Tuesday, August 26, 2014

Requiem with oboe

RequiemCoverThumbnail.jpg
•Charles Shere: Requiem with Oboe.
Healdsburg: Ear Press, 2014
Full study score, 6x9, 48 pages
Available at Lulu.com, $9.99
FINALLY PUBLISHED: the full score to my short Requiem Mass, with the interpolation of two poems by Wallace Stevens, set for eight solo voices (or double chorus) with obbligato solo oboe.

I composed the music in 1985, shortly after the death of my mother, just short of her seventy-fifth birthday. You see her there at the left, probably about eight years old, one sock up, the other down, in an old snapshot taken I suppose in Shanghai where she spent her first twelve years, the third of nine children born to a high-school teacher from Sonoma county, in China to avoid a mother-in-law who was apparently giving him trouble. (The family returned to Berkeley as soon as she died.)

My mother admitted freely that she had a tin ear, and I never heard her play the violin, or any other instrument. Or sing, now that I think about it. She recited poetry, sometimes in German, but she was not what you'd call musical. My father was: though he never finished grammar school, he was an intelligent man and a constant reader, and fond of singing, and could play any instrument put in his hands (though I never put a bowed instrument there). But my mother, no.

In her middle years, when she'd returned to college to get a teaching credential, she most improbably signed up for a music-appreciation course. She had her own way of memorizing themes she was supposed to recognize at exam time: I remember her chanting
see the hor-ses run-ning up and down and up… and… down
to a frisky tune in Tchaikovsky's 1812 Overture, for example. But she never really cottoned to the standard repertory. I can't recall her ever going to a concert. Dad did, once, when I was sick in bed, and couldn't get to a performance of the Santa Rosa Symphony; for some reason he went in my stead, and found it lengthy but occasionally rousing, and even brought me the program, autographed by the night's soloist; who, I don't recall. But my mother, no: she wasn't interested.

The only music I ever heard her approve was, for some reason, Arnold Schoenberg's Pierrot Lunaire. I had an ancient recording, conducted by the composer himself, with Erica Stiedry-Wagner sprechtstimming the solo part, and she used to listen to it every now and then, with a determined look in her eye. She said she liked it because it didn't fight with itself, by which I think she meant the lines were clear. I wonder how many of the lay public would have agreed with her. I never thought to ask precisely what it was in the piece that interested her: now that I think about it, it may have been the poetry, written originally in French, translated for Schoenberg's purpose into German — both languages she'd studied, how thoroughly I never really knew, in school, in China.

At any rate, my Requiem. It was commissioned (though no money ever changed hands — a common procedure in those days, at least in my experience) by Christopher Fulkerson, a composer of determinedly modernist bent himself, for his chamber chorus Ariel. This was a vocal octet, the conventional SSAATTBB configuration, but comprising eight very good singers with experience with modernist music, good ears, quite clear diction, and supple phrasing. Chris was a good conductor, too, shaping the lines well, maintaining the pitch, balancing the dynamics, bringing out the poetic heart of the texts.

(A few months earlier, Chris had been instrumental — vocal, I mean — well, no, he didn't talk all that much, he was in fact instrumental — in the production of about a third of my Duchamp opera, at Mills College: he found and rehearsed the chorus, some of whom came from Ariel, and took a solo line himself, very nicely.)


Chris had asked for a piece for a cappella voices, but for some reason I wanted to add the oboe. I wanted an aural emblem of a creature from another dimension, to bring the listener out of the contemplation of dying that any Requiem necessarily involves, and take the listener instead to a dimension we do not yet know, and an oboe in its highest register seemed appropriate.

Nor did I set all the usual text of the Roman Catholic Requiem Mass. The scary Dies Irae has become a cliché, and anyway death doesn't seem scary to me, in any case shouldn't be dwelled on, I think, as a thing to fear, since after all it is inevitable. And of course the parts about a personal savior don't comply with my own view of things, so I couldn't represent myself as agreeing with certain other components of the Ordinary.

