail. I’m neither a linguist nor a professional musician, but I have a strong interest in both areas, so let me offer a few thoughts on the subject.

Since the nineteenth century, musical directions have come in other languages, usually the composer’s native language. I think Schumann was the first major composer to do it. For this piece, I’m just talking about annotations based on Italian.
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There’s nothing wrong with these expressions

I’ve written a lot of posts on the misuse of words and expressions. For balance, I should mention some that pedants object to, but I don’t. (“Pedant” is defined as someone who objects to usages I don’t object to.)

“I could care less.” The pedant says this should be “I couldn’t care less.” Don’t you understand irony? This is always uttered in a sarcastic tone, and it means something like “I could care less — if I really tried hard.” Do you also object to saying “Big deal!” to dismiss something unimportant?
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“Glory to Hong Kong” on SoundCloud

Apple and Spotify, groveling before China’s government, have reportedly taken down the song “Glory to Hong Kong” worldwide. I don’t know what to make of this, as I can still find the song on both platforms. It may be just the original DGX version that’s been taken down, which seems pointless from a censorship standpoint. Maybe it takes longer to go after the cover performances.

Whatever is happening, it’s something people can push back against. I’d like to see a hundred thousand recordings uploaded to the Web, so the censors will find themselves playing a futile game of Whack-a-Mole. For my part, I’ve written and recorded a piano arrangement of “Glory to Hong Kong” to SoundCloud. As far as I know, they haven’t banned the song, at least in the USA. In China, even instrumental performances can get the performer arrested.
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Please don’t spread misinformation 2

Someone I know posted an alleged quotation from J. D. Vance. Most of it was a real quotation, but the last sentence was made up. It proposed something which I don’t think Vance or any other major candidate has proposed. I didn’t think it was much more bizarre than what he has actually proposed. Since it had no attribution, I tried looking it up. It didn’t take long to establish that if Vance had ever said the last sentence, it wasn’t in that context. I replied that it was fake news, assuming that the poster had picked it up from somebody else.

He responded that the supposed quotation was a joke, and his referring to Vance as “Jack Daniels Vance” was supposed to make that clear. It didn’t for me, and I think it wouldn’t have for many other people. It’s common on the Web to make mocking alterations in people’s names while saying true things about them.
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Spohr’s Septet, Op. 147

Most of Spohr’s best works date from before 1840, but he hadn’t completely written himself out after that. The Septet in A minor, composed in 1853, is worth having in a collection of his music. It’s still clearly his work, but it has a different feeling from his earlier Quintet, Octet, and Nonet. It’s denser in its instrumentation and more contemplative. I’d say there’s a hint of Brahms in it, except that in 1853 Brahms was little-known, and almost all of his compositions were ahead of him. All the instruments — flute, clarinet, bassoon, horn, violin, cello, and piano — are equal partners in this work. Spohr clearly expected he’d have good musicians to perform this piece; the piano part is as hard as some concertos, but with fewer opportunities for bows.
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Upcoming silent film shows

My silent film for October 2024 will be The Cabinet of Dr. Caligari. As usual, I’ll provide live, (mostly) improvised accompaniment. I’ll livestream it on YouTube on Wednesday, October 9, at 8 PM. On Saturday 11, I’ll accompany it again at the Plaistow, NH Library at 1 PM.

When I accompany a silent film, I improvise the music based on a general plan that includes some motifs devised in advance. For this movie, I’ll include a bit of Beethoven for certain scenes, just because it works so well.

This movie is almost as famous for its sets as for its characters and story. Everything is askew; there’s hardly a right angle to be seen in the buildings. The scenery adds to the sense of a nightmare experience. The story concerns a carnival showman whose main exhibit is a sleepwalker who never wakes. Cesare, the sleepwalker, obeys Caligari’s orders, even when it means committing murder. But there is an even greater surprise in store.

I really enjoy adding music to silent films for a live audience, or at least a real-time streaming audience. Recently I got to see Ben Model, one of the most famous silent film accompanists in the USA, accompany The Mark of Zorro on a pipe organ. It was worth the two-hour drive to Vermont.


The fall of Louis Spohr 1

The articles I’ve written on Louis Spohr’s works show that he’s a composer worth remembering, one whose works should be a regular part of the concert repertoire. He was highly regarded in his lifetime. Robert Schumann greatly admired him. His 1813 opera Faust was translated into multiple languages and was frequently performed over the next fifty years. In 1852, it had a very successful run in England under Spohr’s direction. Brahms, speaking decades after the premiere of Spohr’s 1822 Jessonda, called it “magnificent.” In Italy his Violin Concerto No. 8 drew so much applause during the music that it drowned out the orchestra at times.

Gilbert and Sullivan put his name next to the two greatest composers of all time. The Mikado sings about

Bach, interwoven
With Spohr and Beethoven
At classical Monday Pops.

Today, many fans of classical music haven’t even heard of Spohr. Why?
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Britannica blunders 1

The once-respected name of Britannica has really sunk. In an article on Shakespeare’s Romeo and Juliet, they misquote and misinterpret the most famous line of the play, while thinking they’re correcting a misconception.

The most famous line of the play, “Wherefore art thou, Romeo?”, is often misinterpreted. The archaic word wherefore does not mean “where”, but “why”, rendering the modern English translation as “Why are you, Romeo?”

That’s not what the line is! It’s “Wherefore art thou Romeo?” with no comma. Juliet isn’t asking why Romeo exists. She’s asking why he’s Romeo — meaning why he is Romeo Montague, a member of an enemy family. The next lines make this clearer: “Deny thy father and refuse thy name, Or, if thou wilt not, be but sworn my love, And I’ll no longer be a Capulet.”
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“Writer Beware” blog

This is still, at least officially, a blog by a writer for writers. This week I came across a blog that will interest anyone who writes for money: Writer Beware. It presents worthwhile information on scams that writers may encounter, as well as advice on dealing with publishers, agents, and so on.

I encourage people to use RSS feeds rather than social media sites when possible to follow blogs and news sites, so here’s the RSS link, which should work with any RSS reader (I’ve subscribed to it with Leaf).


Spohr’s Double Quartet No. 2, Op. 77

Louis Spohr’s second double string quartet is a more lyrical work than his dramatic first double quartet. Like all the double quartets, it has two distinct groups of four players, each playing as a unit. The terminology is tricky. When I say “quartet 1” or “quartet 2” here, I’m referring to a subgroup of four players. The work is the “nth double quartet.” For individual violin players I’ll use colon-based notation (group:part). For example, the first violin of the second quartet is “violin 2:1.”

As in the first double quartet, quartet 1 gets the most interesting parts, but the imbalance isn’t as great this time. Violin 1:1 still has the most exciting part; Spohr played this part himself in most of the early performances. He may simply have been a better player than the others he could recruit. George Jellinek’s notes to the Heifetz recording of the first double quartet notes that “wealthy amateurs” often participated in the performances.
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