Another Blogpost for Burma

Top 300 Favorite Songs of All Time III
Gustav Mahler (1860-1911). Des Knaben Wunderhorn: Des Antonius von Padua Fischpredigt (Saint Anthony of Padua’s Sermon to the Fishes) (comp. 1893)

David Ocker, a college classmate and fellow ex-member of the Carleton Orchestra, wrote in his blog Mixed Meters a while ago that when someone asked him why he lost interest in Mahler, he said “instantly, without thinking and completely accurately, ‘I grew up.’” I’m not sure what he meant and I’m curious to find out, because I still find Mahler’s music, especially his songs, as enjoyable as when I first heard it more than 40 years ago.

One of my favorites among Mahler’s works is the song Saint Anthony of Padua’s Sermon to the Fishes. In his notes to the Virgin Classics recording of Songs from The Youth’s Magic Horn (Des Knaben Wunderhorn), Terry Barfoot quotes Mahler as saying, “Not one of the fish is the wiser for the sermon, even though the saint has performed for them! But only a few people will understand my satire on mankind.” I have to wonder if an urban audience, especially a Viennese audience which was likely as sophisticated as any in the world, would not have gotten the message of the song.

Still, though the message is obvious, it is no less true today. And it isn’t unique to the song. Think of “You can lead a horse to water, but you can’t make him drink.” A great variation on that is the saying collected by Ken Weaver, a member of New York proto-punk group The Fugs, in Texas Crude: “You can buy ’em books and buy ’em books, and they just chew on the covers.”

As I probably made clear in the first two installments of this series, the words are as important to me as the music, and Saint Anthony’s Sermon has a wonderful lyric. From the opening, where St. Anthony (1195–1231) finds his Paduan parishioners have all stayed away from the church and decides he will give his sermon to the fish in the river, on to the ending, where the fish swim away unchanged by what they’ve heard, it paints a great picture.

The text is full of exclamation points which give an elbow-in-the-ribs quality to the printed lyric but don’t carry over to the music. The first comes in the opening verse:

Antonius zur Predigt
die Kirche find’t ledig!
Er geht zu den Flüssen
und predigt den Fischen.
or
Anthony, at sermon time,
Finds the church empty!
He goes to the river and
Preaches to the fishes.

Can you imagine, the lyric says (probably heavily edited by Achim von Arnim and Clemens Brentano), that the people would have passed up the chance to hear St. Anthony preach? Unbelievable! Maybe it was a nice day or they were all out of town. The song may have been inspired by the story that St. Anthony was such an eloquent preacher that even the fish in Padua’s Brenta River enjoyed his sermons, and created a cynical elaboration on it. Another version of the story, cited by gonomad.com, sets the sermon in Rimini.

While in Rimini, on the Adriatic coast of Italy, he encountered some difficulty in getting the local population to listen to him. Somewhat dejected, he went down to the shore, where the river Ariminus runs into the sea, and began to speak to the fishes.
No sooner had he spoken a few words when suddenly so great a multitude of fishes, both small and great, approached the bank on which he stood. All the fishes kept their heads out of the water, and seemed to be looking attentively on St Anthony's face; all were ranged in perfect order and most peacefully, the smaller ones in front near the bank, after them came those a little bigger, and last of all, where the water was deeper, the largest.

As he continued speaking, the fish began to open their mouths and bow their heads, endeavoring as much as was in their power to express their reverence. The people of the city, hearing of the miracle, made haste to go and witness it.

Right from the beginning of the Lied, Mahler sets up a regularly accented three-quarter meter, possibly evoking the river and the movement of the schools of fish, before the singer sets the song up with the astonishing event of the empty church. With a repeated rising fourth in the lower timpani, a portentous sound that turns out to introduce a less-than-terrifying message, bassoons, clarinets, and string basses provide only about 10 seconds of vamping until the singer comes in and the rest of the orchestra joins (usually) her. Notice the triangle chiming along as the singer describes the sun reflecting off the river and the fishes’ scales. Mahler brings the triangle back periodically as a bit of orchestral color, and perhaps as a reminder of the sun on the river.

The strings are in constant motion, sometimes harmonizing the melody, sometimes stating a countermelody. When they drop out, the winds, especially the clarinets or brasses, by turns take over. In this song, at least, Mahler doesn’t throw the whole orchestra at the audience. Rather, as B.H. Haggin pointed out, he uses all of the resources of a large orchestra judiciously, never just for the sake of making a big sound, contrary to the obtuse views of some critics, perhaps most notably, Olin Downes of The New York Times.