For those parts I substituted two poems by a favorite of mine, Wallace Stevens, who I had reason to believe my mother had also liked, though like so much else his poetry was something we'd never talked about. Not Ideas About the Thing but the Thing Itself, with its window on "a new knowledge of reality," gave me a chance to introduce the high keening oboe, and "Of Mere Being," whose "palm at the end of the mind" seemed to promise a symbolic destination of sorts, provide me, at any rate, with a more spiritual, less sentimental, unearthly alternative to conventional ideas of afterlife.

I wasn't around for the rehearsals of the Requiem: as I recall, I first heard it at its premiere, oddly given in the old Vorpal Gallery in San Francisco's North Beach. I thought it went pretty well. I wish I had a better recording of it: the voices in the live recording made, I don't know whether at rehearsal or performance, seem a little off-mike.

I don't have a program of that performance, and I don't know who the eight singers were — a pity. The high soprano, whose coloratura takes her up to a high E, was really spectacular; the two basses were properly sepulchral; everyone in between negotiated the lines splendidly. And Marilyn Coyne — the one name I do know, apart from Chris Fulkerson's — handled a difficult oboe part with grace, drama, and total musicality.

And, while I agree with the painter Jack Jefferson, who told me once, about reviews, that if you agree with the good ones you've got to buy the bad ones too, I can't help liking the review that showed up a couple of days later in the newspaper:
A Program of Modern Works By the Ariel Choral Group


... The night's outstanding item was the premiere of Charles Shere’s moving “Requiem With Oboe” (1985). ...

Shere’s Requiem both uses and shuns the traditional Latin text. Two of its four sections use the Roman Catholic liturgy — “Requiem aeterna” and “Hostias et preces.” But the larger part of the work employs two Wallace Stevens poems: “Not Ideas About the Thing, but the Thing Itself” and “Of Mere Being.”

Shere’s Requiem begins with a trope, “Requiem (mater) aeternam” — “mater” being an insert. Bits of the Latin text turn up briefly within the Stevens poems as well. To all this, Shere added snippets of oboe solos (played by Marilyn Coyne — mostly in the high register) as a kind of genteel wailing (the piece is dedicated to his late mother).

Shere set all this in a devoutly simple style. The idiom strongly leans on 14th and 15th century principles of counterpoint. What is heard is something of the motet manner, only updated into a freely atonal idiom.

What emerged was a softly lamenting cantata, liberated from violence or threats. There is, for instance, no hint of the Last Judgment. Shere has produced a work of tenderness roughly comparable to the Faure Requiem in mood.
Heuwell Tircuit, San Francisco Chronicle
You can get a copy of the score from Lulu.com for a measly ten dollars plus postage. (Of course the postage is a little exorbitant: be careful the sale site doesn't default to a next-day delivery!) I think you might even be able to download the score as an e-book, though I'm not sure about that. If you don't read music, buy a copy for your local library. If you sing in a chorus, or know someone who does, give it a look. It's not my favorite of my pieces, but I like it. I wouldn't mind hearing it again, maybe even sung by a full chorus. Besides, I've been thinking a lot about my mother lately…
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Friday, August 08, 2014

Terry St. John: paintings

•Terry St. John: New and Recent Paintings and Drawings.
Dolby Chadwick Gallery, 210 Post Street, San Francisco
Exhibition continues through August 30
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Terry St. John: Thai Woman with Cup (2012), oil/canvas, 48x42 inches
WHAT A FINE PLEASURE to see these new and recent paintings by Terry St. John! For decades he has been a significant part of the Bay Area painting scene — a scene of international significance, profound, impressive, and vital. But he has been a quiet participant, working steadily in a community of neglected artists: I think of those three great underrated J's of the Bay Area abstract expressionism: Julius Hatofsky, Julius Wasserstein, and Jack Jefferson. I thought, too, looking at these new St. John paintings, of another J, certainly not underrated or neglected, the phenomenal Jay DeFeo.

St. John was born in Sacramento in 1934 but grew up in Berkeley — he was a schoolmate of mine at Garfield Junior High School in the late 1940s, though we weren't friends at the time. He came to painting only in his last year of college, when on seeing work a friend was doing, studying at the time with Richard Diebenkorn, he was struck by the clarity and presence of purpose the discipline offered. Frances Malcolm quotes him in her introductory essay in the catalogue to the current exhibition:
…above all else, I just wanted to paint paintings. Painting somehow gave me an opening to the future and a sense of hope… it was salutary.


