Archive for the ‘Music’ Category

Second-Hand Music?

Here’s an interesting development: the ReDigi Used Digital Music Store. Application of copyright law’s “first sale doctrine” — which allows you to re-sell or give away copies that you have purchased of books, records, or other copyrighted works without the copyright holder’s permission (the doctrine that allows, for instance, used book stores or video rental stores to operate without payment of any additional royalties to the copyright holders) — to digital works has always been something of a puzzle. On the one hand, there’s a strong argument that the Copyright Act treats copies of works embodied in digital files the same way it treats copies of works embodied in print or on canvas; on the other hand, the fact that digital files are so preposterously easy to copy means that it’s awfully easy to circumvent the law by “re-selling” a digital file you’ve purchased while still retaining a copy for yourself – which is not within the protection of the first sale doctrine.

So along comes ReDigi. Their claim is that they’ll let you re-sell all that crappy music you downloaded during a drunken spree the other night — if you install their application on your computer, which will do a scan and certify that you haven’t kept any copies of the file around. [See the story in the NY Times here] Clever!! If you really have disposed of your copy of the file in question, it’s hard to see how the copyright holders can complain (though complain they will — book publishers still hate the 2d-hand bookstores . . .).

But there’s one thing I’m not clear about. Suppose I purchase a song at iTunes, stick a copy on my hard drive and a duplicate in my “locker” on the Apple iCloud server. Then, I resell the file at ReDigi — and once I delete it from my hard drive, the ReDigi application will never know that I’ve put a copy in the cloud, right? And if that’s the case, it’s really not a first-sale-doctrine-applicable transaction at all …

The Top Ten:

So over at the New York Times, music critic Anthony Tomassini has completed his excursion through Western “classical” music to come up with his Top Ten composers all time. It’s as silly, and as interesting, as these sorts of exercises usually are — maybe a bit less silly, and more interesting, given that Tomassini gives a good, spirited defense of his choices (while not over-stating the case or denigrating the views of those who disagree with him).

Here’s his final list:

JS Bach
Beethoven
Mozart
Schubert
Debussy

Stravinsky
Brahms
Verdi
Wagner
Bartok

It’s a defensible selection — but it’s not the top ten. No way. Bach, Beethoven, and Mozart in the top three are probably inevitable — a world without any one of them is simply inconceivably dull and lifeless. Filling the next two slots with Schubert and Debussy, though, is mystifying and misguided, to my ears. Schubert probably deserves a place on the list — but not there at the top. Sure, as Tommasini writes, “You have to love the guy, who died at 31, ill, impoverished and neglected except by a circle of friends who were in awe of his genius. For his hundreds of songs alone — including the haunting cycle “Winterreise,” which will never release its tenacious hold on singers and audiences — Schubert is central to our concert life.” Hey, I’m as sorry as the next guy that Schubert died at 31 — as with Mozart, had Schubert lived out his full biblical fourscore and ten we would undoubtedly have been treated to one masterpiece after another, as his later works (the last two symphonies, the late piano sonatas) prefigure breakthroughs to come (that of course never actually came). But it seems wrong to me to give composers credit for the works they didn’t write. Schubert’s songs are surely among the great works in the canon – but the larger works, while wonderful, are not in, say, Brahms’ league — too repetitive, too lacking in texture and color.

And the inclusion of Debussy (at number 5, no less) is indefensible; the more Debussy I hear the less interesting his music sounds. I have never understood the fascination his music seems to have for some people; outside a few masterpieces (the String Quartet foremost among them, some of his piano pieces) I find it repetitive and rather boring. Pelleas and Melisande, his opera that Debussy-philes pant over, is, to my ears, well-nigh unlistenable.

Finally, Tomassini leaves off three composers whom I think deserve inclusion: Shostakovich, Haydn, and Chopin. There is no music that better captures the agonies of the twentieth century than Shostakovich’s (in particular, the magnificent string quartets and (many of) the symphonies) – by turns painful, ironic, angry, and sarcastic. And Chopin – well, it’s a limited oeuvre, certainly, but unless you have some sort of prejudice against the solo piano repertory, the desert island would be unacceptably duller without the Ballades, the Scherzos, the Piano Sonatas, the Nocturnes, . . .

There are lots of other talking points here, of course – and I invite readers to provide their own lists. Here’s mine:

JS Bach
Beethoven
Brahms
Mozart
Wagner

Verdi
Shostakovich
Schubert
Haydn
Chopin

If I were headed to the desert island to finish out my days, these are the composers I’d need to take with me.

Categories: Music 213 Comments

Go Viral! Go!

