I have a friend who says sometimes a particular piece of music will capture him to the point where he will simply listen to it over and over--and over--again. I know how he feels, and many times I have found myself fixated on a particular piece, or maybe even just a small segment of the piece.
Recently while scouring YouTube videos for musical examples to send to the choir I direct, I came across a video of the American soprano Jessye Norman singing the "Liebestod" (Love Death) from the opera Tristan und Isolde by Richard Wagner, performing with the Berlin Philharmonic at the last concert directed by Herbert von Karajan, the legendary conductor of the orchestra. The aria is sung at the close of the opera, and takes somewhere around eight minutes to perform. It is one of the great masterpieces of Western music. I found myself obsessed with the work and its significance.
In the opera, set during the Middle Ages, the Irish princess Isolde, betrothed to a king, unknowingly shares a love potion with Tristan, who in the past had killed her former lover and brought her much grief. The two are now captives of their own desires and can find no rest on earth. Tristan sings about the burden of living during daylight hours, when he must conform to the ways of the world, but at night the two can meet secretly and live out their desires for each other. Eventually the two come to realize that the eternal night of death will be their only release. Near the conclusion of the opera Tristan is mortally wounded by his enemies. Isolde, as she beholds his body, knows that she must join him in the next world. She sings the closing aria, which has come to be known as the "Love Death" and dies allegedly of grief, but in so doing realizes that she has entered into a spiritual transformation and release.
It is important to realize that Wagner preferred to call this final aria Verklarung, "Transfiguration", rather than associating it only with death. If you listen to the music, your realize that the music, far from expressing despair and grief, actually embodies hope and conviction. Isolde sings about submerging herself into the "rapturous wave" of an ocean that will usher her into a new world. The opera closes with soft, peaceful chords. My own feeling is that Isolde dies not of grief, and in fact she and Tristan die not at all. By renouncing this world they enter into a higher and purer realm. The music of the opera is known for its unending tension, filled with harmonies that never resolve. (Wagner created the famous "Tristan chord", a dissonant chord that moves not to a consonance, but only to another dissonance, just for this purpose.)
Tristan und Isolde was first performed in 1865, at a time when Westerners were just beginning to question traditional Christianity and explore Eastern mysticism. Wagner, ironically a man of strong desires and opinions (but with a tender side that is often overlooked), was much influenced by the writings of the philosopher Arthur Schopenhauer, who believed that happiness can only be obtained by the elimination of our desires. Hence, in the opera the lovers can only find peace and release from their earthly torments by giving up their earthly desires.
Siddhartha Gautama, the Buddha, enunciated the idea of abandonment of desires 2400 years earlier than Schopenhauer. Thus, Tristan can be said to be a Buddhist opera. Interestingly, the British composer and mystic Cyril Scott (no relation to me that I am aware of!) remarked that Wagner's music is an auditory representation of Buddhist principles. Wagner is known for his extremist views on a variety of subjects, particularly Jews (although he seemed to often seek out the companionship of Jews), and yet Scott insists that Wagner's mind simply snapped under the pressure of spiritual forces that were working too strongly inside him.
In any case, we know that Buddhism is perhaps the gentlest and most tolerant faith active in our world today, and we are blessed to enjoy Wagner's music regardless of our personal beliefs or orientations.
If you are not familiar with the "Liebestod"--well, you should be. If you take the time to get to know it, you'll find it mesmerising and haunting. Even if you don't listen to it over and over as I did, you may find that you still want to make it a part of your life and reflect on its meaning. You can scour YouTube for links, or look for your own. You will be the richer for having done so.
Thanks,
Gary
Tuesday, December 1, 2009
Friday, November 13, 2009
Back to Prodigies
Lately I've been finding myself turning into a bit of a YouTube junkie, constantly searching for video clips of my favorite musical pieces, and sometimes discovering new favorites. In my ramblings I've come across several clips of child prodigies. Once again I am astounded not only by their inexplicable talent, but by the fact there are several of them. Each one of these children is a living miracle, and yet you can see, hear and bear witness to such miracles simply by surfing YouTube.
Of course, each of us a miracle, since we are all embodiments of the miracle of life itself, replete with our own individual talents and intelligence. If you stop to think about it, even the insects that annoy us are miracles of life (I sometimes think about that particularly in the summer when fireflies abound). But to behold the beauty of a young child expressing a phenomenal talent somehow forces us to become aware of the miraculousness in our midst, at the same time reminding us that our lives are fundamentally much more than the mundane existence we sometimes allow ourselves to lead.
One prodigy whose performance I found particularly moving was that of young Jordan Adams, who can be viewed performing the "Ocean" Etude of Chopin and the Fantaisie-Impromptu, at the ages of 10 and 8, respectively. He possesses a modesty and innocence that belie his stupendous technique. There is also a YouTube clip of the legendary Chinese pianist Lang Lang performing as a young child in a home video taken at his parents' home. I would strongly encourage you in your spare moments, or whenever you need a psychological lift, to simply connect to YouTube, or perhaps some other video search engine you're familiar with, and search out videos of young Jordan, Lang Lang, or any music or performer that might engage your thinking.
One reason why I enjoy watching music performed as well as listening to it is because the visual quality adds another layer to the performance. When we can watch the performer moving, touching the instrument, breathing, flowing into the music, then our understanding and appreciation of the music is heightened all the more. (Think about it: Why do we attend concerts instead of just listening to recordings? And even listeners who are blind or visually impaired still find that there is much for them to experience in a concert hall.)
Happy hunting!
Thanks,
Gary
Of course, each of us a miracle, since we are all embodiments of the miracle of life itself, replete with our own individual talents and intelligence. If you stop to think about it, even the insects that annoy us are miracles of life (I sometimes think about that particularly in the summer when fireflies abound). But to behold the beauty of a young child expressing a phenomenal talent somehow forces us to become aware of the miraculousness in our midst, at the same time reminding us that our lives are fundamentally much more than the mundane existence we sometimes allow ourselves to lead.
One prodigy whose performance I found particularly moving was that of young Jordan Adams, who can be viewed performing the "Ocean" Etude of Chopin and the Fantaisie-Impromptu, at the ages of 10 and 8, respectively. He possesses a modesty and innocence that belie his stupendous technique. There is also a YouTube clip of the legendary Chinese pianist Lang Lang performing as a young child in a home video taken at his parents' home. I would strongly encourage you in your spare moments, or whenever you need a psychological lift, to simply connect to YouTube, or perhaps some other video search engine you're familiar with, and search out videos of young Jordan, Lang Lang, or any music or performer that might engage your thinking.
One reason why I enjoy watching music performed as well as listening to it is because the visual quality adds another layer to the performance. When we can watch the performer moving, touching the instrument, breathing, flowing into the music, then our understanding and appreciation of the music is heightened all the more. (Think about it: Why do we attend concerts instead of just listening to recordings? And even listeners who are blind or visually impaired still find that there is much for them to experience in a concert hall.)
Happy hunting!
Thanks,
Gary
Monday, October 26, 2009
Dvorak in the Heartland
Recently while traveling in Iowa I stopped in the town of Spillville, a historic Czech settlement located in the northeastern portion of the state. Visiting there on a Sunday afternoon brought a beautiful fall weekend to a close, part of which I had spent visiting a Zen monastery near the Mississippi--but more about that later.
Spillville is quiet and ethereally serene, creating a worthy conclusion to a Zen experience! The town is remarkable as a monument to the Czech immigrant experience in America, and for those citizens, permanent and temporary, who brought greatness to the town. The Bily brothers ("white" in Czech), who never traveled more than thirty-five miles from the town, who never married, and whose father never permitted them to practice their wood carving skills except during the winter when there were no farm duties, created exceptional hand carved wooden clocks that testify to all the powers of human ingenuity. Henry Ford once offered the men $1,000,000.00 for a single clock--and they refused. The clocks tell a history of the world, and form a tribute to the philosophies and belief systems that have shaped us--all this from two simple men who never ventured far from their home area. To pay homage to these two is worth a trip in itself.
For me as a musician, the significance of the town lies in the fact that the great Czech composer Antonin Dvorak spent the summer of 1893 in the town as a means of vacationing from his teaching and administrative duties in New York, and to reconnect with the spirit of his country. We know that Dvorak--along with his wife and six children--loved the town and its tranquillity. He loved listening to the local birds, and it is even said that their songs sometimes were incarnated within his melodies.
The region has designated a stretch of road as the "Dvorak Highway", and it is a solemn spiritual pilgrimage to explore it. I almost trembled as I entered the St. Wenceslas Catholic Church where the Dvoraks attended services, and where the very organ he sometimes played for the town still exists and is still used for regular services and special concerts. America is still too young to have produced many classical composers, but Dvorak is one to whose life we made at least a contribution--and who gave so much back to us and to the world.
