The classical music world knows Alfred Brendel as one of the foremost pianists of his time. Far fewer people know him as a poet, with two books of poetry in German and one—One finger too many—in English translation (New York: Random House, 1999).
The collection’s title poem concerns a pianist who developed a third index finger “not to play the piano with/though it sometimes did intervene/discreetly/in tricky passages/but to point things out/when both hands were busy.”
While some of Brendel’s poems are serious, many are light-hearted. He explains, “At one stage in my life I didn’t laugh enough…some mechanism in my psyche may have come to my rescue.” The title of another poem, “Not Brahms again”, points to a humorous but therapeutic reflection that he describes as “a little revenge for the perversity of the B♭ concerto…the passages which, as they stand, are literally unplayable.”
This according to “The poet speaks” by Michael Church (BBC music magazine, VII/3 [November 1998], pp. 32–33; RILM 1998-4729).
Today is Maestro Brendel’s 90th birthday! Below, Brendel plays Schubert’s Four Impromptus, D. 899 (op. 90).
BONUS: Cover half of Brendel’s face in the above photograph, then the other half, to see two completely different expressions.
K’naan’s 2005 debut album, The dusty foot philosopher, can be viewed as a modern-day epic poem that draws on his experiences in Canada’s Somali refugee community.
The album employs many classic epic tropes—including the sea voyage, the exile, the battle with adversaries, the mystical qualities of the heroic figure—and adapts them to the conventions of hip hop culture. Just as the epic poem embodies the core values of the society from which it originates, so The dusty foot philosopher functions as a paradigm of the experiences and challenges of the refugee, one of globalization’s defining figures.
This according to “The survivor’s odyssey: K’naan’s The dusty foot philosopher as a modern epic” by Ana Sobral (African American review XLVI/1 [spring 2013] pp. 21–36).
Today is World Refugee Day! Above and below, the video for Strugglin’, a song from the album.
Mark Twain’s reactions to grand opera are epitomized by a passage from A tramp abroad in which he described a performance of Wagner’s Lohengrin.
“The banging and slamming and booming and crashing were something beyond belief. The racking and pitiless pain of it remains stored up in my memory alongside the memory of the time that I had my teeth fixed.”
“There was little of that sort of customary thing where the tenor and the soprano stand down by the footlights, warbling, with blended voices…no, it was every rioter for himself and no blending. Each sang his indictive narrative in turn, accompanied by the whole orchestra of sixty instruments, and when this had continued for some time, and one was hoping they might come to an understanding and modify the noise, a great chorus composed entirely of maniacs would suddenly break forth.”
“We only had one brief little season of heaven and heaven’s sweet ecstasy and peace during all this long and diligent and acrimonious reproduction of the other place. This was while a gorgeous procession of people marched around and around, in the third act, and sang the Wedding Chorus. To my untutored ear that was music—almost divine music. While my seared soul was steeped in the healing balm of those gracious sounds, it seemed to me that I could almost re-suffer the torments which had gone before, in order to be so healed again.”
“There is where the deep ingenuity of the operatic idea is betrayed. It deals so largely in pain that its scattered delights are prodigiously augmented by the contrasts. A pretty air in an opera is prettier there than it could be anywhere else, I suppose, just as an honest man in politics shines more than he would elsewhere.”
Excerpted from “Mark Twain on opera” (The NATS journal XLIII/3 [January–February 1987] pp. 19, 49).
Above, the author around 1880, the year A tramp abroad was published; below, the “little season of heaven” at Bayreuth in 2010.
Felice Romani revolutionized the Italian opera libretto, creating a clearly contoured melodramma romantico that was suitable for a through-composed setting.
Romani’s libretto for Donizetti’s Anna Bolena produced a virtually through-composed opera, making the meter conform to the dramatic situation and mood. In Act I, all the characters enter immediately after the prima donna, so that in place of the usual introductory aria there is now an ensemble. The entry of the seconda donna now leads as a rule to a concerted piece, the stretta of the pezzo concertato unleashing all the passions of the protagonists.
Act II proceeds similarly, except that its final scene is treated as a composition in its own right: Out of a stretta the concertato emerges, structured as a concert piece.
This according to Felice Romani–Gaetano Donizetti–Anna Bolena. Zur Asthetik politischer Oper in Italien zwischen 1826 und 1831 by Richard Hauser, a dissertation accepted by Albert-Ludwigs-Universität Freiburg in 1980.
Today is Romani’s 230th birthday! Below, Sondra Radvanovsky sings Anna Bolena’s finale.
Although the story of blues was never his direct subject, William Faulkner’s Yoknapatawpha chronicles obliquely address the processes through which mainstream America embraced, dismissed, romanticized, adapted, and came to respect blues and other forms of traditional and popular music.