Much of the fun of the song comes from listing of the fish species and their attributes — pike: belligerent, stockfish: always on a diet, crabs: slow moving, sturgeon: delicacies for the wealthy — and the refrain, “Kein Predigt niemalen/Den Fischen so g’fallen!” (No sermon ever/pleased [insert fish species here] as much!), coupled with the subtly ironic melody and orchestral accompaniment.

With a steady, rhythmic drive, the voice and accompaniment work through nine verses of catchy, folk-inspired melody, as potent a collection of hooks as you would want to hear. Finally, St. Anthony reaches the end of his sermon and the singer reports on its effect on his listeners:

Die Predigt geendet,
Ein jeder sich wendet,
Die Hechte bleiben Diebe,
Die Aale viel lieben.

The sermon having ended,
each [fish] turns himself around;
the pikes remain thieves,
the eels, great lovers.

Die Predigt hat g'fallen.
Sie bleiben wie allen!

The sermon has pleased them,
they remain the same as before!

Die Krebs gehn zurücke,
Die Stockfisch bleiben dicke,
Die Karpfen viel fressen,
die Predigt vergessen, vergessen!

The crabs still walk backwards,
the stockfish stay fat,
the carp still stuff themselves,
the sermon is forgotten!

Not surprisingly, the fish, like most preachers’ human parishioners, go away as they arrived. The accompaniment doesn’t even pause to comment, but sinks lower and lower and ends with an extended bass note: as it began, at the bottom of the river. The complete text, by the way, is available at The Lied and Art Songs Text Page and the translation from German to English is copyright © by Emily Ezust.

There are about 15 versions of Des Knaben Wunderhorn listed at arkivmusic.com. Since I have only heard a few of them I hesitate to make a recommendation, though if I had to choose one from that page I’d probably go with Claudio Abbado’s version with Anne-Sofie von Otter and Thomas Quasthoff. I have the Vanguard stereo recording with Maureen Forrester and Heinz Rehfuss, the Thomas Allen/Ann Murray/Sir Charles Mackerras recording, and Thomas Hampson’s survey of the original piano accompaniments. The last two CDs are out of print but might be found in a used CD store or on Amazon.com and are worth picking up. To give a sense of the Lied to anyone who is unfamiliar with it, the opening and closing of Ann Murray’s recording in mp3 format is available here.

A Mensch, He’s Not

Howard Katz, a play by Patrick Marber, who also wrote Closer and Notes on a Scandal, among other pieces, was presented by the Roundabout Theatre Company at the Pels Theatre. This is what The Times said about it:

The subject of Patrick Marber’s comedy of unhappiness about a rabid talent agent, starring a baleful Alfred Molina and directed by Doug Hughes, is nothing more nor less than your standard-issue midlife crisis. This familiar topic gets the better of all the talented people here trying to make it seem fresh. (Brantley)

Yes, it was. It was like The Book of Job without the happy ending, starring Woody Allen’s Danny Rose in a particularly foul mood. Where Rose tried to create a career for his entertainment industry dead-enders, Katz tells them that they have no talent or have had too much surgery. Not surprisingly, this doesn’t go over too well with the owners of the agency where he works. But before he gets the sack, his marriage ends, he tells off his father, and hits his son. Then he doesn’t have sex with a prostitute, quarrels with his brother, fails to buy a gun with which to commit suicide, gives his watch and wallet to a mugger, and either loses or dreams that he loses his last £2,000. There’s also a returning-to-the-faith-of-his-fathers subplot that surfaces now and then, though it isn’t clear what purpose it serves except to provide a little bit of ethnic spice.

The exact order of events is confused by the play’s dreamlike chronology but in the last scene, Katz — sans money, sans home, sans everything — seems to pull himself together to strew his father’s ashes, which he has been carrying around for what must have been weeks, off Tower Bridge.

Maybe Katz would follow the ashes into the Thames since he doesn’t seem to have anything to live for or any idea of what to do, but it isn’t clear. The play doesn’t come to a conclusion or dramatically satisfying resolution. It just ends, and what a relief that is.

Howard Katz was yet another play in which the greatest pleasure was found in the work being done, rather than the work being performed, on the stage. Among the talented actors in the company, nearly all playing multiple parts, were Euan Morton (Boy George in Taboo in London and New York), Alvin Epstein, Elizabeth Franz, and Jessica Hecht (The House in Town). It was a particular pleasure to see Jessica Hecht again, especially in the scenes where she played the co-owner of the talent agency.