St. John worked among other painters in his early days. He was a great friend of Lou Siegreist, the youngest and last surviving of the legendary Society of Six early modern Bay Area painters, and of his son Lundy; the three often painted en plein air in the local landscape, particularly the slopes of Mount Diablo. St. John worked for years at a day job, curating modern painting at the Oakland Museum. He taught, too, at Notre Dame de Namur University in Belmont.

In spite of his sociability, though, he has always impressed me as a kind of solitary — a man who knows and keeps his own place and counsel. You have the impression it is the solitary discipline of painting that holds and informs him, that defines his address to life and to context. Whether working in the landscape or in the studio, it's the sense of the passage of time, as Malcolm suggests, that energizes his work, leaves traces of light and shadow, develops the evolving colors, finds the balance of recessive depth, spatial organization, visual meaning.

I have loved his work for years, and am pleased to have a small landscape. But I was unprepared for the new and recent work now on view. I had lost touch with both him and his work in the last ten years. His painting has developed great strength, depth, complexity, and certainty. As can happen this late in life, he has found a great sense of assurance — these paintings are vibrant and full of energy, God knows; but they are serene, objective, composed, competent.

I like the way so much painting history, internationally and locally, is contained, even referred to, with knowledge and intelligence, on completely equal terms, without his work ever seeming the slightest bit derivative. Thai Woman with Cup, for example, is fully aware of Cubism; it makes me think of the CoBrA school too; its window recalls the Matisse behind Diebenkorn; the seated nude brings Elmer Bischoff to mind: but the complexity of the left third of the painting oddly balancing the cool window on the right is something new to me — and the red shoe!

The newest canvases here, from 2013. are exclusively paintings of the nude, mostly in interiors though occasionally ambiguously so, perhaps in tropical landscapes — for a number of years St. John was spending part of each year in Thailand. There are a few smaller landscapes, though, from not that long ago, showing the artist is loyal to the Bay Area, and that its views continue to ground the solidity and geometry of his vision, as well as the texture, color, and light.

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Wine Haven (Pt. Molate) (2008)
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Diablo (2010)
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Woman with Green Bottle (2014)


I was asked, in the gallery, which painting I'd take home with me, if I could. (I couldn't afford any of them, of course; and in any case every one of them seems already to have been sold.) Woman with Green Bottle, I said. The strength and solidity of the others is here, but I like the comparative simplicity, the domesticity, the classical subtlety of its geometrical relationships, the relationship of bottle, drapery, and the painting on the wall. I like the sense of history. And most of all, I think, I like the humor pervading the entire vision. St. John seems to have arrived at a sense of unusually sure and engaged and bemused awareness of existence, and I'm glad for the opportunity he gives of sharing it.
Bay Area Expressionism
I leave him, and you, dear reader, with a quick survey of some of the painters I've mentioned above, to provide some context for this sumptuous show of a painter arrived at mastery:
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Lou Siegriest
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Jack Jefferson
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Julius Hatofsky
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Julius Wasserstein

Tuesday, August 05, 2014

Reading (and not reading) Fermor

Christmas 2010: My dear daughter-in-law, the granddaughter of a Nobelist on the Berkeley faculty, brought up unconventionally in Berkeley (as was conventional in Berkeley), the owner of a feedstore in Mendocino county, gives me a copy of Patrick Leigh Fermor’s A Time of Gifts.

I read it the following spring, and by May 15 had also read its sequel, Between the Woods and the Water.

Then last month, July 7 to be exact, I read the final book in the trilogy, The Broken Road. I know these dates because I have the habit of writing the dates I begin (usually) and finish (nearly always) a book on the first and last page (respectively). I also tend to tick margins and write notes or at least page numbers down on the end-paper, though these days I’ll sometimes just photograph a relevant paragraph, either for posting here as a Commonplace, or for filing in a folder of Reading Notes someplace.

(Technical note: I convert the photo on my iPhone using an app called Pixter, and usually file the result in Evernote.)

