Happiness Is Music   (2016Oct25)

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Tuesday, October 25, 2016                                               11:55 PM

On the one hand, I could hate myself for becoming too old to have any ambition in music any longer; but on the other hand, I’m not so sure the intensity of my grasping for music was entirely helpful. There are certain aspects of my piano playing today that I believe are enhanced by my lack of fixation on exactly what I’m doing. I’ve always known that certain activities are done best when least thought of—and music is certainly a great example of that, but I’ve only recently seen certain aspects of that which have ‘held me back’ to a degree.

I always knew my physical limitations would hold me back in piano-playing. So it wasn’t until I accepted that, at sixty, I had probably reached wherever my physical abilities would take me, that I became aware of some mental limitations I had placed on myself—at least in the way I thought of my playing as it related to making sounds. Music is such a wonderful gift—it changes with maturity, always morphing into something more richly-layered, like one’s self, but never degenerating, like one’s body does.

So I accept that the music I play today is as good as it will get. It’s not as much as I hoped for, but it’s far more than I ever dreamed of, back when I started. It has been both a challenging and comforting companion—the best kind of friend.

Today I played a nice long improv. I’m not sure what it sounded like, so, we’ll see.

 

Then I played a bunch of classical arrangements for piano. Three of them were decent enough to post.

 

Then I played a little ‘trailer’ at the end.

 

So much for the musical portion of my day.

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Wednesday, October 26, 2016                                         6:29 PM

The Enemy of My Enemy   (2016Oct26)

It’s funny—here we are with two weeks left—everyone’s pretty sure of the outcome of the election—more than that, everyone’s pretty clear that Trump was an evil anomaly—a thing that we narrowly avoided mistaking for a fit candidate. Yet one can still hear conservative pundits talking about his policies—as if he ever had any firm, practical, thought-out policies in the first place—and as if it still matters now, with early voting heavily in Hillary’s favor. Trump is fortunate to find the Republicans so in denial, and so blindly partisan, that nothing he says or does prevents most of them from pushing for the defeat of their arch-enemy, Hillary Clinton.

And this seems indicative to me. The Republicans have adopted an unhealthy habit of using any old rationale, provided it is anti-Democrat, and calling it a policy. The fact that these policies are impractical (like building a wall and deporting millions) or unconstitutional (like banning a religious group) or just plain crazy (like “bomb the hell out of them”) doesn’t seem to matter as much as whether  a policy can be used to beat Democrats over the head. The blind partisanship, and nearly overt bigotry and sexism that lies at the heart of conservatism, have shed the restrictions of logic, science, and sense.

The influence of money hangs over both parties, but the Republicans seem to favor the plutocrats philosophically, as well—as if they approve of a classist view of the citizenry. This hit-or-miss business of the American Dream was like winning the lottery, even back when it had more frequent examples. To think that we can go along as we have been, with people being helpless in the face of big businesses, just so we retain the illusion of economic mobility—is to ignore the oncoming waves of change that will make employment a very different, and much less common thing than we are used to.

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Republicans and Capitalists see the system as set in stone. Their focus is entirely on the status quo and the quarterly forecasts. They fear the true future—the reality behind their pushy forecasts—because time is no respecter of wealth or property or law. The Democrats (the good ones, at least) are more willing to face the future, and to say that people have rights that transcend profit.

When Democrats attempt to enact social safety nets, business regulation, or consumer protection, the Republicans always claim that the government does these things badly—and that the free market would do all this naturally, given free rein. This is false. It reminds me of a time when I was a young man working for my father’s company. I went to him and asked for a raise—I told him I couldn’t afford to live on my current salary. He replied that the company doesn’t pay people what they need—it pays people what they’re worth. (He could be a real hard-ass sometimes.)

Now, in a business paradigm, that makes perfect sense. But as a person on disability now—a person, in other words, who is worth nothing to a company—I can tell you that the free market doesn’t care if you are happy or sad, alive or dead—all it knows is mathematics. The Republicans get partial credit for their claim, however, because it is indeed rare that a government program runs any better than a square-wheeled bicycle.

