Reeds at Mystic Reservation

Caught with my phone’s camera on my regular walk.


Interviewing Žižek

Not for the timid! Decca Aitkenhead (a magnificent name, no?) is up to the task in The Guardian. In addition to spouting lots of showily transgressive, obscenity-laden nonsense (sexual and otherwise), he makes a few trenchant points.

I try to steer Žižek on to the financial crisis, and to the role his admirers hope he will play in formulating a radical response.

“I always emphasise: don’t expect this from me. I don’t think that the task of a guy like me is to propose complete solutions. When people ask me what to do with the economy, what the hell do I know? I think the task of people like me is not to provide answers but to ask the right questions.” He’s not against democracy, per se, he just thinks our democratic institutions are no longer capable of controlling global capitalism. “Nice consensual incremental reforms may work, possibly, at a local level.” But localism belongs in the same category as organic apples, and recycling. “It’s done to make you feel good. But the big question today is how to organise to act globally, at an immense international level, without regressing to some authoritarian rule.”

Makes me wonder what an interview of Karl Marx by Oscar Wilde would have been like.
Full piece at

Isn’t that a lot of exams to grade?

Stanford collaborates with an online platform to facilitate conversation among the 400,000 students taking its online iTunesU courses.

Not remarkable in itself, but the numbers are amazing.

Social Network for Class of 400,000
June 19, 2012 – 3:00am
Elise Young
Stanford University began sharing recordings of events and faculty presentations on iTunes U in 2005, and since then it has steadily increased its online offerings. With the launch of the updated iTunes U app in January, Stanford began to offer supplemental materials, such as assessments, quizzes and exams, with its 13 courses.

Full article at

Nessun Dorma (abbreviated)

“Nessun dorma” is getting its regular 15 minutes of fame again. The tenor showpiece from Puccini’s last opera Turandot was a Pavarotti trademark and turns up in lots of contexts that evoke literal or metaphorical triumph. In the opera, it’s the tenor who triumphs, at least if he can sing the full high B that closes the aria. He also wins the heart of the icy soprano (who basically has a sing-off with him in the previous act.)

The music appears pretty regularly in pop culture; remember the 1990 World Cup? It was an effective signature tune for that, and one senses Puccini probably was smiling. What’s caught my ear more recently is it appearance on TV talent competitions over the last couple of years, including last month’s “American’s Got Talent.”

To wit, two examples:

Here’s Paul Potts from Britain’s Got Talent: 1k08yxu57NA

Or Luiz Meneghin from the U.S. version.

Generally, I’m all for any visibility for opera at all. Although neither of these people really sing the aria all that well, it hardly matters. They are both amiable types and the Brazilian guy has some character to his voice. More power to them. Nobody who loves opera should turn up his or her nose at competitions, as they are certainly prevalent in this art form and in classical music generally. We should be so lucky that millions might get as engaged in the plight of young operatic talent as they do with the contestants on the “Idols” and Got Talents. Maybe a viewer will watch and get intrigued? The YouTube counter on Potts is at an astonishing 95 million.

The problem for me is that what these 95 million are watching is barely barely “Nessun Dorma,” but a ridiculous truncation of it. In its original form, it’s not a long aria: about three and a half minutes. Apparently that is 90 seconds too long for TV, as the contestants cut the middle out.

Is the fear that audiences will bail because it’s ‘operatic’ and thus broadcast poison? Is this most direct and accessible of opera composers really too recondite? Does every aspect of music have to fit the Procrustean bed of a TV show format?

I don’t know what effect the shortened version of the aria would make on somebody who hadn’t heard it before. Although the studio audiences and judges certainly seem pretty verklempt after hearing only the opening and the last bit. To me, that triumphal high B doesn’t make musical or dramatic sense in the shortened version, as nothing builds to it. Is three minutes really beyond our attention span for music (although not for the surrounding talk)? Did the audience in the theater actually hear the whole thing? Then why not show it?

Whatever the reason, everybody’s seem a little scared of the full three and a half minutes of romantic vocal glory. The great Swedish tenor Jussi Björling wasn’t, and you shouldn’t be either. Here he is.

Vincerò!, indeed.

I’ll leave it for another post to talk about what made Björling’s voice so affecting.

