jeremydenk.net


Archive for February, 2008

My Umbrella

My umbrella needs no Viagra. It jumps at every chance. It attempts to come open under tables, in drawers, as I am passing through doors; it is coiled kinetic energy; it is a teenage umbrella in heat and I have considered buying it Judy Blume books just to calm it down. I am nervous it will embarrass me at any moment. If it is possible to screw up the purchase of an umbrella, in every imaginable way, I have done so. Attention to detail, even in failure, is my strong point. Fed up with the evil person who stole my last magnificent green domed colossus from the locker room at New York Sports Club in the middle of a tremendous downpour (bad, bad karma, whoever you are!), and no longer willing to humor its substitute, a tattered, paisley, hopeful but pathetic remnant of cloth, its frame poking crazily askew like a squashed metal spider, I finally strutted into Duane Reade on a rainy morning with a mad, to-do-list-checking, umbrella acquisition urge. But every New Yorker knows, you should NEVER buy an umbrella in a store: you should only buy them on the street, from suspicious vendors, in the middle of a precipitation event. Only then do urgency, need, opportunity, and economy-of-scale meet in a flash of cash-only swiftness which makes one glad to be alive. Haste makes waste, and bad taste; my foolish desire and unusual simplicity-of-action bade me ignore the sign reading “The I Love New York Umbrella,” with its typical, disgusting, rebus-substitution, and I bought what appeared to be a black normal umbrella (is that so much to ask?), but which turned out horribly to be a TOURIST umbrella, broadcasting on two of its panes “I [heart] New York,” a sentiment which this magnificent city, in all its industrial bespattered grimy cynical splendor, can only regard with utter distaste. Yes, we [heart] you too, all you people from Iowa, or Minnesota, and let us express our love with refrigerator magnets.

Wow. Kinda lost it there. Apologies to all from Iowa/Minnesota. That burst of Manhattanism was really just an emotional reaction to the stress of walking down Broadway in the rain, suffering all the trials of a New York resident, living in what other people would consider a cupboard, but still having to appear to all the world like a tourist. And moreover that Duane Reade, the ultimate depressing New York City drugstore, would betray me thus! Et tu, Duane?

Speaking of losing it, and Minnesota. A week ago, I was slated to do a rather ridiculous thing, i.e. fly altogether too late to a concert, fly the morning of a concert out to Bemidji, MN.

Now, it is a journey out to Bemidji, and I had played it semi-safe by booking, through my manager, the earliest possible flight. My schmancy alarm clock thus buzzed most unwelcomely at 5:30 AM, in the palatial West Wing of my apartment, and there ensued that daze and misery of the sudden urgency and the socks that won’t go on properly and the assembly of clothes and the impatient phone call of the waiting limo driver and the scurrying of my various butlers, all of which I survived to find myself at JFK’s Terminal 4, at a respectable 6:35.

But my hubris of timeliness was ill-rewarded. There was no reservation under my name, or under any of my many aliases (all very sexy and mysterious), and I ended up with a quivering cell phone under my ear, learning from a very sweet lady that I would have to buy a fantastically expensive ticket then and there to get to my destination, and, there was nothing available on the 8 o-clock flight, and, so I’d have to leave at 11:30, and pretty much barely make it.

Please understand! I am already in a very vulnerable emotional state in those early-airport moments, something like a baby that emerges from the womb only to face a firing squad.

Nonetheless I am a proud frequent traveler, averse to exhibit the base emotionalism of all the “amateur travelers” who get all cranky when their rental car is not the color they requested. I was the soul of politeness to the Northwest Airlines staff, whose fault this situation was not, and did not let the depth of my distress leak to them … except for occasional aphorisms such as “life is a vale of tears.” But once I had my ticket, and I found myself adrift in the food court for several hours, with just not quite enough time to get home and back again, a whole new existential situation began to present itself. I began to think the saddest thought I have ever had: my bed, lying empty, without me in it.