Still, politics makes everything into a win/lose proposition. If a program isn’t perfect, it’s worthless. If a program is working, you shouldn’t criticize it. This is all very ineffectual and immature nonsense. Outside of political speeches, it is obvious to all of us that if something important doesn’t work, you don’t throw it out—you fix it. And one thing the Republicans don’t make a lot of noise about is this: government programs are complicated as much by wealthy influences and corporate lobbyists as they are by their inherent complexities.

And the whole ‘small government’ argument—please. You don’t hear Russia or China talking about ‘small government’. Our beloved Constitution is the rule-book for our government, such as it is, so we have to have government. And if we have a government, shouldn’t we have a good one, rather than a small one? What is the virtue of small, in the context of the 21st century? It would be nice to pretend we all live on our own farms, and don’t need no G-men snooping around—but that was two centuries ago. These fifty modern states, plus assorted territories, need an up-to-date, fully-functioning government—and anyone who wants it otherwise is a fool or a traitor.

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When you don’t know if you’re being hacked by the Chinese, the Russians, or the North Koreans—do you want small government? When hurricane surges flood New York City—do you want small government? When the Republicans extol the virtues of small government, they are cheering for the idea that businesses can make a profit from abusing people’s trust—but only if the government turns a blind eye. That’s what ‘small government’ means to big business—and that’s why Republicans campaign on it. I’ll believe them when they start to advocate for ‘small military’. You don’t hear that one much, do you? ‘Small government’, my ass—the freedom to rip us off, more like.

What I really can’t understand is why people are so willing to believe the worst of Hillary Clinton. Have you seen The West Wing, or Madame Secretary, or Scandal? To be a politician, even a well-meaning one, you have to play the game—and it’s a rough game. When the Alt-Righters try to blow up her every machination into a demonic conspiracy, it works much better on Hillary than it ever did on anyone else. Why is that? I can never see the point.

Is it the old female catch-22—that if they’re tough, they’re crazy bitches, and if they’re not tough, they can’t handle a man’s world—is it that bullshit? Maybe partly—but I’ll tell you my theory: you remember how we went for good ol’ boys for our last four presidents? Bush Sr., Bill, and Bush, Jr. were none of’em geniuses—and Obama got away with being smart by being so darned charismatic no one noticed. But in all those elections, there were smart, capable, but non-charismatic eggheads that would have made decent presidents—and we practically thumped our chests in defiance, as if to say, “We don’t need any pencil-necked geeks running this place.”

And now we are stuck with Hillary—smarter than us, more reliable than us, harder-working than us—of course everyone hates Hillary. We’re all looking around for a president we can ‘have a beer with’—the most important credential America knows of, in a president. The candidate we want is missing—and boy are we ticked off that we have to vote for the candidate we need. We’ve never made a practical choice for president before—and wouldn’t you know it—it’s a woman this time. Ooh, my aching back.

That’s my theory. The presidency gives one person too much power—we can live with that, but we’re sure not going to vote for someone who’s smarter than us—that’s a step too far. Fortunately, most voters will (as they say on the news constantly) ‘hold their noses’ and vote for her. As if…—Hey, we’re lucky to have Hillary—take a look at the guts of your I-phone and tell me it’s okay for America to have a moron for president.

I have to laugh when the Republicans bow to the inevitable, and tell people to vote for Hillary for president, but to make sure they vote Republican on the down-ballots—to keep a ‘check’ on her power. Yes, sure—the woman whose life has been all about helping children and families—be afraid of what she might do—be very afraid. Meanwhile, we’re supposed to re-elect the bunch that thought stymying every initiative of President Obama’s, just because he’s black, was a great idea—oh, yes—let’s put them back in Congress, by all means. Although, personally, I think they should all be lined up and shot. Effing traitors.

The Republicans are just Trump-Lite—they both advocate the same things—testing us to see how self-destructively stupid a lie can be, and still work on the electorate. The Republicans never win an election because they are right, they win because we are stupid enough to believe their lies.