Marber seemed to working out something deeply personal with Howard Katz, though exactly what wasn’t clear. Now that it’s out of his system, here’s hoping he moves on to work that says more than if you’re not a nice person, bad things happen to you and no one likes you.

Image from Roundabout Theatre

Slightly French is Slightly Good

I saw Slightly French over the weekend and submitted this review to Internet Movie Database today.

Slightly French is a rather a leaden trifle, which today is chiefly of interest to students of Douglas Sirk’s films or Dorothy Lamour or Don Ameche fans. I thought the implausible plot would have worked better in the late 1920s or early ’30s, and found at IMDb that it was a remake of Let’s Fall in Love, a 1933 vehicle for Ann Sothern. By 1949, passing off a New York Irish carnival dancer as the Parisian cousin of a vocal coach, and tying her starring in a movie to bringing back a fired director, was too great a suspension of nearly anyone’s disbelief. (And note that Lamour was 35 in 1949 while Sothern was 25 when she made Let’s Fall in Love. Lamour was far from old but the plot would have been more convincing if she were younger.) The breezy style needed to carry it off was just a memory, at least on the Universal studio lot.

Nevertheless, everyone involved in the production was enough of a professional to keep a not-too-demanding viewer entertained with the plot twists, snappy dialogue, and musical numbers. Lamour gets to sing — in French-accented English — a short version of Harold Arlen and Ted Koehler's “Let’s Fall in Love,” the only song in the picture that sticks in the memory, to excuse her calling a playwright at a press party a “plagiarist.” She dances a little, too, though in the big dance number set in the streets of Paris the soloist looks younger and thinner. Ameche is a stereotypical egomaniacal director, single and living with his sister in an oceanfront Hollywood-moderne mansion. The explanation for his bachelorhood is excessive self-love, but his best-friend producer is similarly single. Inquiring minds inevitably will speculate on the coincidence, though both end up symmetrically in love by the picture's end.

Meant for the bottom half of a double-bill, Slightly French never quite gets out of its B-picture category, but for a low-budget black-and-white musical it isn't half bad.

A couple of weeks ago I heard a recital by Magdalena Kozena, a soprano with an international career and several well-received recordings. I wrote about it and tried to summon up some enthusiasm for what I thought should have been a good concert — tried and failed. I just wasn’t moved, and I thought something must have been wrong with me: I wasn’t in the mood, or I was preoccupied by some crisis or other in my life. I told a friend that it was a perfectly nice recital but I couldn’t get excited by it. Yesterday, I heard Angelika Kirschlager sing Schumann and Schubert, accompanied by Malcolm Martineau, who was also Kozena’s accompanist. After the first measure of Schumann’s Freisinn it was clear that the problem at Kozena’s concert wasn't my mood. It was that Kozena wasn’t as moving or as involving a singer.

Kirschlager, whom I didn’t like the first time I heard her, carried me away, to my considerable surprise. Her voice is smooth and rich, and her legato is exemplary. The voice is not without minor flaws — there were times when an increase in volume came with too much vibrato, though that seemed to abate as she warmed up, and not every note was perfect —but that didn't matter when so her singing was so beautiful. Most of the songs in both parts of the program were unfamiliar to me, which increased the pleasure of hearing her sing them. (The program, complete with the opus numbers Playbill saw fit to leave out, can be found at the la Verdi.org Web site: http://www.laverdi.org/english/quartetto.php. Apparently, Kirschlager has been touring with this same program, though she was accompanied by Helmut Deutsch in Milan. Note also that the concert was part of a 10-concert season for 100 euros, or $130. Tickets at Tully Hall were $48 for nonsubscribers.)

Also in contrast to Kozena, Kirschlager’s dress was much more conservative, that is to say, not cut down to there, and displaying only a bit of lace on the sleeves. If I was in the diva advisory business, I would advise Angelika to “rethink the jewelry,” since a choker and a necklace are a touch over the top, especially when the necklace is evening length and sets up a contrasting movement to the rhythm of the music. Her encores (there were only two) were Widmung by Schumann (Op. 25, No. 1, from Myrthen), which was stunning, and Hôtel by Poulenc (No. 2 from Banalités, FP 107, text by Apollinaire), which was delivered in a wonderfully idiomatic style. It was a pleasurable shock after 24 Lieder to hear so ingratiating a mélodie.

Kozena deserves another chance. Perhaps she was nervous or having an off day. Kirschlager, after Sunday’s recital and despite the minor shortcomings, takes her place as one of my Top Ten Recitalists.

One Thumb Up, Two Thumbs Down: Three Views of Pynchon's New Novel


Whom do you trust? The complete reviews from which the following excerpts were taken were available on the Times and New Yorker Web sites.