A search of this blog finds Fermor mentioned only twice so far:
December 30 2011: So many books read this last year, so few of them commented on here. End-of-year reflections will haunt me for the next seven weeks, I'm sure — I'll be too busily distracted for them after that — so I won't anguish over my failure to share notes on Frederic Tuten, or Patrick Leigh Fermor, or Carolyn Brown, or Patti Smith, to cite only the most impressive of the authors I've learned from recently.

November 21 2012 (written in Australia): The shop reminded me of those of fifty years ago, a series of small rooms with crowded shelves, well enough organized but better suited to browsing than go-and-get shopping (except that my age and size make the necessary floor-crouching difficult between close-set bookshelves). I looked for a copy of something by Patrick Leigh Fermor to give to my brother, who's done his share of global wandering, but found only the new biography, which I must hasten to obtain. (It was far too large to carry on the airplane). What I did find was [Laurens van der Post’s] Venture to the Interior, in a dog-eared Penguin paperbound that must be thirty years old.

P. Leigh Fermor has been recalcitrant, mysteriously so. He’s considered one of the great travel writers. He began traveling in December 1934, only sixteen, by setting out on foot, with five pounds sterling in his pocket and another five promised monthly at waypoints, heading from his rural English home for Istanbul. December, 1934, crossing Germany on Foot! What was his mother thinking of?

He kept a journal, but lost it, later found it, lost it again. He met rich men and paupers, royalty, diplomats, shepherds, thieves. He supported himself for a while painting portraits of strangers. He fell, memorably, in love. He struck up amazing friendships.

And he walked — which is what excited me, in 2011, when my own recent walk from Geneva to Nice was still in my mind (as it continues to be; will always be).

A Time of Gifts appeared in 1977; it was later reissued by the New York Review of Books; I don’t know what brought it to my daughter-in-law’s attention. I read it hungrily, excited by the walk, but also impressed by Leigh Fermor’s wide-ranging intellectual curiosity (history, art, food, languages, high and vernacular culture) and his detailed, enthusiastic accounts. As soon as possible I went on to Between the Woods and the Water (1986; also reissued by NYRB). Since my grandson Henry, who’d accompanied me through the Alps, had already read the first book, I lent him the sequel as soon as I’d finished it.

Then I waited, impatiently, for the third and final volume. Trouble was, Leigh Fermor had not written it, and he was getting on, and it was likely it would never appear. But, of course, it has appeared, in a sense — posthumously, edited by Artemis Cooper. (It was Cooper's biography, Patick Leigh Fermor: An Adventure, that I'd neglected to buy in Australia; it too is now available from NYRB.)

No one would claim the result would have satisfied the author, who’d put the project aside decades before, then was talked into revisiting it in his final years. I’m sure his mind was sound to the end; but I think he may have lost interest.* It had been a long time since he’d finished the second volume; a much longer time since the events themselves had unrolled.

Still, *The Broken Road* is a wonderful book, vivid, interesting, a bit nostalgic. It made me want to see Bucharest again, and explore Bulgaria. It certainly makes me want to hit the trail again soon — I’d hoped to get up to the Sierra this summer, but that looks increasingly unlikely.

But here’s the reason I’m posting this: Lindsey finally got around to A Time of Gifts, and was as impressed as I, and wanted to go on immediately to Between the Woods and the Water. Would I find it for her? Sure, I said, it’s around here somewhere. (FERE ALIQVVBI HIC ILLVD SCIO, says Bhishma’s handsomely calligraphed note, pinned next to the computer.)

Trouble was, it was nowhere to be found. Then I remembered loaning it. Never do that with a book you love. Finally I ordered another copy, reasoning the loan had turned into a gift in its turn, and why not?

Immediately, of course, the first copy materialized — on the dining table, in plain sight.