What no one talks about is the Russian interference in our election. Why are they doing this? Well, let’s see—they’re only attacking Clinton—not one email from the Trump camp. Can we deduce anything from this? It seems to me that they want Hillary to lose. Why would the Russians want Hillary to lose? Maybe they’re afraid of her. If they were afraid of Trump, they’d be trying to sabotage Trump’s campaign. But they don’t care about any other candidate—just Hillary. Am I the only one who sees some significance in that?

I think they’re afraid of her. If I were Russia, I would be afraid of Hillary. She’s gonna shut down their little expansion party—she’s gonna stare them down and, if need be, shove a cruise missile up their asses. You don’t mess with Hillary. Trump hasn’t gotten any endorsements to speak of in this campaign—it’s a shame that Putin is the only one who wants him to win. Thus, the Wikileaks are something of an endorsement for Hillary, if you think about it. The enemy of my enemy is my friend.

Music Monday (2016Apr25)

Monday, April 25, 2016                                          12:34 PM

Earlier in Western history, composers did not become famous as pop stars do today. Music in general did not get broadcast by any media. You knew the nursery rhymes of your neighborhood, the work songs, the dances, lullabies, love songs—folk music—but it wasn’t ‘folk’ to you, it was all of music, as far as you knew. Musicians had to spread their works on foot, like Johnny Appleseed, and many of them were popularizers of music, as much for their careers as for their love of music.

That is why there is a national flavor to each Old World country’s music—there really wasn’t a great deal of interaction between musicians who lived hundreds of miles away. We see composers, and later on, virtuoso performers, travel farther and reach more people, causing more concert halls and opera houses to be built, as transportation improves—until the invention of the phonograph and the radio begin to act as distributors of music, separate from the musicians themselves.

 

We think of classical music striving towards a greater freedom of expression, from the confining rigors of Gregorian chant to the wild liberty of the expressionists and the modernists—but that freedom was as much forced on them as fought for. Religious, political, and technological revolutions all caused upheavals in the norm, creating spaces where composers worked without the confinements of a generation earlier. That’s why we call the great composers geniuses instead of revolutionaries—they didn’t battle their way into new music, they discovered it within their imaginations. The tawdry battle between conservative and progressive music critics always lagged behind, creating a sense of resistance to change—but the musicians always simply filled a vacuum and left it to others to sort it out.

 

I’m always aghast at the contrast between old and current music—all those centuries of seeking the magic formula, the series of sounds that would thrill the audience—finally adding syncopation, blues notes, and latin rhythms to drive the excitement-level ever upwards—until the electric guitar came along, with that electronic buzz that satisfies people in a way that an entire symphony orchestra or big band never could, regardless of the composition of notes. Amplification added something unnatural as well—and suddenly four boys from Liverpool could fill Shea Stadium with adoring listeners.

It’s not that I hold it against rock and roll—I love the Beatles as much as the next member of my generation—it’s just so easy, it seems like cheating. The greenest beginner on an electric guitar can enthrall a roomful of music lovers—meanwhile a hundred musicians have to study for a lifetime to play a Stravinsky ballet suite—and it doesn’t have the drawing power of a Jimi Hendrix solo. People just love the alien sound of electronics—they can’t get enough of it. I think the “Switched-On Bach” album is probably Bach’s biggest sales hit of all time—and it’s because it was all performed on a Moog synthesizer.

 

It’s not as if electrification was the first music tech—keyboards were invented—bellows-driven organs, steam-driven calliopes, cranked hurdy-gurdies, paper-roll pianos, and spring-driven music boxes. And there’s the subtle plumbing that turned a pan pipe into a modern flute, a bugle into a trumpet—and all the mysterious varnishes and the carpentry of resonance that goes into making a fine string instrument—those Stradivariuses aren’t worth a king’s ransom for nothing. The modern piano-forte—what we call a concert Steinway these days—was such a masterwork of technology that many people link its emergence with the greatness of Beethoven’s piano sonatas—he was the first composer to have access to the modern version of a keyboard. He certainly makes use of its dynamic possibilities—no one could’ve written all those triple fortes and triple pianos for a harpsichord—or, at least, no one could play any dynamics without a hammer-action to control the volume.

Even today, music drives tech innovation—no musician is satisfied with what has come before—they’re always searching for something new—both in the music and in how it is played.