Well, with all the nonsense and downright crap that somehow catches the wave and makes the 5 million hit mark, surely there’s room for something that’s actually quite magnificent and inspired, like the Bach Goldberg Variations. Go forth and multiply!

[And if you're interested, the entire performance is available for free download at http://www.cdbaby.com/cd/samuelpost ]

Categories: Music 13 Comments

In case any of you is looking for something interesting to do tomorrow (Saturday), my son Sam is giving his Master’s Recital up at Northwestern (Lutkin Hall, 330 PM) performing the complete Bach Goldberg Variations. It should be terrific — Sam’s really a wonderful pianist, he’s always had a tremendous affinity for the music of JS Bach, and the Goldberg . . . well, there’s certainly an argument to be made that it is the single greatest work of art in the entire Western canon. You won’t be sorry if you come, I think I can promise you that —

Categories: Music 11 Comments

So let me get this straight: according to the Las Vegas Sun, the Fab Four, a Beatles ‘tribute band’ [a lousy generic descriptor for bands like this, imho - how about 'murder band' instead], is suing the Fab 4, a different Beatles ‘tribute band,’ alleging that The Fab 4 is “essentially identical in sound and appearance” to The Fab Four. Imagine that — why, they’re trying to cash in on the popularity of another band!

[Actually, all jokes aside, the Fab Four might have a credible cause of action here -- but only for trademark infringement, I would guess. Insofar as the Fab Four sound just like the Beatles, they have no copyright claim against anyone copying their sound - both because they have no "original" work to protect via copyright, and also because copycats can plausibly argue that they're copying the Beatles, not the Fab Four. But the name "The Fab Four" might well be a protectable trademark, infringed by "the Fab 4."]

[Thanks to Mark McKenna for the pointer]

A Musical Interlude:

Loyal readers of the VC know that my son Sam is a very accomplished young pianist — “brilliant” and “magnificent,” I’d say, but then again I’m his dad and, though it’s true (!), you’d probably discount it pretty heavily. Sam’s studying with James Giles at the Bienen School of Music at Northwestern Univ., and last month he gave his master’s recital — Mozart, Chopin, and Bach. Check it out, to see if I’m exaggerating — I’ve posted videos over on Youtube (which I had to split up a bit, given Youtube’s 10 minute limit):

Mozart Sonata in C, Allegro Andante cantabilieAllegretto
Chopin Nocturnes (B, F-sharp, C minor)
Bach Preludes & Fugue (A, F-sharp, G-sharp minor, E-Flat)

My personal favorites: the C minor Nocturne, and the fabulous performance of the E-flat prelude and fugue, and the 3d movement of the Mozart. [Actually, my favorite of the whole concert was the last piece, the Chopin B major scherzo -- but my damned recorder ran out of memory 1/4 of the way through ... :( ] You can never have too much beautiful music around — Enjoy!!

The Star-Spangled Banner:

NOTE TO SELF: If you are ever asked to sing the Star-Spangled Banner at the Superbowl (unlikely, I realize,but you never know for certain), do not — REPEAT, DO NOT — attempt to sing it a cappella. Remember Carrie Underwood’s gruesome, off-key performance at the 2010 SuperBowl, and resist the temptation to show off your magnificent singing voice and get yourself a backup band.

[Update -- yeah, or a guitar . . .
But seriously, my son Sam, over at his blog, pointed me to a truly spectacular dixie Chicks version of the national anthem from the 2003 Superbowl. if you haven't heard it, check it out . .
.]

Early Music, Anyone?

Baroque cello

To quote Roger North from the time of the English Civil War, when musicians, facing Puritan disapproval of music in the church and theatre, “chose to fidle at home, than to goe out and be knockt on the head abroad” …

Follow-up to Orin’s post a few days ago asking about our readers’ music rotations …  like reader AT Gavin, I am also highly partial to early bowed music.  I listen to a lot of early viol music and music from the early Baroque.  As I’ve mentioned here, I’m a very bad amateur cellist with a particular love for Baroque.  Anyway, I wanted to thank reader AT Gavin for the recommendation of John Mark Rozendaal’s Breaking the Ground – division music for viol, and a very lovely album.  I myself have been listening intensively to the first couple of volumes of Sainte-Colombe, Concerts a deux violes esgales.   Continue reading ‘Early Music, Anyone?’ »

Categories: Music 29 Comments

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(Waiting for relatives to arrive on Christmas Day, I have decided to take up the deep theological questions raised by this … Claus, this Santa Claus.)

Last night at the children’s Mass at our Catholic parish in Washington DC, observe the arrival of the fellow up top in the photo, dressed in a red suit, who proceeded, at the end of the service, march down the aisle loudly saying, “Ho, Ho, Ho,” and “Merry Christmas,” and who delivered a special message to the children that he would be by later that night and they should all be Very, Very Good.  (Rumor has it that Tod Lindberg helped with matters, and a jolly good job too!)