If you don't know the music of Dvorak, you owe it to yourself to become acquainted. His music is warm and healing, and majestic. His humanity sweats forth from the music, evidenced by his admiration for American folk music and his insistence that no one be denied admission based on race or creed to the National Conservatory in New York which he directed. My personal favorite is the Cello Concerto, but the Symphony "From the New World" (you'll hear melodies inspired by the pioneers, Native Americans, Black spirituals, and even a bit of Three Blind Mice!), is probably the best known of his works. Other people are drawn to his chamber music, the Slavonic Dances, the Gypsy Songs, or other works. It's worth getting to kn ow all of them.
Thanks for reading.
Gary
Spillville is quiet and ethereally serene, creating a worthy conclusion to a Zen experience! The town is remarkable as a monument to the Czech immigrant experience in America, and for those citizens, permanent and temporary, who brought greatness to the town. The Bily brothers ("white" in Czech), who never traveled more than thirty-five miles from the town, who never married, and whose father never permitted them to practice their wood carving skills except during the winter when there were no farm duties, created exceptional hand carved wooden clocks that testify to all the powers of human ingenuity. Henry Ford once offered the men $1,000,000.00 for a single clock--and they refused. The clocks tell a history of the world, and form a tribute to the philosophies and belief systems that have shaped us--all this from two simple men who never ventured far from their home area. To pay homage to these two is worth a trip in itself.
For me as a musician, the significance of the town lies in the fact that the great Czech composer Antonin Dvorak spent the summer of 1893 in the town as a means of vacationing from his teaching and administrative duties in New York, and to reconnect with the spirit of his country. We know that Dvorak--along with his wife and six children--loved the town and its tranquillity. He loved listening to the local birds, and it is even said that their songs sometimes were incarnated within his melodies.
The region has designated a stretch of road as the "Dvorak Highway", and it is a solemn spiritual pilgrimage to explore it. I almost trembled as I entered the St. Wenceslas Catholic Church where the Dvoraks attended services, and where the very organ he sometimes played for the town still exists and is still used for regular services and special concerts. America is still too young to have produced many classical composers, but Dvorak is one to whose life we made at least a contribution--and who gave so much back to us and to the world.
If you don't know the music of Dvorak, you owe it to yourself to become acquainted. His music is warm and healing, and majestic. His humanity sweats forth from the music, evidenced by his admiration for American folk music and his insistence that no one be denied admission based on race or creed to the National Conservatory in New York which he directed. My personal favorite is the Cello Concerto, but the Symphony "From the New World" (you'll hear melodies inspired by the pioneers, Native Americans, Black spirituals, and even a bit of Three Blind Mice!), is probably the best known of his works. Other people are drawn to his chamber music, the Slavonic Dances, the Gypsy Songs, or other works. It's worth getting to kn ow all of them.
Thanks for reading.
Gary
Monday, October 5, 2009
More Thoughts on Language
In my most recent post I wrote about the joy of seeing (hearing?) a play about the life and work of Emily Dickinson. The basic tool of a poet is language, and language gives us much to think about.
Language is often abused and misused. Too often we go through life not realizing what a powerful gift words are. We use language to express practically all of our thoughts and ideas. Indeed, the gospel of John opens with the phrase "In the beginning was the Word....". Today many spiritual teachers of all stripes are striving to teach us the incredible power of words and their declaration.
Alice Bailey, the controversial British/American theosophical writer who claimed to channel a Tibetan spiritual master, once wrote that language is ultimately inadequate to express the deepest truths. Of course that is true; language is simply a tool, and we should always strive to hone and deepen it. Most of us sense that language hints at ideas and feelings that remain inexpressible to us. But the greatness of language is its ability to inspire us to search for the deeper meanings. When we meditate or pray, we sometimes proceed beyond words, but it is often "words" that guide us into "the Word". This is part of why language is so important to us. Words can both unite and divide us, but ultimately they guide us.
Thanks,
Gary
Language is often abused and misused. Too often we go through life not realizing what a powerful gift words are. We use language to express practically all of our thoughts and ideas. Indeed, the gospel of John opens with the phrase "In the beginning was the Word....". Today many spiritual teachers of all stripes are striving to teach us the incredible power of words and their declaration.
Alice Bailey, the controversial British/American theosophical writer who claimed to channel a Tibetan spiritual master, once wrote that language is ultimately inadequate to express the deepest truths. Of course that is true; language is simply a tool, and we should always strive to hone and deepen it. Most of us sense that language hints at ideas and feelings that remain inexpressible to us. But the greatness of language is its ability to inspire us to search for the deeper meanings. When we meditate or pray, we sometimes proceed beyond words, but it is often "words" that guide us into "the Word". This is part of why language is so important to us. Words can both unite and divide us, but ultimately they guide us.
Thanks,
Gary
Emily Dickinson in the Heartland
Recently the Insight Theatre Company in St. Louis presented William Luce's play chronicling the life of Emily Dickinson, The Belle of Amherst, directed by Maggie Ryan and starring Susie Wall in the title role. The one-woman play premiered on Broadway in 1977 with Julie Harris in the title role and has received acclaim ever since. It was gratifying to hear once again lines from one of our greatest poets and catch glimpses into her personal life. At her death in 1886, at the age of 56, Emily's sister found 1,775 poems in Emily's room. Seven poems were published in her lifetime, but, like so many geniuses, Emily's work went largely unnoticed until after her death.
With a cast only one person, this play must rely on the sheer power of words to capture the attention of the audience. It was refreshing to be reminded once again that the English language has been blessed with an abundance of writers who respect its greatness and extreme powers of expression. Emily Dickinson takes her place in a pantheon of great writers, from the creator of Beowulf through Shakespeare to our present day, who have bequeathed a cultural legacy to us all.
Emily Dickinson respected the English language, and we should all realize that we only cheat ourselves if we ignore our native tongue. It is a tragedy to see how language is disrespected and ignored in so many of our institutions today. (Do you realize how little grammar is taught today in many schools?) And whether we speak English or any other language, we should realize that it is our duty and right to explore the language and be intelligent co-creators of its usage. Emily Dickinson, like every great writer, was one of us, and sprang from our midst.
Thanks,
Gary
With a cast only one person, this play must rely on the sheer power of words to capture the attention of the audience. It was refreshing to be reminded once again that the English language has been blessed with an abundance of writers who respect its greatness and extreme powers of expression. Emily Dickinson takes her place in a pantheon of great writers, from the creator of Beowulf through Shakespeare to our present day, who have bequeathed a cultural legacy to us all.
Emily Dickinson respected the English language, and we should all realize that we only cheat ourselves if we ignore our native tongue. It is a tragedy to see how language is disrespected and ignored in so many of our institutions today. (Do you realize how little grammar is taught today in many schools?) And whether we speak English or any other language, we should realize that it is our duty and right to explore the language and be intelligent co-creators of its usage. Emily Dickinson, like every great writer, was one of us, and sprang from our midst.
Thanks,
Gary
Wednesday, September 30, 2009
"Symphony 101"
Recently I received a copy of the 2009-10 brochure of the Rochester (NY) Philharmonic. The orchestra no doubt receives a boost from being located in the same city as the legendary Eastman School of Music, but, like most orchestras today, must consistently market itself effectively and demonstrate its continued relevance to its community. A few years ago the situation for many orchestras was looking bleak, but lately some orchestras have experienced positive growth and increased media attention. Here in St. Louis, the St. Louis Symphony posted significant audience increases in 2008-09, as well as increases in financial support as a result of challenge grants. Also significant is the fact that audiences have become increasingly diverse in social, economic, educational and ethnic backgrounds, proving that great music speaks to us all.
I have long felt that one of the problems facing orchestras today is the tragic state of music and general education in our society. Although many public and independent schools maintain excellent music programs, too many schools do not. Even some of the schools with strong programs emphasize marching bands and "show choirs" at the expense of orchestral, chamber and traditionally-oriented choral music. Marching bands and vocal entertainment are worthy endeavors in and of themselves, and offer students rewarding experience, but students should be made aware of orchestral music as the backbone of serious Western music, along with the classical choral and solo vocal traditions without which modern popular music would not exist.
Increasingly, orchestras and their conductors have realized that they must assume the task of educating the public in addition to performing; our schools simply will not do the job fully. Thankfully, this is being accomplished. Here in St. Louis, David Robertson, music director of the SLSO, frequently gives brief commentary and introductions to new works, as well as occasionally to the masterworks. The SLSO also has vastly increased its offerings and venues throughout the community in an effort to accommodate all tastes.