This surpasses all rational reality, I said to Lindsey, who was not so sure. I’ve been reading (and tremendously enjoying Harry Mulisch’s The Discovery of Heaven these last few days, and the oddly erratic realities enveloping his characters may have begun to appear here…

*I may be projecting here. I've dropped more than one project after too many years of fussing…

Friday, July 18, 2014

On death

DEATH JUST MEANS YOU'RE NOT INVOLVED ANY MORE.
—Wendell Berry

Wednesday, July 09, 2014

Easy reading

•Célestine Vaita: Breadfruit.
New York and Boston: Little, Brown and Co., 2006
ISBN 978-0-316-01658-2
•Célestine Vaita: Frangipani.
New York and Boston: Little, Brown and Co., 2006
ISBN 978-0-316-11466-9
SUMMER IS THE TIME, they say, for light reading; now and then I get nostalgic for French Polynesia; and a favorite friend recently recommended the novels of Célestine Vaita. So before last month's road trip — yet to be documented here — I ordered two of them, used paperbacks, from sources online, hoping they'd arrive in time for the trip. They didn't, alas, but I made short work of them on our return.

I enjoyed them. I don't usually read things of this sort, and I'm not sure if they fall into some genre or other. I note that my copy of Frangipani ends with a "Reading Group Guide" including a short interview with the author and a series of suggested discussion topics — oh dear: is that what book groups do, sit around responding to publishers's suggestions? And my copy of Breadfruit turned out to be an advance copy, with odd typographical problems (double quotes for apostrophes, for example). So I suppose the novels are book-group fodder, and perhaps even Young Adult, and certainly directed toward women more than men.

In fact that may have lay behind my friend's recommendation: she feels one should read as many female authors as male, at least when it comes to recent and contemporary publications. Perhaps she's right: one of the things I very much enjoyed about these novels was their strong central character, Materena Mari, a fortyish woman living in a fiber shack in Faa'a, the town adjacent to the international airport outside Papeete. Materena.

Vaite was born there herself, and there may be a certain among of autobiography in these stories — Materena may have been modeled on her own mother. There are parallels, too, between events of Vaite's life and those of other characters, particularly Materena's daughter Leilani, a serious student.

Vaite's mother language was, I suppose, French, and she must have been frequently heard and occasionally spoken Tahitian as well; but these novels were written in English, in Australia, where the author settled with her Australian surfer boyfriend, later husband. A lot of the charm of the novels is in fact their language: breezy English, using the conventional French present tense regardless of the actual time being written about, occasionally translating French constructions in an awkward literal manner, occasionally sprinkling in a bit of Tahitian. The writing is constantly oral: you hear the voices of the characters, and through them, I imagine, that of the author. "Ah oui," they say, rarely simply "oui," and aue bof; statements are frequently preceded with "eh"; daughters are addressed as "girl."

And what does she write about? Daily life, which seems to be relatively easy. The ambience reminds me of Steinbeck's Cannery Row and Tortilla Flat, fondly recounting everyday incidents among ordinary but colorful people whose relatively simple pleasures and easygoing setting emerge from communal life, not upward mobility. Tahiti is depicted, probably accurately at least for the time period, as a comfortable blend of French structure, socialist humanitarianism, and easy weather. You could grow to like this kind of life.

It might not be a stretch to think of Célestine Vaite as a contemporary, female Marcel Pagnol, substituting today's commercial-based culture for his more agrarian one (thinking of his rural novels, not the Fanny trilogy set in Marseilles). The warmth, gentleness, humor, and inevitability common to extended families, and to relationships between men and their women, women and their children — those qualities are universal, both these authors remind of us, if you strip away the striving and yearning and ambition that so often distracts us from them. They are what finally counts, those qualities and the everyday rhythms of sleep and mealtime, love and irritation, work and pleasure and occasional sadness. It's a good idea to be reminded of this from time to time, and it doesn't hurt if the sermon is light-hearted if it's as deftly written as these books.



Tuesday, July 08, 2014

On translation

•David Bellos:Is that a fish in your ear? Translation and the meaning of everything.
New York: Faber and Faber, 2011; 978-0-86547-857-2




for Richard

DAVID BELLOS IS a professor of French and Comparative Literature at Princeton University, where he directs the Program in Translation and Intercultural Communication. Although he is a respectable, even a powerful presence in literature, having written biographies of Georges Perec, Jacques Tati and Romain Gary, and having translated a number of Perec's books — no mean feat.

I am a Perec enthusiast, though I confess I know his work only in English translation. For that reason I haven't read his best-known novel, La disparition. Perec was a member of Oulipo, the "experimental" workshop in litterature potentielle which is often written under arbitrary, amusing, and ennabling constraints; and La disparition, by no means a short novel, was written without using a single "e." Since the English translation respects that constraint — it's titled A void — I've determined to read it only in parallel with the original; and I'm afraid I've bogged down a number of times.

