Web Rabbit Hole: Igor Levit to Charlotte Selver

The web is often something I lament these days (remember when it was going to bring world peace and all the world’s intellectual riches within reach.) But there are some rabbit holes I find enjoyable to disappear down, to wit:

Inspired by Igor Levit, one of my favorite pianists of the younger generation, I was inspired to look up jazz artist Fred Hersh, as Igor played a piece of his in a great Wigmore Hall recital.

I followed the thread and found lots of great stuff including Fred’s lovely performance of his own composition, “Valentine,” and an interview, where he talks about, among other things, teaching and learning, mentioning in passing his 30 years of study with Sophia Rosoff. This was a name new to me—and a few further clicks revealed a fascinating character. She was a New York City piano teacher, trained classically, but a mentor to many jazz musicians.

Ethan Iverson is one of those musicians, and his wife Sarah Deming wrote a profile of Sophia that turned up additonal paths. She describes an afternoon at Sophia’s in which, among others, the Jazz great Barry Harris shows up. Harris, who just died at 91, was perhaps the last of that pianist of that lineage, and played a wonderful concert during at a residency of a few days when I was in college in the 80s and led weekly music workshops for most of his life.

That connection would have been enough, but it turns out that Sophia was also a student of Abby Whiteside, a piano teacher with an unusual following, in part because of Whiteside’s book Mastering the Chopin Etudes (a straightforward title for a book that tries to convey her ideas about the centrality of rhythm and the body’s expression of same in music making). Her prose, to me at least, is pretty vague, although in fairness writing with any specificity about the physical nature of playing a musical instrument is perhaps an impossible task. Had she been a great writer, she might not have been a great teacher. I first encountered her book around 15 years ago and have been puzzling it out on my own ever since. No sign of mastering the Etudes here, but she is a fascinating character to me because her views seem to go against the current of every piano lesson I’ve ever had, conventionally for piano lessons fingers are where it’s at. In Abby’s view, you don’t play the piano with your fingers, you make music with your whole body, and your fingers merely express what the entire mechanism is doing rhythmically. (Shades of another great piano pedagogue’s advice “Minimum effort, maximum sensitivity”.) Sophia is a direct connection to Abby, serving on her foundation, and kept her teaching philosophy alive—one that Barry Harris endorsed.

With this I though the journey of names and ideas would be over, but there was still one more. Charlotte Selver is a name I knew because the place my spouse and I go to vacation every year is a small island off midcoastal Maine. It has been a destination for painters (Rockwell Kent among others), but also for Charlotte Selver, a NYC educator who created a program called “Sensory Awareness,” an NYC-based human potential movement, which she brought to Maine among other places. After Abby died Sophia began to work with Sensory Awareness and became a follower of Charlotte. Why all these threads, from Igor Levit to Charlotte Selver come together is curious, but it a pleasant pastime to be able to find the links and puzzle them out.

Matters Musical

There is such a wealth of music online now, but I’ve been taking in Igor Levit’s daily house concert, a graduate course in Beethoven, and marvelous pianism despite less than ideal recording circumstances.

And among many collaborative bits I’ve heard online recently, this performance of the opening of the CPE Bach Magnificat from Salzburg is particular hoot. (As the friend who sent it suggested, PDQ Bach’s spirit was clearly involved as well).

Igor Levit and Copy Editors

A couple of things tipped by the NYTimes:

First, pianist Igor Levit’s encore from the first night of the BBC Proms a few days ago:

This is the Ode to Joy, aka the Official Anthem of the European Union, in an arrangement by Franz Liszt. A Russian-German pianist, playing an iconic piece of music by greatest composer in the classical canon, as arranged by perhaps the most cosmopolitan pan-European of composers. Not only a beautiful performance (capping a dazzling take on  Beethoven’s Piano Concerto in C minor) but in London, in July 2017, for a worldwide audience: making an eloquent vote for unity rather than division during fractious times.

 

On a different note, the Times also has a poignant take on the layoff (and restructuring) of copy editing at “The Grey Lady.”  (This may be behind a paywall–sorry.)

 

 

If you don’t work in the scribbling trade or hang with people who do, you may not be aware of copyediting, its storied past, and uncertain future. As the Times piece points out, it is the immune system of any serious publication. Copy readers correct spelling, grammar, and usage errors, and vastly improve writing, often one tiny fix at a time: changes that tighten, clarify, and smooth out prose. They also impose ‘house style’ on a publication, which though derided and often annoying to writers (the diaereses in “reëlect” and “coöperate” that The New Yorker insists on must vex to all concerned), still matters. Style guides save time, e.g,, no ad hoc decision on the serial comma necessary. And they regularize content, be it in print or online and this helps readers, humans or algorithms, parse sentences.

Copyediting is an odd skill (and I certainly can’t do it). You have to read both for content understanding, which provides the context for the piece of writing, but also attend assiduously to the surface level in order to catch those mechanical issues. For a general interest newspaper, you also have to have a sixth sense about working with up wildly varying content. (When my mother was in journalism school in the 1940s, the professors handed out the copy-editing test then in use at the Times. It was a complicated story about auto-racing, and nobody, including my mother who had a sharp pencil, did very well.)

Copyreaders also write headlines and captions for photos (cutlines), an art in itself, and a task that is complicated now that print, web, and social media headlines have to be created. It would seem an odd moment to reduce this workforce, but the challenges papers are up against are mighty.

One unremarked benefit of copy editing, at least in my case, is the education in writing that a really good line editor/copy editor can provide. Although I have had lots of experience in writing and editing in most of my jobs, it was when I worked on book-length manuscripts for websites (ironically for a TV station) and had professional editors from the publishing world scrub my own and other writers’ copy–in those far off days with red ink on manuscript–that I really figured out how to clean up prose. (I was in my late 30s!)  An editorial assistant and I worked through this mark up, discussing each change as we finished the website. These editors fixed the mechanical errors, but more importantly pressed hard on the writing itself, flagging and fixing anything fusty, flabby, or unfocused, and pointing out where the rhythm, sense, or precision was lacking. Their reworks of things were eye-opening, even when I took issue with them.

There is nothing like this for improving your own prose (and your ability to edit others’ work). It wasn’t part of my writing education, now some years back, and I wonder if it is any more frequent today.  (The revered writing teacher Don Murray, a former Boston Globe writer and UHN prof, recommended something very similar in his writing workshops and it’s possible that it is more common.)  As Murray points out, writing is a process, editing and revising being key. And also is much more of a team sport than would seem apparent from high school and college assignments. The grim private penance of slogging through a 500 word theme or term paper, is, for me at least, completely different from writing for a sharp-eyed editor who is out to improve your writing; things go so much better when you are engaged in a process together, and working towards an effective draft.

I’m sure the Times of all places is not turning its back on editing, but still, there is something less than reassuring about the prestige press going public about not needing so many of those squirrelly, superb, and effective people who read copy.

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