In Rochester, Music Director Christopher Seaman offers a series of concerts entitled "Symphony 101"--with an option to graduate to Symphony 201--that introduce listeners to standard masterworks. The concerts are one hour in length, and are followed by question and answer sessions with Mr. Seaman. This "course" is an important contribution because, although many musicians lament audiences' reluctance to accept new works, in reality too many of us still haven't learned to accept and understand the traditional masterworks. Perhaps if we become better acquainted with our shared cultural legacy through the masterworks of the past, we will not only enrich our own lives, but will also develop the discernment and understanding to evaluate the new directions in which music and culture are heading.
I have long felt that one of the problems facing orchestras today is the tragic state of music and general education in our society. Although many public and independent schools maintain excellent music programs, too many schools do not. Even some of the schools with strong programs emphasize marching bands and "show choirs" at the expense of orchestral, chamber and traditionally-oriented choral music. Marching bands and vocal entertainment are worthy endeavors in and of themselves, and offer students rewarding experience, but students should be made aware of orchestral music as the backbone of serious Western music, along with the classical choral and solo vocal traditions without which modern popular music would not exist.
Increasingly, orchestras and their conductors have realized that they must assume the task of educating the public in addition to performing; our schools simply will not do the job fully. Thankfully, this is being accomplished. Here in St. Louis, David Robertson, music director of the SLSO, frequently gives brief commentary and introductions to new works, as well as occasionally to the masterworks. The SLSO also has vastly increased its offerings and venues throughout the community in an effort to accommodate all tastes.
In Rochester, Music Director Christopher Seaman offers a series of concerts entitled "Symphony 101"--with an option to graduate to Symphony 201--that introduce listeners to standard masterworks. The concerts are one hour in length, and are followed by question and answer sessions with Mr. Seaman. This "course" is an important contribution because, although many musicians lament audiences' reluctance to accept new works, in reality too many of us still haven't learned to accept and understand the traditional masterworks. Perhaps if we become better acquainted with our shared cultural legacy through the masterworks of the past, we will not only enrich our own lives, but will also develop the discernment and understanding to evaluate the new directions in which music and culture are heading.
Sunday, September 20, 2009
Shakespeare in the Heartland
William Shakespeare has attracted quite a following here in St. Louis. The city now boasts two resident companies devoted to the Bard's works, with one offering free performances at Forest Park in the summer. In addition, various other theatrical venues around the city mount Shakespearean productions throughout the year. It was not so long ago that some local school districts were de-emphasizing Shakespeare's works in their curriculums, but that situation seems happily to be reversing (although sadly even a few colleges seem to be opting for trendier, contemporary literature above the classics in some case, although hopefully that too will change).
The Soundstage Theatre recently presented what amounts to a brief retrospective: William Shakespeare's Greatest Hits, created and directed by Dave Houghton. Although serious academics might roll their eyes and lament this sort of fast-food Shakespeare, this production was an excellent review of many of the memorable lines and plots that some of us might have forgotten, as well as a wonderful introduction for young theatre-goers to the joys of Shakespeare and the Elizabethan world. Moreover, this production was performed in readers' theatre style--eight actors onstage in black speaking lines, with minimal action. Soundstage terms this technique "theatre of the mind", and it is remarkably effective; we quickly learn that our own imaginations are far more skilled at crafting a set design than we ever realized, and the lack of sensory input enables the audience to concentrate on the true meaning of the words.
Like the salon movement mentioned in an earlier post, readers' theatre is something that can be enjoyed in homes or clubs, and can be performed by amateurs or professionals alike. It offers a means of bringing theatre into a friendly, intimate setting, much like chamber music did for past generations. It is an excellent learning tool. It is also fun to experience readers' theatre in an actual theatre. Soundstage performs in a studio setting, which helps the audience feel that they are part of the drama.
Soundstage does not currently maintain an official website, but anyone interested in attending one of their productions can contact their box office at 314-968-8070.
Thanks,
Gary
The Soundstage Theatre recently presented what amounts to a brief retrospective: William Shakespeare's Greatest Hits, created and directed by Dave Houghton. Although serious academics might roll their eyes and lament this sort of fast-food Shakespeare, this production was an excellent review of many of the memorable lines and plots that some of us might have forgotten, as well as a wonderful introduction for young theatre-goers to the joys of Shakespeare and the Elizabethan world. Moreover, this production was performed in readers' theatre style--eight actors onstage in black speaking lines, with minimal action. Soundstage terms this technique "theatre of the mind", and it is remarkably effective; we quickly learn that our own imaginations are far more skilled at crafting a set design than we ever realized, and the lack of sensory input enables the audience to concentrate on the true meaning of the words.
Like the salon movement mentioned in an earlier post, readers' theatre is something that can be enjoyed in homes or clubs, and can be performed by amateurs or professionals alike. It offers a means of bringing theatre into a friendly, intimate setting, much like chamber music did for past generations. It is an excellent learning tool. It is also fun to experience readers' theatre in an actual theatre. Soundstage performs in a studio setting, which helps the audience feel that they are part of the drama.
Soundstage does not currently maintain an official website, but anyone interested in attending one of their productions can contact their box office at 314-968-8070.
Thanks,
Gary
Monday, September 7, 2009
The Re-Emergence of Salons
Recently my friend John, an English professor at a local community college, shared with me an idea to alleviate doldrums in the middle of winter: Once a week, probably on a Sunday evening, he would invite friends over for a light dinner and a literary discussion--poetry, a shared book, whatever. What John had in mind was highly reminiscent of the literary and cultural salons that played such an important role in Europe in the post-Renaissance period, particularly in France.
The idea of salons did not begin in France--they probably first appeared in Italy--but they flowered immensely in France, and became not only influential, but politically and intellectually powerful. Interestingly, most of the early salons were developed and led by women, who found them a means to exercise a greater measure of influence in society. Today salons still exist, and one could even argue that Internet forums represent a sort of online salon, but it might be a good idea for us as a society to develop a renewed interest in the power of salons to educate, stimulate and impact our culture.
In the United States we have many outstanding secondary schools, colleges and universities. However, tragically we also have many underachieving schools--and it may be that a growing number of them are post-secondary. A discussion group offered by an informal salon offers an excellent means for people of different ages and backgrounds to get to know each other, share ideas and learn from each other. Such gatherings can certainly be fun and sociable, and would not have to follow any sort of strict format, unless the group chooses to do so.
A salon can be whatever its members want to make of it. Any group of people with a shared commitment to enriching our society could create a salon, and they could do so for a limited time, or more permanently, as they so choose. Offering refreshments and having a time just to socialize is an excellent way to make an intellectual discussion more palatable to those who are timid about flexing their brains. Our family used to invite a few friends over to read a play out loud, or share favorite poems. Even at a young age my own children greatly enjoyed these evenings. The group could choose to listen to music, view art, discuss politics, spiritual matters, education--the possibilities are endless. Decisions can also be made as to whether to keep the group small or large, or possibly to give birth to new groups.
I plan to do my small part to assist John as he plans his own winter gatherings. Maybe the rest of you would also like to consider getting a group together to explore a topic of your choice. By stimulating our own minds, we are energized to then go out to impact the world. And, hopefully, the increased self-esteem and awareness we will have developed will enable us to work only for positive change.
Thanks,
Gary
The idea of salons did not begin in France--they probably first appeared in Italy--but they flowered immensely in France, and became not only influential, but politically and intellectually powerful. Interestingly, most of the early salons were developed and led by women, who found them a means to exercise a greater measure of influence in society. Today salons still exist, and one could even argue that Internet forums represent a sort of online salon, but it might be a good idea for us as a society to develop a renewed interest in the power of salons to educate, stimulate and impact our culture.
In the United States we have many outstanding secondary schools, colleges and universities. However, tragically we also have many underachieving schools--and it may be that a growing number of them are post-secondary. A discussion group offered by an informal salon offers an excellent means for people of different ages and backgrounds to get to know each other, share ideas and learn from each other. Such gatherings can certainly be fun and sociable, and would not have to follow any sort of strict format, unless the group chooses to do so.
A salon can be whatever its members want to make of it. Any group of people with a shared commitment to enriching our society could create a salon, and they could do so for a limited time, or more permanently, as they so choose. Offering refreshments and having a time just to socialize is an excellent way to make an intellectual discussion more palatable to those who are timid about flexing their brains. Our family used to invite a few friends over to read a play out loud, or share favorite poems. Even at a young age my own children greatly enjoyed these evenings. The group could choose to listen to music, view art, discuss politics, spiritual matters, education--the possibilities are endless. Decisions can also be made as to whether to keep the group small or large, or possibly to give birth to new groups.