I read occasionally in other languages than English, which is of course my mother language. I can get by, by ignoring subtleties, slang, and jokes, in French or Italian or sometimes in Spanish or even in Dutch — but only with dictionaries, or the Internet, or best of all with a translation into English at hand. A couple of years ago, for example, I read the first book of Don Quixote both in Spanish and in a recent, well-received translation into English by Edith Grossman. It was easy to see that Grossman respected Cervantes's text, maintaining his slightly formal irony but also the fluidity of the narrative. (There's an interesting discussion of her translation, contrasted with John Rutherford's of two years earlier, online.)

Similarly I've worked my way through a few books by Geert Mak in both the original Dutch and English translation, and novels and stories by Moravia and Pirandello in both Italian and translation, always with the hope that one day this process will enable me to rely only on the originals — a hope as illusory as elusive.

(I'm also engaged on a publishing project, hoping to bring out the complete Skagen un roman de l'europe by the French author Jean Coqt, as translated into English by Charles Lunaire: but so far only the first two installments have been sent to me, and I can't say much more about this just yet.)

So translation is a matter often on my mind, and I looked forward to reading Is that a fish in your ear with a good deal of eagerness. In many ways I wasn't terribly disappointed: Bellos writes easily, interestingly, ranging over a number of my own enthusiasms; and there's plenty of humor in the book — beginning with the title, of course.

("Say — is that a fish in your ear?" No answer. "I said, Is that a fish in your ear?" Again no answer. Louder this time: "Hey! Mister! IS - THAT - A - FISH - IN - YOUR - EAR?" Pause; then "Sorry. You'll have to speak up. I have a fish in my ear.)*

But his book centers on the problem that lies in its subtitle: "The meaning of everything." In nearly every one of his short, engaging chapters — many of which sound like class lectures, approaching such individual subjects as dictionaries, dialects, vertical vs. horizontal translation, interpretation, and the like — he seems determined that translation is at bottom a matter of communication, of re-stating the content of a text in a like text in the second language.

The big question that's begged is of course the meaning of meaning. It's addressed in an early chapter, "Meaning is Not a Simple Thing," where Bellos writes "an adequate translation reproduces the meaning of an utterance in a foreign language," and goes on to investigate various kinds of meaning. Symptomatic meaning — "the kind of meaning that things have just by themselves": Jacques saying "bon jour" means, among other things, that he speaks French. Contextual meaning. Meanings latent in the very grammatical forms of the "utterance" in question.

And then, toward the end of the chapter: "No sentence contains all the information you need to translate it." You have to know the genre of the text, apparently — poem, novel, speech, timetable, movie title, for example — so that you can approach and frame your work appropriately.

Poetry is notoriously resistant to translation, at least, Bellos writes, in the popular mind. He denies that it is impossible. Last week a French friend asked me to translate a little poem from French into English, and the request triggered a short discussion in e-mail:
Amélie is convinced that it is impossible to translate Poetry : "you have got to respect the polysémie of the words and if you do one traduction litterale it doesn't work into the other language"
To which I replied
I agree with Amėlie you can't translate poetry

You can however translate poems

you can only translate a meaning and poetry tends as Amėlie points out to be polysėmique, perhaps there's an English word for that, I don't think so, "to have many layers of meaning"

So a true translation would be a number of versions perhaps

Then there s another big problem about translation, the fundamental one

The idea that it can exist presupposes the idea that you can kniw what a statement ( sentence, poem) means

With only a few exceptions (huis clos, sens unique, STOP) I think you cannot, can never
and then I went on to translate the poem. (I'll set the two versions at the end of this post. It is by the way not my first attempt at translating poetry: earlier this year I made an attempt at Horace's Diffugere nives, where the attempt was to preserve meter and formality of the original. But more about that another time.)