 

Have a good week.

Piano   (2016Apr06)

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Wednesday, April 06, 2016                                              12:14 PM

I feel better about my piano-playing when I listen to some Erik Satie—but that’s a false equivalence—since his rebellious ‘ditties’ flew in the face of more than a century of standards and practices in Western music, whereas my plonking about comes long after Stravinsky, Schoenberg, Cage—not to mention Zappa. Still, there’s something similar there and it makes me feel better about myself and my playing. I’ve been practicing a lot of Chopin and Tchaikovsky lately—and those two are definitely not reassuring to later musicians but, rather, make one feel that music in general is far beyond mere mortals.

MORNING AND NIGHT

 

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Mendelssohn, Chopin, and Tchaikovsky—it’s weird how most of my practicing boils down to these three nowadays—I used to be all about the Baroque—especially Bach, Handel, and Telemann. I still play them on occasion but in recent years I’ve developed a fondness for that intimate personal touch so prevalent in the Romantics. I’ve also progressed to where they have become more accessible—the Romantics can be more demanding of technique.

TELEMANN

 

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I’ve been doing a lot of writing and a lot of piano-playing lately—but I haven’t had the presence of mind to include the piano recordings into the blog-posts, so this post will include several YouTube recordings I’ve neglected to share recently. Beyond that, there’s a great deal of piano-playing I won’t be sharing at all—sometimes I take a break from recording and just play—it gives me some elbow-room to take a break from being recorded. I’ve tried to learn to ignore the camera, but nothing I do seems to make me unaware of being observed—and that tightens up my playing in a way that makes playing without the camera a tremendous relief.

KLAVIERWERKE

 

I wrote a poem yesterday about Tchaikovsky—not a very good poem, but I can’t help that. Much has been made of Tchaikovsky being gay (true) and of his being pressured into committing suicide (false) so it’s difficult for me to imagine his life and times—however, it is true that in spite of his innovative compositions, his contemporaries sometimes criticized him for being too European and not Russian enough—kinda strange for the guy who wrote March Slav, huh?

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Tuesday, April 05, 2016                                          3:16 PM

 

Pyotr Ilyich

My fingers plonk the keys—some Tchaikovsky

For beginners—full of Russian folk themes—

And the poor man’s life—under the thumb of

Entitled bullies and spoiled aristos.

Tchaikovsky is so delicate—so effeminate in some phrases,

Such fairy-like, walking-on-air-ish-ness—

His music is beloved—but for such a man

To live in the cold world—the horror.

 

I love Tchaikovsky—anyone, really, destroyed

By their own delicacy—to live is to die, and no matter

How long the course, among the many ways to die

What more glorious fate?

So many of us rail against the challenges of life.

We neglect to feel life—and our accomplishments,

Even those of grandeur, are as nothing if we fail

To build something inside us.

Pyotr Ilyich will live forever.

 

-© April 5th, MMXVI  by Xper Dunn

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But evolving acceptance of gays has rendered the isolation and frustration of millions of gay people through the centuries a uselessly cruel tragedy—in a way, by channeling his struggles into his wonderful music, Tchaikovsky got more out of his social taboo than most gays of the past. That doesn’t lessen his suffering—but his legacy is a lot more than most gay people in his era were granted. I sometimes ponder the possibility that most of the fine arts were practiced by a predominance of gays—it being the only place where they could express themselves without being thrown in jail or burned at the stake. Then I remind myself that there’s plenty of misery available to the straight life, too—enough to evoke creative expression to equal the biblically damned.

TCHAIKOVSKY

 

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I also played an improv to go along with my previous post about Grandma/First Lady/Senator/Secretary/Candidate Clinton—which I belatedly include herein:

GRANDMA CLINTON

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Then there’s this business, which I couldn’t think up a title for, so I used a misspelled version of a current movie title:

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And that brings me up to date with my YouTube postings. I hope you enjoy some or all of them….