I plan to do my small part to assist John as he plans his own winter gatherings. Maybe the rest of you would also like to consider getting a group together to explore a topic of your choice. By stimulating our own minds, we are energized to then go out to impact the world. And, hopefully, the increased self-esteem and awareness we will have developed will enable us to work only for positive change.
Thanks,
Gary
Sunday, August 30, 2009
Ovid in the Heartland
There is something affirming about reading great works of literature out loud. Many of us were read to as children, but it is a custom worth preserving and maintaining throughout our lives. I once knew an elderly lady who would read out loud even when she was alone, and over the years she worked her way through many literary pillars of thought. She inspired me to continue the tradition, and it has been a great source of encouragement, self-education and entertainment. Sometimes we would host parties at our house where we would read a play out loud, or share favorite poems. When we read out loud, we are re-establishing a connection with our forebears, our cultural legacies, our ancestors, or, if we read from a contemporary work, we establish a link with those who help shape our present world.
Recently several local organizations here in St. Louis--the Pulitzer Foundation for the Arts, River Styx and the St. Louis Poetry Center-- banded together for an extended reading of passages from the Roman poet Ovid's masterpiece, Metamorphoses, spread across two days of nine hours of reading each. Various local citizens participated in the readings. This was a wonderful means of communicating to all the citizens of our region that we do share a common heritage--that 2,000 years ago a man of letters lived and wrote words that speak to us today. In an era when so many young people have so little knowledge of history, the words read aloud were a little piece of living history handed down across the centuries.
Publius Ovidius Naso, 43 B.C.--17 A.D., led a life as full of changes as the characters in the myths he retold. Sadly, he died in exile far from his beloved Rome, in what is now Romania, but his poetry lives on to tell the world about the glory of ancient Rome. In the opening lines of The Metamorphoses we learn, among other things, that the Romans were fully aware that the world was round, nearly 1,500 years before Columbus. But more importantly, we begin to learn, through his retelling of classic myths, the stories that have helped shape our visual arts, poetry, music and understanding of human emotions. When we deprive our children of a knowledge of history--their own and that of others--we are robbing them of a piece of their very humanity.
Thanks,
Gary
Recently several local organizations here in St. Louis--the Pulitzer Foundation for the Arts, River Styx and the St. Louis Poetry Center-- banded together for an extended reading of passages from the Roman poet Ovid's masterpiece, Metamorphoses, spread across two days of nine hours of reading each. Various local citizens participated in the readings. This was a wonderful means of communicating to all the citizens of our region that we do share a common heritage--that 2,000 years ago a man of letters lived and wrote words that speak to us today. In an era when so many young people have so little knowledge of history, the words read aloud were a little piece of living history handed down across the centuries.
Publius Ovidius Naso, 43 B.C.--17 A.D., led a life as full of changes as the characters in the myths he retold. Sadly, he died in exile far from his beloved Rome, in what is now Romania, but his poetry lives on to tell the world about the glory of ancient Rome. In the opening lines of The Metamorphoses we learn, among other things, that the Romans were fully aware that the world was round, nearly 1,500 years before Columbus. But more importantly, we begin to learn, through his retelling of classic myths, the stories that have helped shape our visual arts, poetry, music and understanding of human emotions. When we deprive our children of a knowledge of history--their own and that of others--we are robbing them of a piece of their very humanity.
Thanks,
Gary
Monday, August 24, 2009
A Day at a Community College
As a blog writer I try to avoid writing about my own family, but in this case I felt it served a larger point. So please bear with me!
Today was the first day of college classes for both my daughters, Marisa and Ariella ("Ellie"). However, both girls were in Oregon for a family get-together, so were unable to attend classes the first day. Since both are dedicated students, they were naturally concerned about missing the opening remarks from their professors. Marisa only had one class scheduled today, but Ellie had three. After consulting with a few professor friends of my own, I decided to attend Ellie's classes for her today--hopefully demonstrating by so doing that we are a family that takes education seriously. I found it a wonderful and encouraging experience.
Ellie was partially home schooled, and graduated early, as did Marisa, so she is spending her first two years of college here in town at Forest Park Community College, an urban campus located within the city of St. Louis. Next year she will have turned eighteen and we hope to send her to a four-year college. In the meantime, she seems to have received an excellent education at the local level. She has always praised her instructors and the quality of in-class discussions and the relationships she has formed. I heartily agree with her after today.
I sat in on three classes: Sociology, American Comedy and Humor, and History of Jazz. I found the instructors to be engaging, open-minded and--thankfully, in this age of grade inflation--tough when they felt it was called for. The student body seemed respectful in class (maybe rowdy outside of class, but that is a different matter) and, as far as I could tell, serious and motivated. Each professor was well-prepared and professional, and seemed well-versed in his field. The English professor who taught the comedy class made no bones about the fact that his class would be demanding and that rules and policies must be obeyed. I have long despaired about the state of education in America, but today encouraged me.
The student body at FPCC is "diverse"--whatever that word is supposed to mean today--and clearly shows that urban education can succeed. This makes the failures of so many public school districts even harder to accept. FPCC shows that we can clean up education--but we must have the resolve to do so.
Increasing attention has been pointed to the fact that the overwhelming majority of college and university professors in the US lean to the left. I have no idea of knowing the leanings of the professors I met today, but I found them affable and, in my best judgment, open and willing to consider diverse opinions.
American education still has a long way to go, but I am better assured now that it still has a soul and a spark of life.
Thanks for reading.
Gary
Today was the first day of college classes for both my daughters, Marisa and Ariella ("Ellie"). However, both girls were in Oregon for a family get-together, so were unable to attend classes the first day. Since both are dedicated students, they were naturally concerned about missing the opening remarks from their professors. Marisa only had one class scheduled today, but Ellie had three. After consulting with a few professor friends of my own, I decided to attend Ellie's classes for her today--hopefully demonstrating by so doing that we are a family that takes education seriously. I found it a wonderful and encouraging experience.
Ellie was partially home schooled, and graduated early, as did Marisa, so she is spending her first two years of college here in town at Forest Park Community College, an urban campus located within the city of St. Louis. Next year she will have turned eighteen and we hope to send her to a four-year college. In the meantime, she seems to have received an excellent education at the local level. She has always praised her instructors and the quality of in-class discussions and the relationships she has formed. I heartily agree with her after today.
I sat in on three classes: Sociology, American Comedy and Humor, and History of Jazz. I found the instructors to be engaging, open-minded and--thankfully, in this age of grade inflation--tough when they felt it was called for. The student body seemed respectful in class (maybe rowdy outside of class, but that is a different matter) and, as far as I could tell, serious and motivated. Each professor was well-prepared and professional, and seemed well-versed in his field. The English professor who taught the comedy class made no bones about the fact that his class would be demanding and that rules and policies must be obeyed. I have long despaired about the state of education in America, but today encouraged me.
The student body at FPCC is "diverse"--whatever that word is supposed to mean today--and clearly shows that urban education can succeed. This makes the failures of so many public school districts even harder to accept. FPCC shows that we can clean up education--but we must have the resolve to do so.
Increasing attention has been pointed to the fact that the overwhelming majority of college and university professors in the US lean to the left. I have no idea of knowing the leanings of the professors I met today, but I found them affable and, in my best judgment, open and willing to consider diverse opinions.
American education still has a long way to go, but I am better assured now that it still has a soul and a spark of life.
Thanks for reading.
Gary
Saturday, August 15, 2009
Anne Frank in the Heartland
This week I attended a performance of The Diary of Anne Frank produced at the Lyceum Theatre in the little village of Arrow Rock, Missouri, located about forty miles northwest of the university town of Columbia. It is hard to imagine a more beautiful spot than Arrow Rock. The town is spacious, hilly and green, filled with fine restaurants and beautifully appointed bed and breakfast establishments. At first it might seem an unlikely locale in which to reflect upon the Holocaust, yet I found it perhaps a perfect place for thought. Far from the distractions of urban life, it was possible to ruminate in silence upon our achievements as human beings, and our tragic failures. We are capable of such good, yet also of such evil. What can be so disarming is when evil arrives cloaked in beauty and deception. The Nazis were capable of living outward lives of great refinement, and often displayed a great intelligence. Today there is so much "spin" in our world that it can be difficult to determine which side to support on many issues.
Countless people ask themselves how the Holocaust could have happened. What brought "ordinary" people to behave with such savagery? My own theory is that the Holocaust simply crept up into the hearts of its perpetrators. We grow accustomed to evil best when it is administered to us in small doses, little by little. When the guillotine first appeared during the French Revolution, its use was limited. But as the revolution progressed, the thirst for the blood of tyrants--real or imagined--grew more and more difficult to quench. By the close of World War II, the Nazis' devotion to the Holocaust was becoming the tail that wagged the dog of their aggression.