Bed. And again bed. Rustle of sheets; sensual whisper of pillow. The glow of the pre-sleep moments, the soft sinking of consciousness, the surrender to rest and relief. I imagined myself in a fetal position, clutching Marcella Cucina, my favorite cookbook, as I sank into dreams of Risotto. Meanwhile, the fluorescent light of the food court bounced horrendously off the yellow formica of my table, and I squirmed painfully on my concrete bench, and sipped another in a series of recurring coffees which did not wake or calm me, but exacerbated my neither/nor-ness (not a word). Ranting cell phone calls were placed, and many weekend minutes were tossed casually into the vault of wasted time. My rage spun slowly around its object: whatever had happened to my reservation. And then I paced, Rilke’s panther in the cage, paced again and again past Sbarro and McDonalds and Sharper Image, the bars behind which no world appeared, and when I unwrapped my Egg McMuffin I dropped the egg upon the floor (indignity of the imprisoned man!). I sought relief in the world of ideas, i.e. the bookstore, and unbelievably! the first book that presented itself on the first shelf I came to was William Hazlitt’s On the Pleasure of Hating:

In private life do we not see hypocrisy, servility, selfishness, folly, and impudence succeed, while modesty shrinks from the encounter, and merit is trodden under foot? How often is “the rose plucked from the forehead of a virtuous love to plant a blister there!” What chance is there of the success of real passion? What certainty of its continuance? Seeing all this as I do, and unravelling the web of human life into its various threads of meanness, spite, cowardice, want of feeling, and want of understanding, of indifference towards others, and ignorance of ourselves, - seeing custom prevail over all excellence, itself giving way to infamy - mistaken as I have been in my public and private hopes, calculating others from myself, and calculating wrong; always disappointed where I placed most reliance; the dupe of friendship, and the fool of love; - have I not reason to hate and to despise myself? Indeed I do; and chiefly for not having hated and despised the world enough.

How comforting.

That evening, exhausted, I played two Bach Partitas and the Liszt Sonata. Moments after I finished, a woman about 50 years of age came by my dressing room and told me in a Midwestern rhythm that she felt it was a once in a lifetime experience and that many of her friends felt the same way and she thanked me for coming and making the long journey and her face was as plain as a blue sky. She let her eyes sit with me for a while and I could see that while many New Yorkers’ faces seem to be a miracle of added-on layers, of wrinkles of experience and cultural accretions, her face over the many harsh winters seemed instead to have been whittled down; things had been removed with time and what was left seemed very honest. She politely excused herself and, as I heard her steps going down the corridor, something snapped and finally I felt myself let go of the held breath of the morning’s frustration. I was still exhausted but now in a good way, in a real way which could be solved with sleep. I sat in front of the dressing room mirror and recognized myself. I was happy. I remembered a few phrases I liked in the concert and knew why I was doing what I was doing. And just then the Spirit of New York City came into the dressing room; it was pretty pissed off, yelling at me for getting “all CBS After-School-Special,” and threatened to beat me senseless with my [expletive] tourist umbrella if I didn’t pull myself together and get good and miserable for the long return flight home.

Favorites

Favorite Quote of the Week

“We’ve done Peter and the Wolf so many times, we’re starting to root for the wolf.”

–unnamed person affiliated with the St. Louis Symphony

Most Ridiculous Quote of the Week

“There is absolutely nothing artificial about Glenn Gould’s playing.”

–Bruno Monsaingeon

Polite response: a certain stylization is actually somewhat characteristic of his work. Less polite response: I mean come on, what kind of Kool Aid are you drinking? Is there anything NOT artificial about his playing?

Favorite Meal of the Week

An egg-salad sandwich on toasted white bread with iceberg lettuce, a pickle, a glass of ice water, and a Wild Turkey on the rocks.

and finally,

Runner-Up Favorite Quote of the Week

A photographer friend is looking desperately for an apartment, and has been in email contact with all sorts of persons to that end. He received the following philosophical missive which seems to stray off the subject of subletting considerably:

“Thanks for giving the world nice photos and for being Gay. I’m not Gay, but I support full Gays rights, and I wish that I would wake up in the morning and find the 95 percent of the world population has turned Gay. The world would for sure be a better place. This might save the world because it’s too over populated and mother nature doesn’t have a chance.”

In Which All Is Explained

Dissonance is cool. Its cool-factor and yuck-factor are often, however, at war.