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Four for Sunday (2015Apr26)

 

 

 

 

Oh, and here’s one from yesterday…

A Beautiful Melody (2015Mar19)

In the first recording, I do my best with ‘Melody in F’ arranged for piano, [from “Souvenir d’un lieu cher” (Memory of a Cherished Place) for violin and piano, Op. 42 (Meditation, Scherzo and Melody) (1878)] by Pyotr Ilyich Tchaikovsky (1840–1893). The original piece is just beautiful. I’ll provide the YouTube link here, if you’d like to hear Janine Jansen perform an Encore broadcast on April 19th, 2013, with Paavo Järvi conducting the Frankfurt Radio Symphony Orchestra in the Alte Oper Frankfurt. (You’d better listen to mine first–I can’t follow a real virtuoso, no matter what instrument they play!)
The second recording, the improvisation, is one where I think it’s pretty obvious that I’ve just played the Tchaikovsky piece, but maybe that’s just in my head. It’s hard to tell–you can steal a lot from another composer without it showing, unless you’re taking the actual melody….

 

 

Home-Style Music   (2015Feb24)

Tuesday, February 24, 2015                                      10:24 PM

These are two familiar pieces of Tchaikovsky for those who listen to my videos, but here is today’s run at them, for your listening pleasure. I’ve just finished watching “Whiplash”, a wonderful film about a horrible music teacher and the demands placed on exceptional musicians, and while the film gave me a great deal of food for thought it certainly left me in no doubt as to my unfitness to join the ranks of professional musicians—I just love Tchaikovsky, that’s all.

Today’s improv came in three separate themes, so I have marked them in the video—just trying to add flavor. I’m looking forward to listening to them—I hope they came out good…

O, and there’s one from yesterday that’s kinda lively:

 

 

 

Transports Of Joy   (2015Feb18)

Wednesday, February 18, 2015                                11:56 PM

Yes, that’s what I’m promising for your Lunar New Year with this collection of music—transports of joy. Either that, or something slightly less felicitous. You decide. The Tchaikovsky is choppy—the old sight-reading problem—and of the two improvs, I’d say ‘Whooping and Hollering’ is the inferior effort but ‘Carrying On’ is pretty darn good, if I do say so myself. There are also two more-pastoral-type improvs from the sixteenth—they’re pretty standard ‘me’ stuff.

 

 

 

 

 

Half of the ‘Seasons’ (2014Oct14)

Tuesday, October 14, 2014                  9:39 PM

XperDunn plays Piano on October 14th, 2014

Excerpt – six (6) ‘months’ from “The Seasons” (Op. 37bis)

by Pyotr Ilyich Tchaikovsky  (1840–1893)

 

  1. March: “Song of the Lark”
  2. April: “Snowdrop”
  3. May: “May Nights” [“White Nights”]
  4. June: “Bacarolle”
  5. July: “Song of the Reaper”
  6. August: “The Harvest”

 

–Tchaikovsky is among my favorite composers to play—many of his piano pieces are intended for beginner and intermediate level pianists, which put them within my grasp. When playing, for instance, Beethoven or Chopin, I have to select pieces that do not assume a virtuoso technique—leaving the majority of their works outside the realm of my possibility.

The twelve pieces known as “The Seasons” were commissioned by the publisher of a St. Petersburg monthly music magazine—Tchaikovsky contributed one piece per issue for the year 1886 (They were all written the year previous). Subscribers had the pleasure of learning a new piano piece to complement each month of the year—imagine a whole year in which Tchaikovsky sent you a monthly soundtrack to play in your family room or music room! The charm of their origin is one of the things that endear these works to me.

There are bits of poetry attached to each title ‘month’, but these were determined by the Publisher, not the Composer. They can be seen on Wiki—which, by the way, points out that Tchaikovsky didn’t exactly bare his soul to write these pieces—they were more by way of earning some extra dough.

Nevertheless, I ever return to this manuscript to play a piece or three—someday I aspire to play the whole thing, January straight through to December—but it’s no small effort and I remain challenged by a few, more demanding months (like “February”). In fact, I consider today’s video of merely half of the twelve something of a high point in my video recital career—it won’t win a Grammy, but it’s surely a personal best of sorts. I hope you enjoy it.

And my posts aren’t complete without at least one improv, and today’s no exception—“Maple Trees” also includes a clip of the wind in the trees in our yard today….