Missouri is one of our most beautiful states, and its citizens are blessed in many ways. But the meditative, tranquil hills, forests, valleys and farms were witness across the generations to the horrors of slavery and violence to groups such as Mormons and others. As we enjoy the beauty here and across our entire planet, we need to remember that, as the familiar saying reminds us, the price of freedom truly is eternal vigilance--of others, and of ourselves.
The Lyceum Theatre in Arrow Rock is a wonderful, professional venue that helps make a visit to Arrow Rock so inviting. The staff is warm and welcoming. I would heartily recommend the trip.
Thanks,
Gary
Countless people ask themselves how the Holocaust could have happened. What brought "ordinary" people to behave with such savagery? My own theory is that the Holocaust simply crept up into the hearts of its perpetrators. We grow accustomed to evil best when it is administered to us in small doses, little by little. When the guillotine first appeared during the French Revolution, its use was limited. But as the revolution progressed, the thirst for the blood of tyrants--real or imagined--grew more and more difficult to quench. By the close of World War II, the Nazis' devotion to the Holocaust was becoming the tail that wagged the dog of their aggression.
Missouri is one of our most beautiful states, and its citizens are blessed in many ways. But the meditative, tranquil hills, forests, valleys and farms were witness across the generations to the horrors of slavery and violence to groups such as Mormons and others. As we enjoy the beauty here and across our entire planet, we need to remember that, as the familiar saying reminds us, the price of freedom truly is eternal vigilance--of others, and of ourselves.
The Lyceum Theatre in Arrow Rock is a wonderful, professional venue that helps make a visit to Arrow Rock so inviting. The staff is warm and welcoming. I would heartily recommend the trip.
Thanks,
Gary
Friday, August 7, 2009
"Fall" Terms Beginning?
It has been almost a shock to many of us to realize how early the school year is beginning in communities across the country. With increasing alacrity, more and more public school districts, and some independent schools as well, are extending the length of both the school year and the school day. Many Americans quickly accept the premise that more time in the classroom equates to increased learning, and many "educationists" are quick to trot out studies to illustrate this, but it is probably best not to make blind assumptions. Other studies can produce differing results.
One of the main arguments in favor of increased classroom time is the notion that disadvantaged students languish intellectually at home because they do not have the enrichment that affluent or concerned families would provide: music and dance lessons, summer camp, tutoring, etc. However, there is also the risk that forcing additional time at school would further alienate unmotivated students and further erode family ties which may already be shaky. On the other hand, a well organized classroom that offers diverse sources of stimulation and skill development, and one that builds bridges to families and encourages their involvement, could indeed help a struggling student. Yet, realistically, how many classrooms can actually provide that? Most teachers sincerely want to provide the best environment possible, but many of them are not given the resources to do so.
One of the most successful independent schools in the United States is the Thomas Jefferson School, located just outside St. Louis, Missouri. Students there follow a strict classical curriculum and generally gain admittance into the finest colleges and universities in the world. In later life, Thomas Jefferson students have demonstrated a high success rate and broad creative instincts. This year, the autumn semester will begin on September 9, more than a full month later than many conventional schools. The school day is over by noon, but students are expected to remain on campus to pursue various projects and activities and confer with faculty. Vacations are lengthy so that students may use the time to broaden their acquaintance with the world we live in. Yes, Thomas Jefferson parents are almost always extremely supportive--but not always as affluent as opponents of independent schools would have us believe--which gives their children a leg up, but we should be encouraging all families to be likewise, rather than simply assuming that some families are simply incapable of providing better nurturing for their children.
There are many angles to this debate, and this brief column only scratches the surface. Believe it or not, I do see both sides and do understand that extended-year proponents have good intentions. My vision is a bit idealistic here, but ultimately I am a realist. But I still feel we should work towards achieving our ideals. More later on this topic.
Enjoy the rest of the summer. Hopefully we all still have some time off, at least here and there!
Thanks,
Gary
One of the main arguments in favor of increased classroom time is the notion that disadvantaged students languish intellectually at home because they do not have the enrichment that affluent or concerned families would provide: music and dance lessons, summer camp, tutoring, etc. However, there is also the risk that forcing additional time at school would further alienate unmotivated students and further erode family ties which may already be shaky. On the other hand, a well organized classroom that offers diverse sources of stimulation and skill development, and one that builds bridges to families and encourages their involvement, could indeed help a struggling student. Yet, realistically, how many classrooms can actually provide that? Most teachers sincerely want to provide the best environment possible, but many of them are not given the resources to do so.
One of the most successful independent schools in the United States is the Thomas Jefferson School, located just outside St. Louis, Missouri. Students there follow a strict classical curriculum and generally gain admittance into the finest colleges and universities in the world. In later life, Thomas Jefferson students have demonstrated a high success rate and broad creative instincts. This year, the autumn semester will begin on September 9, more than a full month later than many conventional schools. The school day is over by noon, but students are expected to remain on campus to pursue various projects and activities and confer with faculty. Vacations are lengthy so that students may use the time to broaden their acquaintance with the world we live in. Yes, Thomas Jefferson parents are almost always extremely supportive--but not always as affluent as opponents of independent schools would have us believe--which gives their children a leg up, but we should be encouraging all families to be likewise, rather than simply assuming that some families are simply incapable of providing better nurturing for their children.
There are many angles to this debate, and this brief column only scratches the surface. Believe it or not, I do see both sides and do understand that extended-year proponents have good intentions. My vision is a bit idealistic here, but ultimately I am a realist. But I still feel we should work towards achieving our ideals. More later on this topic.
Enjoy the rest of the summer. Hopefully we all still have some time off, at least here and there!
Thanks,
Gary
Monday, August 3, 2009
Different approaches...
In the last two posts I wrote about the method of music study espoused by Walter Gieseking, which generally could be described as a glorified step-by-step approach to learning. Each individual note in a piece is carefully examined, alone and in relation to every other note, along with every editorial suggestion. It is probably fair to say that in his system every note in a piece must be understood in its context, and thoroughly internalized. Nothing must be ignored or taken for granted.
A friend of mine, who sings in a choir I direct, takes a completely different approach to learning. He works a great deal with computers, and one evening we were discussing how hard it can be to keep up with new advances in computer technology. One of the other singers complained that computer terms were obtuse, and I chimed in by stating that learning to use computers should follow a carefully designed, step-by-step approach in which every term and every action is clearly explained and the student has time to process and practice every necessary skill. Our computer guru strongly disagreed. He claimed that such a careful approach would take far too long and "you would never learn anything about computers that way". He favored more of an immersion method in which you dive into a subject and soak up as much as you can. In this scenario, over time you would learn the basic concepts, perhaps hit and miss at first, but hopefully more securely over time. As you develop a comfort level, you could begin to pick up finer points.
I understand my friend's point of view, but I'm not sure I'm convinced. There are music teachers who recommend learning a piece of music by "diving in", but I think they would all agree that sooner or later you have to develop a more systematic approach, or otherwise your understanding of the piece will be only superficial. Or perhaps it is not a good idea to compare learning music to learning computer skills. And, of course, we are each different, so we learn to learn each in our own way, but how do we best achieve mastery?
So what do you think? I'll weigh in more later.
Thanks,
Gary
A friend of mine, who sings in a choir I direct, takes a completely different approach to learning. He works a great deal with computers, and one evening we were discussing how hard it can be to keep up with new advances in computer technology. One of the other singers complained that computer terms were obtuse, and I chimed in by stating that learning to use computers should follow a carefully designed, step-by-step approach in which every term and every action is clearly explained and the student has time to process and practice every necessary skill. Our computer guru strongly disagreed. He claimed that such a careful approach would take far too long and "you would never learn anything about computers that way". He favored more of an immersion method in which you dive into a subject and soak up as much as you can. In this scenario, over time you would learn the basic concepts, perhaps hit and miss at first, but hopefully more securely over time. As you develop a comfort level, you could begin to pick up finer points.
I understand my friend's point of view, but I'm not sure I'm convinced. There are music teachers who recommend learning a piece of music by "diving in", but I think they would all agree that sooner or later you have to develop a more systematic approach, or otherwise your understanding of the piece will be only superficial. Or perhaps it is not a good idea to compare learning music to learning computer skills. And, of course, we are each different, so we learn to learn each in our own way, but how do we best achieve mastery?
So what do you think? I'll weigh in more later.
Thanks,
Gary
Thursday, July 30, 2009
More about Walter Gieseking
Walter Gieseking felt that thoroughness and keen observation were the keys to studying everything. He applied the rigor of a scientist to music. In the book he co-authored with Karl Leimer, Piano Technique, he devotes two pages to advising students how to approach the first six bars of Bach's first Two-Part Invention, known to all piano students. He suggests noting such details as the distance between each pair of notes in a given phrase (such as C downward to A being a musical interval of a third, skipping the B), analyzing the touch to be applied and the manner of connecting notes (smoothly or with separation). He also emphasizes that the student should learn to visualize the piece--i.e., be able to see the piece in our heads, be aware of the structure of the piece, and grasp an understanding of what the piece should sound like.