For every elderly concertgoer who wrinkles his face and complains “it’s so dissonant!” there’s a conservatory student in his late teens at a carrel in a listening library hearing Gesualdo or Kreuzspiel for the first time, beaming, eyes wild, thinking “dude, that’s f*&*()#$ awesome!” You know I’m right about this. So am I suggesting youth cherishes dissonance and age consonance? Or just bandying stereotypes? I know, for example, my parents are in their 70s (I don’t know if that’s considered young or old anymore) but they can be quite dissonant in the mornings, especially when my dad’s making green chile and eggs and mom gets in the way of his frenetic journeys to and from stove and sink. Anyway.

Syllogism: Dissonance is cool. The Fonz is cool. Ergo: dissonance is the Fonz. He (or you can imagine a female Fonz if you like) strides in in a leather jacket; he does what he wishes; he cares not for convention; he is not fazed by conflict; he makes waves, stands out, attracts attention; he is seductive; he attracts and exists in clusters; he resists resolution, i.e. conformity, but he values his relationships; he knows where he is going, but is in no hurry; he loves to be prolonged (aeyyyyy!); he has a distinctive identity; he lives over the garage… Imagine if you must all the dissonances living in a little apartment over a garage, partying harder and harder through the 19th-century, testing their limits, until finally Schoenberg comes along and emancipates them all (the Abraham Lincoln of dissonance); suddenly with a shudder and one last mournful Tristan chord they come to realize all the fun’s gone and that without limits the party’s just a lame bunch of drunken dissonances above a garage, getting old and with nothing to do.

The cool “Fonzian” dissonance of the day (should this be a regular feature of Think Denk?), which prompted these “profound” reflections, comes from good old J.S. Bach BWV 1052:

Just look at that puppy! Madrigalian, searing dissonance. The F-sharp there in the bottom of the cembalo, travels down to F-natural, on its way to E-natural, just slidin’ on down “innocently” (nobody here but us chickens!); meanwhile the A in one treble voice is heading up to C# and has to pass through B-natural, and there it is, the “Fonzian tritone” (I so TOTALLY invented that term, dude) that results, F-B, the ultra-hip diabolus in musica, a viscerally satisfying traffic accident of passing, colliding lines in which no one needs to get hurt but there is all the thrill of conflict and the onward rush of the incompatible. The B-natural is also wonderfully dissonant against the A pedal (the dominant pedal, that is) and the general D minor-ness of everything (music theorists, moan if you must, at this imprecise labeling, moan on and on, I’m not listening lalalala), and its searing ascent reverses a large extraordinary pattern of preceding descent, so it’s also semantically dissonant, so there! These dissonances are linked, spiritually connected, to the ongoing tension of the dominant; they symbolize and represent the music’s captured, caged, not-yet-allowed-to-hit-the-tonic fury. If you are at the Carnegie concert on Dec. 2, or at the other Orpheus appearances, and you recognize this moment, and you remember to think of the Fonz, please say “Aeyyy!” to yourself, quietly, in your mind. If you say it out loud, it might be distracting. Or say it to me backstage, I’ll be delighted.

In a mostly unrelated note, one of my exes delightful, dear old friends studied my concert schedule and casually invited herself to stay in my apartment while I was away playing. During her tenure, my dish soap apparently gave out (certainly not due to overusage on my part!) and she replaced it not with Palmolive but with one of those so-called Natural Soaps from the Organic Aisle. For months I have been using this Natural Soap, as if under the evil, irresistible spell of Whole Foods, and I had apparently forgotten the real nature of suds; for today when the natural stuff ran out and I had to use some new Green Apple Palmolive, it was like being reborn in the Scrubbing Garden of Eden. The suds fairly overflowed the sink with joy at returning after long exile to my besoiled domicile, and I too couldn’t help smiling as the smell of a green apple jolly rancher filled the kitchen, and I meditated that dissonance is a lot like a green apple jolly rancher, sour but tasty and eventually melting, etc. etc.

P.S. I have never been and probably will never be a fan of the show Happy Days. I obtained the proper spelling of the Fonz’s catch phrase from this indispensable website, in which the cultural milieu of my pubescent years is enumerated.