But how should we understand this Santa Claus in church?  Here are two possible theological accounts.  I should note that I am not Catholic, and do not make any claims to deep understanding of Catholic doctrine.

The mythological, or the chief deity of sentimental capitalism.  In this version, the arrival of Santa Claus is extra-religious and extra-Christian.  This is the Santa Claus that got going with the ecumenical and eventually secular re-conception of Christmas.  It is not precisely pagan, but it is religion stripped down to a “love one another at least in this season” core that makes it unthreatening and in a sense available to any faith.  I am all for this.  The way in which the great American Jewish popularizers of Christmas – Irving Berlin above all – re-interpreted Christmas and made it accessible as a sentiment to everyone was a great contribution to peace on earth, good will toward men.

This is not inconsistent with a religious understanding of Christmas, or at least it need not be thought necessarily inconsistent. The best way to think of them is as layers of belief, with core doctrinal religious beliefs being the most deeply held but also the least likely to be shared – and a gradual set of more widely shared but less deeply doctrinally-insistent beliefs in the outer circle.  For many people, it is possible to hold both a deep, doctrinally driven set of theological beliefs, while simultaneously holding a set of shallower, more widely shared set of beliefs, without thinking that it is particularly inconsistent or hypocritical.  The older American understanding of what it means to wish someone a Merry Christmas – that it allows people to fit it into wherever they happen to fit within the layers of belief and sentiment, ranging from a literal “Jesus Christ is born today” to “Hey, it’s a good moment to think about goodness and charity and kindness,” is the best way to approach it, it seems to me.  It is an expeditious ambiguity that allows both understandings simultaneously – even by the same person – and it would be good if it took hold again, rather than the trend toward a more literal understanding, which leads to a greater religious piety, perhaps, but also to greater religious communalism.

Of course, there’s an easier way to understand Santa Claus, which is best put by that canonical work, A Christmas Story.  There are the minor mythological deities – the Easter Bunny or the Tooth Fairy – but Santa Claus is supremo among the pagan deities.

Or you might just say that Santa Claus is the apex deity of sentimental capitalism.

On any of these interpretations, however, his appearance at the children’s Mass is as religious outsider – part of the circle of sentimental, ecumenical, good fellowship of the season, yes, but not religious in a sense relevant to a Catholic Mass.  Although I assumed this was the interpretation of Santa Claus in church, the first time I saw him appear in a Mass was a couple of years ago, when he appeared on the altar and processed out with the priest and servers and others of the serving party.  This struck me as a more serious religious statement, and one that – in the Mormon church where I grew up, for example, it would have seemed quite out of place.  I imagine that would be true of many Protestant churches as well, including ones that “process.”

Saint Nicholas.  An alternative Catholic reading of Santa Claus might argue that Santa Claus should not only be welcome in church, but welcome on the altar, and indeed, I suppose, if enacted by a priest, able to do Mass.  After all, this is Saint Nicholas.  Why shouldn’t he serve in Mass?  One might see the incorporation of St. Nick into the service, and not just as an appearance at the end of Mass, as an attempt by the Church to draw Santa Claus back into a genuinely Christian, indeed Catholic, role.  Putting the Catholic Saint back into Santa.

I wonder if there was perhaps some discussion of the symbolism involved in actually having Santa Claus involved on the altar, in the service, and a conclusion that the nearly inevitable message conveyed is not the re-churching of Santa Claus, but instead the slightly-secularizing of the service itself.  That, of course, is a question of the interpretation of the message, and is a question of internal religious interpretation.  But there is a further aspect to it, viz., that we should not overlook the moral, and indeed religious, value of loose, theologically disconnected symbols that can be embraced or celebrated by those who are not just not Catholic, but not Christian, but for whom Santa Claus can provide a relaxed point of reference.  A deliberately ambiguous and “shallow” reference: sometimes superficiality is a point of virtue.

Update: Re Garrison Keillor … I decided to avoid attacking Keillor here, though of course I was tempted. But looking over his particularly nasty rant, I think that his real target is not the Jewish popular song re-cast of the American Christmas, but instead the PC rewrite of Christmas in the nominally Christian churches. He complains about the rewrite of the Lutheranism of his childhood, not by Berlin, but by the relentless – not secularizers but instead religious universalizers – de-traditionalizing of the PC Christian churches. But being a man of the left, he finds it hard to attack that alone, and so instead takes on a combined target. That is perhaps a charitable interpretation of Keillor, but hey, it’s Christmas.