Funny how often the word "visualization" comes up these days, even though Gieseking was writing in the 1930's. It seems that proper visualization is a means of ordering and directing our lives and the events that flow through them. The power of visualization should never be underestimated. Just tonight I attended a wonderful talk on the current health-food trend of eating raw, uncooked fruits and vegetables. The speaker, whose vibrant health was an excellent testimony to the power of the method, indicated in passing that this system of eating worked best if people "saw" themselves benefiting from it. He also noted emphatically that negative thoughts and emotions can, over time, impact the body as much or more than eating toxic foodstuffs. (This guy made me re-commit myself to healthful eating--and thinking! I'm a strict vegetarian, but now want to be even more careful.)
Some readers have commented that Gieseking's method would make them more nervous about performing, not less, which is the total opposite of what he wanted to achieve. They feel being so acutely aware of the music would make them freeze up, perhaps like a diver who freezes in fright at the edge of a diving board if he/she contemplates the movements of a dive too intensely, making them realize the many possibilities for error. I understand such a feeling, and have felt it myself, but I think Gieseking would counter by saying his method asks us to delve so deeply into what we are doing that we become totally at one with it. He advised practicing each phrase very, very slowly in order to develop complete familiarity and ease with it. (This would require singers and wind players to make an adaptation for breathing, but over time they would come to practice with greater speed.)
I don't think Gieseking was trying to discourage spontaneity and freedom in a performance--just the opposite. Rather, he felt that memorization and flawless technical skill are the bedrock upon which freedom and spontaneity are built.
A few more points to make about this method in my next post. Have a great weekend!
Thanks,
Gary
Funny how often the word "visualization" comes up these days, even though Gieseking was writing in the 1930's. It seems that proper visualization is a means of ordering and directing our lives and the events that flow through them. The power of visualization should never be underestimated. Just tonight I attended a wonderful talk on the current health-food trend of eating raw, uncooked fruits and vegetables. The speaker, whose vibrant health was an excellent testimony to the power of the method, indicated in passing that this system of eating worked best if people "saw" themselves benefiting from it. He also noted emphatically that negative thoughts and emotions can, over time, impact the body as much or more than eating toxic foodstuffs. (This guy made me re-commit myself to healthful eating--and thinking! I'm a strict vegetarian, but now want to be even more careful.)
Some readers have commented that Gieseking's method would make them more nervous about performing, not less, which is the total opposite of what he wanted to achieve. They feel being so acutely aware of the music would make them freeze up, perhaps like a diver who freezes in fright at the edge of a diving board if he/she contemplates the movements of a dive too intensely, making them realize the many possibilities for error. I understand such a feeling, and have felt it myself, but I think Gieseking would counter by saying his method asks us to delve so deeply into what we are doing that we become totally at one with it. He advised practicing each phrase very, very slowly in order to develop complete familiarity and ease with it. (This would require singers and wind players to make an adaptation for breathing, but over time they would come to practice with greater speed.)
I don't think Gieseking was trying to discourage spontaneity and freedom in a performance--just the opposite. Rather, he felt that memorization and flawless technical skill are the bedrock upon which freedom and spontaneity are built.
A few more points to make about this method in my next post. Have a great weekend!
Thanks,
Gary
Monday, July 27, 2009
The Gieseking Study Technique
First of all, a big thank-you to everyone who has helped make this young blog a success. No writer or performer can succeed without an audience, and the many visitors to this site have been a source of encouragement and inspiration. Feel free to leave a comment. All will be read!
Now to the subject at hand. The German pianist Walter Gieseking (1895-1956) was very meticulous in his approach to music study--and to the study of just about anything (one example: he was a keen student of lepidopterology, the study of butterflies and moths, having inherited the interest from his father, who was a professional in the field). Gieseking became controversial due to allegations of collaboration with the Nazis during World War II, although he was cleared after investigation by U.S. military authorities. Although his moral compass may or may not have been sterling, he nevertheless developed a remarkably simple, yet highly effective, method of studying music.
Gieseking outlines his system in the book he co-authored with his mentor, Karl Leimer, Piano Technique (first published in 1932, Dover Publications edition first released in 1972). Basically, his approach boils down to this: When you begin studying a new piece of music, you must study EVERYTHING about the piece. On the surface, this sounds like a classic "no-brainer", yet how many of us actually carry out these steps? Gieseking recommends, for instance, perhaps starting out away from the piano. You take note of the tempo of the piece, the dynamic level and ensuing changes. Each and every chord must be analyzed; the fingering of each note must be determined. Each melodic phrase should be analyzed and measured, carefully noting each interval between pitches. At the piano, matters of touch, balance and execution can be worked out. If it is a long piece, it can be broken down into manageable sections and the system applied to each individual section.
Anyone who has ever studied a musical instrument can immediately realize how daunting this system might be. Some pieces have thousands of notes. Yet, on the other hand, applying this method might actually be the shortest road to success in the long run. I can attest from personal experience that it certainly helps dispel nervousness: You know that you know that you know the piece.
Those who might say that Gieseking's method is mechanical and robotic, but I think it is fair to say that he saw his technique as only the first step to a finished interpretation of a piece, believing that all true creativity must rest on a solid foundation of skill and mastery. To apply his system to other subjects might require some adapting of his methods, but his advice overall seems solid and useful, regardless of whatever discipline we are engaged in.
In succeeding posts I would like to comment a bit further on Gieseking's approach, but the above is a quick snapshot. Thanks for reading!
Gary
Now to the subject at hand. The German pianist Walter Gieseking (1895-1956) was very meticulous in his approach to music study--and to the study of just about anything (one example: he was a keen student of lepidopterology, the study of butterflies and moths, having inherited the interest from his father, who was a professional in the field). Gieseking became controversial due to allegations of collaboration with the Nazis during World War II, although he was cleared after investigation by U.S. military authorities. Although his moral compass may or may not have been sterling, he nevertheless developed a remarkably simple, yet highly effective, method of studying music.
Gieseking outlines his system in the book he co-authored with his mentor, Karl Leimer, Piano Technique (first published in 1932, Dover Publications edition first released in 1972). Basically, his approach boils down to this: When you begin studying a new piece of music, you must study EVERYTHING about the piece. On the surface, this sounds like a classic "no-brainer", yet how many of us actually carry out these steps? Gieseking recommends, for instance, perhaps starting out away from the piano. You take note of the tempo of the piece, the dynamic level and ensuing changes. Each and every chord must be analyzed; the fingering of each note must be determined. Each melodic phrase should be analyzed and measured, carefully noting each interval between pitches. At the piano, matters of touch, balance and execution can be worked out. If it is a long piece, it can be broken down into manageable sections and the system applied to each individual section.
Anyone who has ever studied a musical instrument can immediately realize how daunting this system might be. Some pieces have thousands of notes. Yet, on the other hand, applying this method might actually be the shortest road to success in the long run. I can attest from personal experience that it certainly helps dispel nervousness: You know that you know that you know the piece.
Those who might say that Gieseking's method is mechanical and robotic, but I think it is fair to say that he saw his technique as only the first step to a finished interpretation of a piece, believing that all true creativity must rest on a solid foundation of skill and mastery. To apply his system to other subjects might require some adapting of his methods, but his advice overall seems solid and useful, regardless of whatever discipline we are engaged in.
In succeeding posts I would like to comment a bit further on Gieseking's approach, but the above is a quick snapshot. Thanks for reading!
Gary
Saturday, July 25, 2009
The Power of Affirmation
Today marks a departure from discussion of musical topics, but in my next post I plan to examine the study methods employed by the pianist Walter Gieseking, which I think everyone will find an interesting approach to learning not only music, but other skills as well. Today I wanted to share a personal story that I thought would offer much to ponder. Generally I try to avoid blog posts that focus on myself or my own family--we can save those for Christmas letters--but in this case I felt the following story would give all of us something to ponder. It is a spiritual story, and is posted, fittingly I hope, at the close of the Jewish sabbath.
Lately I have been reading a lot about the power of affirmations--short, positive phrases repeated over and over, like a mantra. It is perhaps a New Age notion, but such writers as Napoleon Hill (Think and Grow Rich) emphasized their usefulness in the 1930's as an enhancement of personal faith in ourselves and our beliefs, and, also, I feel the teachings of biblical Christianity encourage personal affirmation as a sign of faith. I have read and heard of some remarkable stories of seeming miracles that have been attributed to the power of affirmations and their ability to uplift our thinking.