Matters Major and Minor

Yours truly settled warmly into plush, red row W at Carnegie Hall, in a single seat at the end. I felt suspiciously glanced-at in my unaccompanied state (no, really, I have a life!) by my more elderly neighbors, and little suspected I had forgotten how K. 503 went. I thought I knew my Mozart (idiotic mistake), I smugly clutched my glossy program in preemptive assurance, and was later so abashedly, completely happy to have forgotten. Perhaps a professional classical pianist should not “be able” to forget 503, or should not admit it, but I really don’t care.

As all those “in the know” know, the piece begins with a rather grand gesture, taking its time through two 8-bar phrases to say “here I am.” (Benignly, nobly: not at all like, say, Jack Nicholson making his axed entrance near the end of The Shining). This Mozartean hello matched my memories; things were proceeding C-majorly, according to plan. There was even time to observe the similarity of these opening sixteen bars to the archetypal first four of the Well-Tempered Clavier:


But, as those “in the know” also know, the second 8-bar phrase is met at its conclusion by a little accident, a 2-bar extension. That’s the evil jargon we boring musicians use to express the idea of some “extra” measures at the end of a phrase, some kind of musical so-called superfluity. Extension, by the way, like so many music theory words, always seems like much too heartless a descriptor–it calls to mind a reprieve on a paper, or some add-on to a house, rather than some deliberate, beautiful volatility or asymmetry introduced into an evolving text. (Any readers who wish to propose a substitute name for “extension,” please do!) By the dastardly genius of Mozart these two bars are pretending to be no big deal, just a little echo, i.e. the same as the last two bars of the phrase, but in the minor key. They are, however, a big deal.

It was at this moment, just after the little echoing 2-bar minor key pivot, that my memory failed. Precisely at bar 19, I had no idea what was happening or was going to happen. And what seemed to be occurring onstage, in my ears, or brain, or near the ceiling, or wherever (no specific site for the happening) in this new unknown space seemed to be unbelievable, at least for a moment: a moment of creation and possibility. I say this without exaggeration. I felt: if that could happen–

why, anything could happen.

At intermission I ran into friends E and J and I tried to put my 503 excitement into words, but the words coming out of my mouth were flat and unsuccessful: something “wouldn’t take,” something elusive, crucial, misplaced.

The basis of my happy disquiet was the feeling that there were two worlds, or two spaces. Mozart first poses the obvious, the overt and harmonically noble, the world of grand operatic entrances and declared high purpose (musically speaking, a world of slow unfolding I-II-V-I, circular perfect tonic-establishing entities). But then he immediately poses an undermining counter-text: a chromatic, agitated sequence in the minor key … Later on, in rampant caffeinated pursuit of the something that wouldn’t take, I indulged myself and tried to make a little table contrasting the two materials, grouping simple musical contrasts with associated metaphors:

I realized: this contrast, this shift to minor, would not nearly be so riveting if it did not seem to immediately and fundamentally strike at the very meaning of the opening material. (Bar 19 is not different in kind, but different in essence.) The first sixteen bars are all about certainty; they define, they enumerate, dispose, declare, set forth. They confine themselves; there is nothing to call a melody; there is simply harmonic assertion; there is no fancy, no diversion; the phrases are rhythmically identical, martial, symmetrical; they flirt with the conventional, even: the stodgy. Having gone to such lengths to dispel doubt at the outset, to create such a capital-O Opening, why suddenly intervene so early on, so disturbingly? I think this (rhetorical) question is near the crux of what was hitting me so hard about the piece.

I love those moments in music (but perhaps not so much in life) where you feel the ground has been pulled out beneath you, and inexplicable profusion ensues. Here in bar 19, certainties vanish, the musical ground vanishes–easy to define and enumerate (rhythm, major-key, texture, style)–and so also disappears a whole set of associated metaphors and ideas, which are harder to define. There is a sudden vacuum created by dispersed certainties, by this vanishing of meaning, and the thing Mozart creates, places in this vacuum, poses as a new possibility, is compelling, suspenseful, with unprecedented rhythmic energy, as if we were suddenly inserted in medias res into the really interesting part of some high, tragic drama, perhaps some moment of wonder or enigma in which various characters are at odds or wondering what is going on, a point just before some sort of climax or revelation. But (!) we are not at the climax of anything yet; we are barely settling in.