Michiko Kakutani in The New York Times, 20 November 2006
Thomas Pynchon’s new novel, Against the Day, reads like the sort of imitation of a Thomas Pynchon novel that a dogged but ungainly fan of this author’s might have written on quaaludes. It is a humongous, bloated jigsaw puzzle of a story, pretentious without being provocative, elliptical without being illuminating, complicated without being rewardingly complex.

The novel plays with themes that have animated the whole of Mr. Pynchon’s oeuvre: order versus chaos, fate versus freedom, paranoia versus nihilism. It boasts a sprawling, Dickensian cast with distinctly Pynchonian names: Fleetwood Vibe, Lindsay Noseworth, Clive Crouchmas. And it’s littered with puns, ditties, vaudevillesque turns and allusions to everything from old sci-fi movies to Kafka to Harry Potter. These authorial trademarks, however, are orchestrated in a weary and decidedly mechanical fashion, as the narrative bounces back and forth from America to Europe to Mexico, from Cripple Creek to Constantinople to Chihuahua.

There are some dazzling set pieces evoking the 1893 Chicago World’s Fair and a convocation of airship aficionados, but these passages are sandwiched between reams and reams of pointless, self-indulgent vamping that read like Exhibit A in what can only be called a case of the Emperor’s New Clothes. Dozens of characters are sent on mysterious (often half-baked) quests that intersect mysteriously with the mysterious quests of people they knew in another context, and dozens of portentous plot lines are portentously twined around even more portentous events: the appearance of a strange figure in the Arctic, a startling “heavenwide blast of light”, the hunt for something called a “Time-weapon” that might affect the fate of the globe.

Whereas Mr. Pynchon’s last novel, the stunning Mason & Dixon, demonstrated a new psychological depth, depicting its two heroes as full-fledged human beings, not merely as pawns in the author’s philosophical chess game, the people in “Against the Day” are little more than stick figure cartoons.

Liesl Schillinger in The New York Times Book Review, 26 November 2006
In Against the Day, his sixth, his funniest and arguably his most accessible novel, Thomas Pynchon doles out plenty of vertigo, just as he has for more than 40 years. But this time his fevered reveries and brilliant streams of words, his fantastical plots and encrypted references, are bound together by a clear message that others can unscramble without mental meltdown. Its import emerges only gradually, camouflaged by the sprawling absurdist jumble of themes that can only be described as Pynchonesque, over the only time frame Pynchon recognizes as real: the hours (that stretch into days) it takes to relay one of his sweeping narratives, hours that do “not so much elapse as grow less relevant.”

Where to begin? Where to end? It’s both moot and preposterous to fix on a starting point when considering a 1,085-page novel whose setting is a “limitless terrain of queerness” and whose scores of characters include the doomed Archduke Franz Ferdinand, a dog who reads Henry James, the restless progeny of the Kieselguhr Kid and a time-traveling bisexual mathematician, not to mention giant carnivorous burrowing sand lice, straight out of Dune, that attack passengers of desert submarines — or, rather, subdesertine frigates. In any case, Pynchon (speaking, one presumes, through his characters) dismisses the existence of time as “really too ridiculous to consider, regardless of its status as a believed-in phenomenon,” asserting that civilization has been dead since World War I and “all history after that will belong properly to the history of hell.” He also rejects a fixed notion of place. To him, delineations of the known world are merely maps that “begin as dreams, pass through a finite life in the world, and resume as dreams again.” Let us proceed, then, like Pynchon: as we wish, without a map, and by bounding leaps.

Louis Menand in The New Yorker, 27 November 2006
Do The Math: Thomas Pynchon returns.

Thomas Pynchon is the apostle of imperfection, so it is arguably some sort of commendation to say that his new novel, Against the Day (Penguin; $35), is a very imperfect book. Imperfect not in the sense of “Ambitious but flawed.” Imperfect in the sense of “What was he thinking?”

The book is set in the period between 1893 and around 1920, and this is the plot: An anarchist named Webb Traverse, who employs dynamite as a weapon against the mining and railroad interests out West, is killed by two gunmen, Deuce Kindred and Sloat Fresno, who were hired by the wicked arch-plutocrat Scarsdale Vibe. Traverse’s sons—Kit, a mathematician; Frank, an engineer; and Reef, a cardsharp and ladies’ man—set out to avenge their father’s murder. (Webb also has a daughter, Lake, but she takes up with one of the killers.) This story requires a thousand and eighty-five pages to get told, or roughly the number of pages it took for Napoleon to invade Russia and be driven back by General Kutuzov. Of course, there are a zillion other things going on in Against the Day, but the Traverse-family revenge drama is the only one that resembles a plot—that is, in Aristotle’s helpful definition, an action that has a beginning, a middle, and an end.