This week my younger daughter Ellie (Ariella) went in to have all four wisdom teeth extracted, just as her sister Marisa had done last year. She was given general anesthesia, and the whole procedure went quickly and easily. In no time I was driving her to our favorite ice cream shop for something soft afterwards.
When I checked on Ellie later in the day, she complained that the anesthesia had worn off and the pain medication was simply not working. She said she was in intense pain, but didn't want me to contact the oral surgeon. She tried to go to sleep, but the throbbing pain was too great. As a parent, naturally I was distraught.
I was scheduled to go on an early even bicycle ride with a friend. On my way to the bike trail, I began repeating over and over, "Ellie is fine, Ellie is fine...." It was like a chanted prayer in my head. After about ten minutes I got the strangest feeling that Ellie really was fine, but I was afraid to trust my intuition at that point. I then called a couple of friends who told me they thought Ellie's prescribed pain medication dosage was way too low and that I should contact the surgeon or the pharmacist. At that point I called Ellie's mother, Joanne, to tell her I thought we should do that. When I called, Joanne told me that Ellie was "fine"! All this happened within a span of probably no more than twenty minutes after I had left her side. As nearly as I can tell, Ellie's pain vanished right around the time I felt the intuitive message that all was well.
OK, I know what you're probably thinking: this is anecdotal, unscientific--and will it work for bigger issues? Could the pain medication simply have kicked in after a certain time? You'll have to draw your own conclusions. But I find the timing of the whole affair very interesting. We all know that thoughts have power; this incident helped me realize just how powerful thoughts are indeed. I began thinking that maybe sometimes we need to clean up our thinking just as we sometimes need to clean up our homes and offices.
Next post--back to music!
Thanks,
Gary
Lately I have been reading a lot about the power of affirmations--short, positive phrases repeated over and over, like a mantra. It is perhaps a New Age notion, but such writers as Napoleon Hill (Think and Grow Rich) emphasized their usefulness in the 1930's as an enhancement of personal faith in ourselves and our beliefs, and, also, I feel the teachings of biblical Christianity encourage personal affirmation as a sign of faith. I have read and heard of some remarkable stories of seeming miracles that have been attributed to the power of affirmations and their ability to uplift our thinking.
This week my younger daughter Ellie (Ariella) went in to have all four wisdom teeth extracted, just as her sister Marisa had done last year. She was given general anesthesia, and the whole procedure went quickly and easily. In no time I was driving her to our favorite ice cream shop for something soft afterwards.
When I checked on Ellie later in the day, she complained that the anesthesia had worn off and the pain medication was simply not working. She said she was in intense pain, but didn't want me to contact the oral surgeon. She tried to go to sleep, but the throbbing pain was too great. As a parent, naturally I was distraught.
I was scheduled to go on an early even bicycle ride with a friend. On my way to the bike trail, I began repeating over and over, "Ellie is fine, Ellie is fine...." It was like a chanted prayer in my head. After about ten minutes I got the strangest feeling that Ellie really was fine, but I was afraid to trust my intuition at that point. I then called a couple of friends who told me they thought Ellie's prescribed pain medication dosage was way too low and that I should contact the surgeon or the pharmacist. At that point I called Ellie's mother, Joanne, to tell her I thought we should do that. When I called, Joanne told me that Ellie was "fine"! All this happened within a span of probably no more than twenty minutes after I had left her side. As nearly as I can tell, Ellie's pain vanished right around the time I felt the intuitive message that all was well.
OK, I know what you're probably thinking: this is anecdotal, unscientific--and will it work for bigger issues? Could the pain medication simply have kicked in after a certain time? You'll have to draw your own conclusions. But I find the timing of the whole affair very interesting. We all know that thoughts have power; this incident helped me realize just how powerful thoughts are indeed. I began thinking that maybe sometimes we need to clean up our thinking just as we sometimes need to clean up our homes and offices.
Next post--back to music!
Thanks,
Gary
Thursday, July 23, 2009
The Talent Around Us
Just yesterday my daughter Ellie and I noticed a signboard in a local park promoting a concert featuring an eight year old trumpet virtuoso. It seems that there is no shortage of prodigies and talented young people in our midst, judging from their numbers here just in the St. Louis area.
When I was a young kid, I would have to fight against jealousy of others my age who displayed greater talent than I. Today I see things differently; those who are blessed with a phenomenal talent or ability can show the way to the rest of us. We can aspire to be more like them and become more than we already are. I recall a friend once saying to me that being the best at something you do brings the danger of complacency and resting on your laurels.
Probably sometimes we feel frustrated not because someone else is better at something than we are, but because we are not receiving similar praise and adulation. What might be worse, though, is a situation in which a talented person goes unnoticed, as I outlined in an earlier column. Maybe the lesson here is that we all deserve credit and recognition for hard work, creativity and making the most of the talents and abilities we have been given.
Today, sadly, many of our schools give praise and recognition where it is not deserved, as witnessed by the grade inflation that is rampant in some quarters. Accomplishment should be measured against clearly objective standards, not vague notions influenced by personal feelings. One of the great beauties of accomplishment in any performance-based activity, be it music, sports, realist art, or even a spelling bee or some other venue, is that the performance in question is judged against specific, verifiable criteria. This will give food for thought for many future columns!
Hope the above didn't sound like a sermonette! As always, I am interested in your thoughts and feedback. Many thanks for reading.
When I was a young kid, I would have to fight against jealousy of others my age who displayed greater talent than I. Today I see things differently; those who are blessed with a phenomenal talent or ability can show the way to the rest of us. We can aspire to be more like them and become more than we already are. I recall a friend once saying to me that being the best at something you do brings the danger of complacency and resting on your laurels.
Probably sometimes we feel frustrated not because someone else is better at something than we are, but because we are not receiving similar praise and adulation. What might be worse, though, is a situation in which a talented person goes unnoticed, as I outlined in an earlier column. Maybe the lesson here is that we all deserve credit and recognition for hard work, creativity and making the most of the talents and abilities we have been given.
Today, sadly, many of our schools give praise and recognition where it is not deserved, as witnessed by the grade inflation that is rampant in some quarters. Accomplishment should be measured against clearly objective standards, not vague notions influenced by personal feelings. One of the great beauties of accomplishment in any performance-based activity, be it music, sports, realist art, or even a spelling bee or some other venue, is that the performance in question is judged against specific, verifiable criteria. This will give food for thought for many future columns!
Hope the above didn't sound like a sermonette! As always, I am interested in your thoughts and feedback. Many thanks for reading.
Monday, July 20, 2009
How My Interest in Prodigies Began
Some years ago I worked with a young violin prodigy in the St. Louis area, and helped set up a few concerts for him. The young man had studied at several area schools, both independent ("private") and public. At the time I first met him, he was in his second or third year at a large public high school in an affluent area.
The young violinist liked his school, and seemed reasonably popular and successful there. However, I was dismayed to learn that his school was almost ignorant of his profound abilities; even the music staff were unaware, since the young man's studies were all completed out of town with a noted private teacher. I suppose he and his family should have made stronger efforts to sound his own horn, so to speak, but I suspect they were all too modest for that. At one of his recitals, the only person from his school who showed up was an English teacher--and thank God for her!
After having acquired several years of public school teaching experience myself, I now understand how difficult it can be to find time to support your students' outside achievements. However, isn't education all about nurturing and promoting achievement in all areas? What can we do to make schools more aware of the vast individuality and talents of each student? Perhaps the difficulty of so doing is one reason why home schooling has become such a dominant force in our society.
Not only do gifted students sometimes fall through the cracks in our system; sometimes those students who are challenged in various areas fall--and perhaps fall harder, with fewer options for rescue.
What do you think?
Thanks,
Gary
The young violinist liked his school, and seemed reasonably popular and successful there. However, I was dismayed to learn that his school was almost ignorant of his profound abilities; even the music staff were unaware, since the young man's studies were all completed out of town with a noted private teacher. I suppose he and his family should have made stronger efforts to sound his own horn, so to speak, but I suspect they were all too modest for that. At one of his recitals, the only person from his school who showed up was an English teacher--and thank God for her!
After having acquired several years of public school teaching experience myself, I now understand how difficult it can be to find time to support your students' outside achievements. However, isn't education all about nurturing and promoting achievement in all areas? What can we do to make schools more aware of the vast individuality and talents of each student? Perhaps the difficulty of so doing is one reason why home schooling has become such a dominant force in our society.
Not only do gifted students sometimes fall through the cracks in our system; sometimes those students who are challenged in various areas fall--and perhaps fall harder, with fewer options for rescue.
What do you think?
Thanks,
Gary
Friday, July 17, 2009
Still more...