From the scenes of white people dancing to an African American band in Soldiers’ pay through the country blues guitarist emerging out of the flood in Old man to the symbolic engagement with a broad multicultural tradition of popular song in The mansion, Faulkner’s writings reflect shifting social attitudes toward southern roots music.
This according to Yoknapatawpha blues: Faulkner’s fiction and southern roots music by Tim A. Ryan (Baton Rouge: Louisiana State University, 2015).
Today is Faulkner’s 120th birthday! Above, the author with Billie Holiday in 1956; below, Charley Patton’s High water everywhere, a recording linked to Old man.
Henry David Thoreau was the only nineteenth-century American writer of the very first rank who paid prolonged and intense attention to sound-worlds, particularly non-human ones. As a naturalist, his fieldwork involved not only botany but also sound-collecting.
Thoreau’s writings illuminate how he understood music as sound. He discussed ambient sound and animal sound communication in acoustic ecological niches; he understood that sound announces presence and enables co-presence; and he developed a relational epistemology and alternative economy based in sound. His responses to the vibrations of the environment through prolonged and deep listening make him valuable for sound studies today.
This according to “Thoreau’s ear” by Jeff Todd Titon (Sound studies I/1  pp. 144–54).
Today is Thoreau’s 200th birthday! Below, one of Charles Ives’s meditations on the man and his work.
From her time as a young performance poet in New York in the late 1960s to her current position as punk rock’s éminence grise, Patti Smith has foregrounded the image of the poet as privileged seer.
Smith’s romantic impulses can be viewed within the context of her activity in the Poetry Project at St Mark’s Church, the preeminent public face of the East Village poetry scene of the 1960s and 1970s. Her complex negotiations between her understanding of the poet as visionary and the adamantly playful, diffuse, and collaborative aesthetic characterizing downtown New York’s poetic community fed into the development of her performative stance as proto-punk rock icon.
This according to “‘Nor did I socialise with their people’: Patti Smith, rock heroics and the poetics of sociability” by Daniel Kane (Popular music XXXI/1 [January 2012] pp. 105–23).
Today is Smith’s 70th birthday! Below, her iconic 1974 recording of Hey Joe.
Virgil Thomson first met Gertrude Stein in the winter of 1925–26. Early in 1927 he asked her to write an opera libretto, and the plans for Four saints in three acts began to take shape; the text was completed in June of that year and the music was finished in July 1928.
The opera concerns two Spanish saints, Teresa of Ávila and Ignatius of Loyola, who are surrounded by groups of young religious figures. In fact the work has four acts and over 30 saints. A compère and commère introduce the characters and announce the progress of the action. The strangely haunting and at times repetitive poetry of Stein is declaimed by the singers in a musical language derived from many sources, including Gregorian and Anglican chant, children’s songs, and Sunday School hymn singing, with a harmonious accompaniment for small orchestra. Although the setting of the words is deceptively simple and direct, there are considerable subtleties in the music to parallel the implied imagery of the words.
Four saints in three acts was first heard in Hartford, Connecticut, in February 1934, produced by an organization called the Friends and Enemies of Modern Music. When the production moved to New York City it created theatrical history with its all-black cast. The opera received over 60 performances within a year, and Thomson’s reputation was made almost overnight.
This according to “Thomson, Virgil Garnett” by Neil Butterworth (Dictionary of American classical composers, 2nd ed. [Abington: Routledge, 2005] pp. 456–59); this resource is one of many included in RILM music encyclopedias, an ever-expanding full-text compilation of reference works.
Today is Thomson’s 120th birthday! Above, the 1934 New York production; below, the opening of Mark Morris Dance Group’s 2006 production.
BONUS: A brief documentary with archival footage from 1934, including the voice of Gertrude Stein.
In the “Sirens” episode of Ulysses James Joyce made words represent music by playing with or even overcoming certain conventional features of language. Particularly notable are Joyce’s representation of polyphony, melody, rhythm, and of music’s traditional absence of conventional meaning.
The essence of Joycean onomatopoeia in “Sirens” is not that it represents music iconically, but that it makes music linguistically. Joycean onomatopoeia is not the natural union of meaning and form, of signified and signifier—it is the signifier freeing itself from the link with the signified.
“Sirens” is a step toward absolute form and abstraction; it breaks with the representational conventions of naturalistic and realistic fiction and points the way toward modernism.
This according to “Strange words, strange music: The verbal music of ‘Sirens’” by Andreas Fischer, an essay included in Bronze by gold: The music of James Joyce (New York: General Music, 1999).
Today is Bloomsday! Below, Cathy Berberian reads an excerpt from the “Sirens” episode.