To rephrase, this moment is essentially double-edged: with one turning act Mozart creates and destroys; he creates a void only in order to fill it; he erases certainties in order to inscribe a new world. This world does not naturally coexist with the first, but it is “in communication” with it. It is not enough to say the turn of events is a surprise; it is more fundamental than that, a more revolutionary change of perspective. For some reason a ridiculous analogy comes to mind: those moments so common in movies where a character is standing on what he/she thinks is solid ground which turns out to be the hand of a monster, or a giant living tree (when the camera pans out), or the mouth of a whale. The walls are alive, the moment seems to say (the harmonic walls of the piece). There is something quickening in the heart of the piece which is antithetical, perhaps threatening, to it.

The magic, oft-invoked word in The Classical Style is “synthesis,” which the great 3 composers are said to have achieved. Mozart is praised for balance, proportion, grace, naturalness, ease, among so many other things. But I’m not sure this moment feels “organic” or “natural.” It is, rather, perfect but unnatural; it feels like a rhetorical interjection, the insertion of an Idea, the intervention of Thought. Its genius is not an easy flowering and development, but a sudden dizzying epiphany, a slippage of the mind.

Though the minor literally comes after the major, I’m not at all sure succession is the primary communicated meaning. To me it has a much more interesting relationship to time, something like coexistence, not narrative: the side-by-side vision of opposites. In other words, its message is not “this happens, then that happens” but rather something more disturbing: “it could just as well be this, or that.” And then when the major returns after our “bubble” of minor, does it seem to other people that it’s just a little too eager to assert itself, that its rising scales and triumphant sequences almost ring a bit hollow, too much of a muchness? Come to think of it, perhaps the opening was a bit too certain of itself as well. Why does it feel to some extent that that grand façade of the opening is peeled away to reveal this inner minor-key angst (raising questions of opening as façade, as curtain, questions of musical “truth”)?

I wouldn’t obsess over this moment if Mozart didn’t set me up for it. This first minor key intervention is so striking, that it forces us to ask: if it happened once, why not again? It isn’t really possible, in the Classical cosmos, to have something so extraordinary happen and then not to follow up on it (events follow, in the Classical world); and yet, and yet, this minor-key shift isn’t really typical of the Classical cosmos either; how can a non-Classical event be understood or developed in a Classical way? The listener is on high alert, even in the gilded, privileged confines of Carnegie Hall. And Mozart treats this uncertainty as a Theme, in the literary sense. The minor key keeps poking its head in, at regular and yet unpredictable intervals, enough to maintain a perpetual doubt-of-meaning, a constant waver in the fabric of the piece; it shimmers to show the dark minor side and shimmers back into major so that gradually you begin to perceive the work not as a solid entity but as a window, always promising or threatening another side. One can no longer say, comfortably, “this is an antithesis,” or smugly: this is major and this is minor. You begin to see yourself, as perceiver, as narrator, stuck between.

I caught myself doing something, I think … When bar 19 started and my familiarity dropped away, I caught my brain just for a second, like a swimmer in trouble, thrashing, trying to “make sense,” to map the pattern of the present onto the past. But I was unable to match the events either to my memories or to the first 16 bars of the piece: to anything at all. There it was: my mind was searching for a pattern connection between the two parts, and Mozart’s music at that moment depended on that activity, depended on its attempt and failure (its failure was Mozart’s success). I realized, part of the work of the composer is to create roadblocks to pattern perception, beautiful areas where the brain gropes blindly. I realized, too, part of what makes some music sound “too easy” or vapid is the absence of that kind of challenge; allowing the brain to laze around like a couch potato processing patterns in a daze. Mozart, the easy listening, un-dissonant composer (so I read in an interview in the program, aghast, as if this music wasn’t living and breathing dissonance nonstop), this long-dead Mozart was the one poking my brain, saying: stay awake, stay awake, keep living, you never know what will happen!