Flunking the Test of Time (Music Division)

Jeremy Nicholas on the ‘Lost Romantics,’ composers lauded in their era and after who are now footnotes: Spohr, Meyerbeer, perhaps even my beloved CPE Bach. This ‘falling out of the canon’ is more common than one would think in all realms of endeavor: John Sutherland has a recent wonderful Sir Walter Scott piece in TLS. The first superstar best seller, now largely forgotten except for the odd legacy of a “Waverly” Street or Avenue in thousands of U.S. cities. Nicholas makes the case for Ludwig Sphor (could it be the unfortunate name that did him in for posterity?). Calls his clarinet concerti delightful, a judgement that Naxos Music Library confirms.

Once part of the canon, now forgotten: Louis Spohr.

The Lost Romantics
In his opening number, the eponymous Mikado in Gilbert & Sullivan’s operetta sings of the music-hall singer who attends a series of ‘masses and fugues and ’ops / By Bach, interwoven / With Spohr and Beethoven, / At classical Monday Pops.’ Yes, Ludwig (or Louis as he called himself in his autobiography) Spohr was a familiar enough name to be cited alongside Beethoven and Bach. True, Gilbert needed a composer with a single-syllable name to fit his verse scansion, but neither Gluck, Grieg, Liszt, Raff nor even Johann Strauss conveyed the desired effect quite as effectively as Spohr. Spohr was simply part of the canon in those days.

Complete article from Gramophone.

Jude the Obscure

Finished Jude the Obscure today. Read it over months, as I might have in a periodical (how I assume it was originally published); if anything, this made it more harrowing and darkly illuminating.

The elegance and style of the sentences add a cool irony to the grim anti-romantic tenor of the whole thing. Of the many depth charges in the book, the assessment of the drive to academic study and achievement cut closest to the bone for me.

He’s also pretty hard on organized religion and the agonies of marriage. At some point, Jude says he was born 50 years too early, it seems to me even more than a century later, we’re still caught–or at least I’m still caught–in many of these constricting social garments.

More mundanely: the rhythm of the writing leaves me in awe. An example:

It was indeed open country, wide and high. They talked and bounded on, Jude cutting from a little covert a long walking-stick for Sue as tall as herself, with a great crook, which made her look like a shepherdess. About half-way on their journey they crossed a main road running due east and west—the old road from London to Land’s End. They paused, and looked up and down it for a moment, and remarked upon the desolation which had come over this once lively thoroughfare, while the wind dipped to earth and scooped straws and hay-stems from the ground.

They crossed the road and passed on, but during the next half-mile Sue seemed to grow tired, and Jude began to be distressed for her. They had walked a good distance altogether, and if they could not reach the other station it would be rather awkward. For a long time there was no cottage visible on the wide expanse of down and turnip-land; but presently they came to a sheepfold, and next to the shepherd, pitching hurdles. He told them that the only house near was his mother’s and his, pointing to a little dip ahead from which a faint blue smoke arose, and recommended them to go on and rest there.

This they did, and entered the house, admitted by an old woman without a single tooth, to whom they were as civil as strangers can be when their only chance of rest and shelter lies in the favour of the householder.

“A nice little cottage,” said Jude.

“Oh, I don’t know about the niceness….”

More later about how the book affected me if I can manage it. If had nothing else, making a commonplace life as worthy of a grand tragedy as a great figure would make it a remarkable book.

3-D Printing Revolutionizes Guitar Making

ODD's Atom 3D printed guitar
The musical fruits of 3-D printing.

My partner Jim saw 3-D printing technology in action 10 years ago at a company on the Rt. 128 tech corridor outside Boston, MA. At that stage it was still just small machine parts and demos. Now it’s custom-order guitars, with increasingly gee-whiz possibilities on the horizon.





From the article.

He is working with printer maker 3D Systems in the US to make Gibson Les Paul-style bodies from poly ether ether ketone (PEEK), which has similar rigidity to wood. Combined with 3D printing’s ability to produce objects with complex internal shapes, this offers a range of accoustic possibilities.

“That’s where you can have enormous fun with having each string resonate to a different acoustic chamber.”

Diegel expects to have a guitar on the 3D Systems stand at the 3D Printshow in London in October, which has the tagline “The world is about to change again”.