The rest of the novel is shapeless, just yards and yards of Pynchonian wallpaper: fantastic invention, arcane reference, virtuosic prose. Elaborately imagined characters and incidents, from a man who may or may not be transformed into a jelly doughnut to a city beneath the desert and a near-death experience in a mayonnaise factory, pop up and disappear after a few pages, so many raisins in the enormous loaf. The World’s Columbian Exposition of 1893; the mysterious collapse of the Campanile in the Piazza San Marco, in Venice, in 1902; the equally mysterious Tunguska Event, in 1908, in which roughly eight hundred square miles of Siberian forest was flattened, evidently by an exploding asteroid; the Mexican Revolution; and the troubles in the Balkans leading to the First World War all figure in the book’s pages. Longer-running characters include the eternally youthful crew of a sometimes invisible airship, Inconvenience, who style themselves the Chums of Chance; initiates of a British spiritualist society called T.W.I.T.; a private eye named Lew Basnight; a glamorous mathematician named Yashmeen Halfcourt; and an itinerant photographer called Merle Rideout, his daughter, Dahlia, and his ex-wife, Erlys, who has run off with a magician named Zombini. Scenes are set in (among other places) Colorado, New York, Venice, Paris, Croatia, Macedonia, Mexico, various points in Asia, and Hollywood. Characters are given names like Alonzo Meatman, Ruperta Chirpingdon-Groin, Professor Heino Vanderjuice, the Reverend Lube Carnal, and Wolfe Tone O’Rooney. Pig Bodine, a recurring avatar who appeared in Pynchon’s first novel, V (1963), puts in his ritual appearance. There is a literate dog, a machine for time travel, a “subdesertine frigate” for voyaging beneath desert sand, and assorted mad inventors, shamans, clairvoyants, terrorists, drop-dead-gorgeous women, and drug abusers. The whole thing sloshes along, alternately farcical and magniloquent, with threads left dangling everywhere, sometimes for hundreds of pages, ultimately forever. The novel doesn’t conclude; it just, more or less arbitrarily, stops.

Brava Kozena!

Brava to Magdalena Kozena for programming an encore by Erwin Schulhoff at her Alice Tully Hall recital in New York on Sunday. For encore fans everywhere, she began with Schulhoff’s “When I Was on My Mother’s Lap,” about 60 seconds of presto vocal filigree. Try as I might, I couldn’t find an opus number for it. It’s possible, but I wouldn’t want to have to swear to it, that it hasn’t been recorded yet. Kozena followed that with two songs of Dvorak: “There is nothing that could make me happy,” Op. 2, No. 3, and “The Mower,” also known as “When a maiden was a-mowing,” Op. 73, No. 2. Both were lovely.

Kozena put together an interesting program, beginning with five songs of Mendelssohn, which are not often peformed but deserve to be, followed by Schumann’s Frauenliebe and -leben, seven songs of Faure, and concluding with Dvorak’s Gypsy Songs, Op. 55. Kozena has a beautiful voice, and it was fascinating to hear how much she sang without vibrato—very cool, and reminiscent of early music singers like Emma Kirkby. Apparently, there is some controversy over whether she is a mezzo (vide Cecilia Bartoli) but she sounded like one to me.

Her accompanist of the afternoon, Malcolm Martineau, is of the accompanist-as-equal-recital-participant school, playing with the top of the piano up, and not a retiring partner at all. But someone needs to tell him to stop mugging at the audience at the ends of songs. It is jarring. He doesn’t need to swivel his grinning face around at the end of a comical number to make sure we get it. Malcolm, we get it, O.K? After a few grimaces from the keyboard, I had to stop looking at him. (James Levine is another one who gets into the act, in case anyone doesn’t notice the other person on stage.)

A word on Kozena’s recital dress: She seemed to be in costume for the Gypsy Songs and considering the chill in the air, I hope she didn’t catch a cold. She had on a black lace top, cut down to just above her navel, accessorized by a massive necklace/pendant affair. Her beige dress had a train she had to carry on stage, and doing so highlighted her knee-high (or nearly) black leather boots. It certainly excited comment amongst the audience members. Whether it was in keeping with the tone of Frauenliebe and -leben, and particularly the last song in the cycle, is a valid question but it is a tribute to her singing that I didn’t really notice what she was wearing most of the time.