When this blog first began, I had not necessarily intended to focus right away on prodigies--and I certainly will cover various other topics as we move along--but sometimes what we create develops a life of its own. (One of my first employers, Dr. Ted Lentz, used to say, "What a person writes often determines what they read", implying that what we create or do acquires the power to affect future actions.) I have found myself over the last few days still contemplating the achievements of prodigies and what they mean for all of us.
While in graduate school, I recall a professor who had read an article about prodigies. The unnamed author of the article noted that prodigies generally develop in one of the following four areas: music, mathematics, foreign languages or chess. Although I have no way of knowing whether that assessment represents a scientific sampling, it seems to have a certain ring of truth. I have also noted that, in music, the overwhelming percentage of prodigies specialize as pianists, violinists or cellists, more rarely as singers, percussionists or wind players. Is that because the piano, violin and cello possess qualities that inherently attract and foster prodigies, or is it because the physical skill needed to play these instruments is more readily developed by youngsters? (I've never felt any of these instruments was user friendly at the beginning!)
Have any of you ever known a child prodigy, or someone of any age who has displayed tremendous skill? It would be interesting to hear what visitors to this site might have to say on the subject. Prodigies are not nearly as rare as one might think--they are born everywhere, and in all sorts of circumstances. Sadly, their adult lives do not always bear the fruit of their early promise. Mozart is an example of a prodigy who did not achieve the same fame in his adulthood as during his childhood, but his fame was restored and magnified over time. By the way, it is not generally realized, but Mozart was not unique. Felix and Fanny Mendelssohn and Saint-Saens, to name but three, displayed similar greatness as children.
Thanks for reading!
Gary
While in graduate school, I recall a professor who had read an article about prodigies. The unnamed author of the article noted that prodigies generally develop in one of the following four areas: music, mathematics, foreign languages or chess. Although I have no way of knowing whether that assessment represents a scientific sampling, it seems to have a certain ring of truth. I have also noted that, in music, the overwhelming percentage of prodigies specialize as pianists, violinists or cellists, more rarely as singers, percussionists or wind players. Is that because the piano, violin and cello possess qualities that inherently attract and foster prodigies, or is it because the physical skill needed to play these instruments is more readily developed by youngsters? (I've never felt any of these instruments was user friendly at the beginning!)
Have any of you ever known a child prodigy, or someone of any age who has displayed tremendous skill? It would be interesting to hear what visitors to this site might have to say on the subject. Prodigies are not nearly as rare as one might think--they are born everywhere, and in all sorts of circumstances. Sadly, their adult lives do not always bear the fruit of their early promise. Mozart is an example of a prodigy who did not achieve the same fame in his adulthood as during his childhood, but his fame was restored and magnified over time. By the way, it is not generally realized, but Mozart was not unique. Felix and Fanny Mendelssohn and Saint-Saens, to name but three, displayed similar greatness as children.
Thanks for reading!
Gary
Wednesday, July 15, 2009
More on prodigies...
Hello to All,
In my last posting, I mentioned the pleasure of hearing young Rebekah Heckler, a thirteen-year-old violin prodigy from Godfrey, Illinois. Since then I have found myself thinking about prodigies, what they have to teach the rest of us and the best way to nurture their growth, development and happiness. I suspect that in doing so we might discover ways to improve the lives of non-prodigies as well.
The first time I heard a prodigy perform was many years ago, when young Hayuru Taima, also thirteen at the time, performed the "Konzertstuck" for piano and orchestra, by Carl Maria von Weber. The music tells the story of a medieval lady awaiting the return of her knight from the Crusades--lots of flourishes and emotion. I found witnessing such talent to be a haunting and spiritual experience. To this day I am not convinced that science can come up with a rational explanation for such remarkable ability. Someone once remarked that a prodigy simply has been blessed to be born with a remarkable mechanical ability, perhaps facilitated by his/her particular body type and genes. Anyone who has studied music knows that this response falls far short; the successful performance of a piece of music requires not only physical skill, but also insight into the nature of the piece, a sense of phrasing and musical line, as well as sound judgment of musical choices.
A wise lady with a mystical bent I once knew felt that prodigies were simply evidence of reincarnation, their talent having been developed over previous lifetimes, and I suppose this explanation makes about as much sense as any mainstream scientific explanation I have seen put forth.
So what do you think? Feel free to post a comment.
More on this topic soon.
Thanks,
Gary
In my last posting, I mentioned the pleasure of hearing young Rebekah Heckler, a thirteen-year-old violin prodigy from Godfrey, Illinois. Since then I have found myself thinking about prodigies, what they have to teach the rest of us and the best way to nurture their growth, development and happiness. I suspect that in doing so we might discover ways to improve the lives of non-prodigies as well.
The first time I heard a prodigy perform was many years ago, when young Hayuru Taima, also thirteen at the time, performed the "Konzertstuck" for piano and orchestra, by Carl Maria von Weber. The music tells the story of a medieval lady awaiting the return of her knight from the Crusades--lots of flourishes and emotion. I found witnessing such talent to be a haunting and spiritual experience. To this day I am not convinced that science can come up with a rational explanation for such remarkable ability. Someone once remarked that a prodigy simply has been blessed to be born with a remarkable mechanical ability, perhaps facilitated by his/her particular body type and genes. Anyone who has studied music knows that this response falls far short; the successful performance of a piece of music requires not only physical skill, but also insight into the nature of the piece, a sense of phrasing and musical line, as well as sound judgment of musical choices.
A wise lady with a mystical bent I once knew felt that prodigies were simply evidence of reincarnation, their talent having been developed over previous lifetimes, and I suppose this explanation makes about as much sense as any mainstream scientific explanation I have seen put forth.
So what do you think? Feel free to post a comment.
More on this topic soon.
Thanks,
Gary
Monday, July 13, 2009
Scott Mind
To All My Friends and Family:
Today, 13 July 2009, marks the inauguration of what I hope will be a blog that serves as a communication tool for us all. Nothing will gladden me more than to know that some of the words penned here will have stimulated someone else's thoughts, ideas or opinions. I feel it is auspicious that this venture was begun the evening before July 14, when France celebrates its independence and commemorates the storming of the Bastille and the struggle for individual and societal liberty.
This blog will deal primarily with issues of education, music and the arts--topics which touch all our lives whether we realize it or not. Over time, I feel you will be surprised by some of what you read, and may find your thinking challenged. Over time, perhaps I, too, will experience a similar evolution as I delve into new topics, and new aspects of old ones, to share with you.
Yesterday I attended a performance of the Gateway Festival Orchestra, held on the Quadrangle at Washington University here in St. Louis. The soloist was Rebekah Heckler, a thirteen year old violin prodigy from Godfrey, Illinois, who performed "Zigeunerweisen" (Gypsy Airs) by Pablo de Sarasate, under the direction of James Richards, the resident conductor of the orchestra. Hearing young Rebekah perform such a difficult work, redolent of gypsy violinists zingingly and passionately moaning through their instruments around village campfires, made me realize what education should be about: training us to appreciate our world fully, experience it fully, and hone our skills to their sharpest. I was not surprised to learn that Rebekah is home-schooled, as are so many of our most talented young people. Why is home-schooling so successful? What can conventional schools learn from home-schooling techniques?
More to come.
All the best,
Gary
Today, 13 July 2009, marks the inauguration of what I hope will be a blog that serves as a communication tool for us all. Nothing will gladden me more than to know that some of the words penned here will have stimulated someone else's thoughts, ideas or opinions. I feel it is auspicious that this venture was begun the evening before July 14, when France celebrates its independence and commemorates the storming of the Bastille and the struggle for individual and societal liberty.
This blog will deal primarily with issues of education, music and the arts--topics which touch all our lives whether we realize it or not. Over time, I feel you will be surprised by some of what you read, and may find your thinking challenged. Over time, perhaps I, too, will experience a similar evolution as I delve into new topics, and new aspects of old ones, to share with you.
Yesterday I attended a performance of the Gateway Festival Orchestra, held on the Quadrangle at Washington University here in St. Louis. The soloist was Rebekah Heckler, a thirteen year old violin prodigy from Godfrey, Illinois, who performed "Zigeunerweisen" (Gypsy Airs) by Pablo de Sarasate, under the direction of James Richards, the resident conductor of the orchestra. Hearing young Rebekah perform such a difficult work, redolent of gypsy violinists zingingly and passionately moaning through their instruments around village campfires, made me realize what education should be about: training us to appreciate our world fully, experience it fully, and hone our skills to their sharpest. I was not surprised to learn that Rebekah is home-schooled, as are so many of our most talented young people. Why is home-schooling so successful? What can conventional schools learn from home-schooling techniques?
More to come.
All the best,
Gary
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