AT THE BOTTOM of my problems with Bellos's discussion of translation, the art of, is the assumption that one can know meaning, can extrapolate from an utterance — perhaps even simply an event, natural or artificial, but let's not complicate things even further, not just yet — can extrapolate from an utterance a meaning intended by the speaker. This seems to me to be a great leap of faith, involving taking an utterance at its word. Poetry, humor, irony, negotiation, and other everyday uses of language depend, I think, on a disparity between statement and intent, deliberate or casual.

The problem goes even further: Can we know what our own statements, even thoughts, "mean," even to ourselves? Does their "meaning" not unfold, over time, through contemplation and discussion, evolving as they conform — or don't — to their changing context? (Perhaps this is one reason for the frequent assertion that every generation needs its new translation of standard "classics," to "keep them fresh", relevant to a changed societal context.)

If meaning evolves, there must be aspects of the utterance — the text, the expression, the thought — that have yet to be known: ineffable, if only provisionally. Bellos addresses this:
Some people doubt that there are any affects or experiences that cannot be expressed, on the commonsensical grounds that we could say nothing about them and would therefore have no way of knowing if they existed for other people. The philosopher Ludwig Wittgenstein presumably meant to adopt an ag-nostic position on this issue in the famous last line of his Tractatus when he wrote, "What one cannot talk about must be left in silence." The infinite flexibility of language and our experience of shared emotion in reading novels and poems and at the movies must also cast doubt on whether there are any human experiences that cannot in principle be shared. On the other side of this thorny tangle is the intuitive knowledge that what we feel is unique to us and can never be fully identified with anything felt by anyone else. That inexpressible residue of the individual is ineffable—and the ineffable is precisely what cannot be translated.



Translation presupposes not the loss of the ineffable in any given act of interlingual mediation such as the translation of poetry but the irrelevance of the ineffable to acts of communication. Any thought a person can have, the philosopher Jerrold Katz argued, can be expressed by some sentence in any natural language; and anything that can be expressed in one language can also be expressed in another. What cannot be expressed in any human language (opinions vary as to whether such things are delusional or foundational) lies outside the boundaries of translation and, for Katz, outside the field of language, too. This is his axiom of effability. One of the truths of translation—one of the truths that translation teaches—is that everything is effable.


To which Wittgenstein would reply — the young Wittgenstein, anyway — well, you know. (And this is the problem with Wittgenstein's remark: we cannot remain silent, even (perhaps especially) confronted with that of which we cannot speak.)

Bellos ends this particular investigation with a breathtaking statement:
From infancy to the onset of puberty, children of every culture have always known that animals have things to say to them. There's no folklore in the world that doesn't similarly break the alleged barrier between human and other. But in our Western script-based cultures, growing up (which is so heavily entwined with formal education that it might as well be treated as the same thing) involves unlearning the instinctive childhood assumption of communicative capacity in nonhuman species. No wonder our philosophers and priests have long insisted that language is the exclusive attribute of humans. That self-confirming axiom makes children not yet fully human and in real need of the education they are given.
In other words, language is communication and must be effable. But is Bellos's final sentence, in the previous quotation, "meant" literally? Does meaning not lie in signals as well as statements?

——-
*Or does the joke go some other way entirely?

——-
The French poem and its translation:
Une main chemine dans mes cheveux
passe / arrache
devant les yeux
la mèche
rebelle-peroxydée
sous les franges des filles
coupe-coupe
pour tes regards sur le haut de mon dos
Ma nuque courbe l'échine
racines sèches
shampoing après shampoing soin
Ta kératine
coupe-coupe court
rase petit sabot
de près petit salaud
des bigoudis plein le front
j'ai mis de l'air dans mes cheveux
brosse à bout rond en poils de sanglier pour brushing "sans électricité statique"
blond vénitien roux flamboyant brun auburn blanc mort
perruques en authentiques cheveux de filles perdues
filez doux longues chevelures : le temps des crânes est revenu
jolie itsi bitsi tini ouini tête crépue
tu tournes en boucle bourrique
taille-taille
ton cuir est dur
vieille chevelure
On reprend la coupe?
                          —Emmanuelle De Baeck
A hand traces through my hair
through / and out again
before my eyes
the unruly bleached lock
of hair
under the girlish bangs
straightedge
The bones of my nape curve
that you may glance at it
dry roots
shampoo conditioner hairspray
your keratin
shave it short
with the close clipper
really close you little bastard
curlers over the forehead
i’ve put air in my hair
soft round brush, boar-bristles, to avoid static electicity
venetian blond flame red auburn brown dead white
wigs made of real hair from lost girls
away long hair it’s time for skulls again
pretty itsy bitsy teeny weeny frizzhead
you go round in circles like a mule
cut-cut
your scalp is leathery
old hairdo
shall we do it over?
Suggested improvements are welcome.

Wednesday, July 02, 2014

Robert Erickson: the quartets

robert_erickson.jpgTHIS IS HOW I like to remember Robert Erickson; he looked very much like this, as I recall, when I first met him, in 1963 or so.

He was then in his mid-forties, stocky, flaxen-haired, healthy though not particularly athletic, satisfied I think with his life, fully engaged with his metier. He was a composer, and a significant one, and I don't think he particularly cared, then or ever, about his place in history or even among most of his colleagues. He liked music of nearly every genre, and he liked much of the music being made around him, and he liked his own music.

He was recommended to me as a teacher of composition; but I don't think he ever had many illusions as to just what the teaching of musical composition could actually accomplish. He taught technical matters: the selection of pens and inks and rulers; the extent to which notation could be depended on; how scores might best be reproduced in those days before Xerox, and how they might be submitted in the hope of performance.

Most of all, at least in my case, he taught by example: staying with a project wherever it might take you; maintaining an open mind about your own work and prospects; not getting distracted by musical politics; not getting bogged down in taste — though on that last score he wasn't slow to announce his own tastes: he disliked tick-tick rhythms; he thought six-eight meter was particularly offensive; he especially disliked formula.

He'd been recommended to me by the composer Gerhard Samuel, with whom I was at the time pretending to study conducting — chiefly by attending every rehearsal of his Oakland Symphony, where I learned about orchestral balance, effective notation, the scaling of dynamics and tempo, and that sort of thing. Gary and Bob had known one another in Minneapolis, I think, and were part of what I've come to think of as the Minneapolis-California migration of the late 1950s and early 1960s, when they, and Will Ogdon, and Glenn Glasow, and Ernst Krenek all made that move.

I've written about Bob here several times, principally three years ago but most recently just last November, when I was pleased to hear his four string quartets performed in San Francisco and Berkeley, splendidly, by the Del Sol Quartet. They were then preparing to record all four quartets, and last night we were at the release party for the CD (New World Records 80753, two CDs), now available online or, I believe, through iTunes. You're better off with the physical CDs, of course, because then you'll get the liner notes, which I wrote.

The string quartet was an odd medium for Bob, I always thought; he loved innovation, thinking outside the box, and the quartet has a reputation for the hidebound. Listening to this survey, though, you see how he addressed the challenge. You witness the California "maverick" "avant-garde" sensibility engaging the great musical tradition: flirtation, then coming to terms; then finding entirely new purpose. As I wrote in the liner notes, the First Quartet (1950) is rather a conventional structure, though quirky and interesting and often, especially in the middle movement, quite melodic.


The Second Quartet (1956) is miles away from the First. From the very opening, even a casual listener will be struck by its greater openness, the ease and extent of its spatial dimension, the huge range of loudness, tone color, pace, texture. Where the conversations of the First Quartet had been contrapuntal, directed, like rational and logical disputations proceeding toward a logical outcome, those of the Second Quartet are fanciful, exploratory, playful but not according to so many rules.
Solstice and Corfu, the final two works for string quartet, are quite later, from the middle 1980s, and belong to Erickson's final period, when his music was oddly both expansive and innig, cosmic in outlook and scope yet intensely personal. They are, I think, valedictory pieces, and hearing Solstice again last night, in the immediate personal context of the matter of the previous post to this blog, was — not comforting, I don't feel comforting is anything I particularly need, but a reminder of eternal matters. I think Bob would smile, for a number of reasons, none of which he'd offer to bring up, if he heard me say, as I might, that I treasure these late pieces of his as participating with the late B**th*v*n. I'm sure he privately — very privately — aspired to that.

My biography, Thinking Sound Music: the life and works of Robert Erickson, is still in print. You can order a copy at the usual places online.