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Archive for November, 2010

Day 157. Toscanini.

Tuesday, November 9th, 2010

I think I am finally going to have to accept the fact that daily blog posts are a thing of the past for me. On one hand, work is keeping me so busy (and often into the night). On another, I have gotten little of my own composing done over the past few weeks. Part of me is bummed about this, but there is another aspect at play as well. As more and more of the CDs disappear from the front layer of shelves, more and more from the back are being pulled down for ripping. The quality of the discs here is still better then average for the most part, but there are lots of discs back here that, while I have listened and enjoyed them, they don’t necessarily bring up strong memories or personal history. I glanced over the blog as a whole a bit this past week and I have come across some strong memories that seem to be with me almost every day, and I also noticed that I have ‘found’ memories that I thought were lost (and now returned because of this project). I’m sure those aren’t done, but I am also sure at this point that they will be occurring with less frequency.

For me, starting this project almost a year ago was a needed distraction for what was a difficult time for Tamiko and me. Not between us, but due to situations in our lives that were, at the time, beyond our control in many ways. The blog provided some welcome distraction, and the enormity of the project itself gave me a positive outlet for some not always so positive energy. It also gave me focus on my life, family and one of the things that make me happiest in the world (music) at a time when lots of negative energy was flowing our way. I think this outlet for me helped me protect my girls from some of the negative that was hitting us and affecting me greatly at times.

Plus, there is just more music in the house now. Not that there wasn’t before, but the variety has grown considerably. Tamiko and I now have something different on every night as we wind down like we did when we first moved in together, Mira is discovering new ‘pretty music’ all the time and Celia and I start our evening reading with a new composer or musician just about every night. It’s pretty amazing how I have found something so great as a result of such a difficult situation (but, that is just how it goes sometimes).

Anyways, on to some music, and tonight I have been working on a stack of 11 2-Disc sets… the Toscanini / NBC Symphony Orchestra remastered and cleaned up sets the RCA put out in the late 90s. 6 discs of Beethoven, the pairs of discs covering quite a bit of the symphonic repertoire. All in mono. And while these are old recordings, it is remarkable how dynamic they are. I love watching videos of Toscanini conducting, and an image of him ‘shhhshing’ his orchestra almost always comes to mind (my friend Colin was able to do a wonderful imitation of this). It strikes me that Toscanini new that there was really a maximum of loud that you could get out of an orchestra, but with enough coaxing you could always get people to play a little quieter. This makes the louder parts seem more so by contrast, and this led to a large number of very dynamic recordings at a time when the technology in use was still quite limited.

Toscanini’s interpretations are seen by many people, especially today, as a bit off. I tend to find them a bit operatic, and sometimes overly dramatic. I don’t really have a problem with this, and like Glenn Gould I think that what you are getting is Toscanini performing a piece rather then just the piece itself. I wouldn’t suggest any of his recordings as the way to get to know a work (same with Gould – do NOT listen to the Gould ‘Goldberg Variations’ as the first version you listen to). Both are performers that you should go to once you know a piece pretty well. THEN – they are excellent examples of what great musicians can do with the art of interpretation. As I listen right now to Beethoven’s Seventh, I feel like I have a good idea about what is Toscanini and what is Beethoven. And the two are having a great conversation. It is my like I am having a seance as I listen to the ghosts of these two musicians play with each other… truly a treat.

Day 156 … Cracker, Counting Crows, Jane’s Addiction and Shostakovich.

Monday, November 1st, 2010

So my 90s streak continued with a few other things thrown in. Counting Crows’ first album, the first Jane’s Addiction album, Cracker’s ‘Kerosene Hat’ and some Shostakovich all came off the shelves this week and most of it has been ripped.

‘Kerosene Hat’ is another one of those end of high-school discs that sticks in my mind. I think I got the promo for it probably right around graduation, and played it quite a bit over the summer. Though I don’t associate it directly with me and Tamiko getting back together, that was a good summer and those good feelings were mapped onto that and a few other discs. Which is funny because ‘Low’, ‘Take Me Down To The Infirmary’, and a GREAT cover of the Grateful Dead’s ‘Loser’ aren’t exactly chipper tunes (though I do remember clicking through over 60 tracks to get to ‘Euro-Trash Girl’ so that I could play it loudly as I drove down I-80 … and that song is just damn fun). Regardless of the mood in the songs though, I still remember how good the summer of ‘93 felt as we were getting back together, and this was one of those discs that was in my car.

‘August and Everything After’ was one of the discs that, about a year later, was in Tamiko’s apartment after I first moved down to Berkeley. It took a little time for Counting Crows to take off, but once they did they were certainly a band that was noticed around Berkeley. When I put the music on last night, Tamiko immediately started to bop to it, and like me I imagine there is the feeling of us starting our lives together in the Bay Area in the back of her head as well. At the same time, the guitarist from The Counting Crows also gave me (and my old Tower friend Jordan) an early lesson in the inequities of the rock and roll lifestyle.

I think it was between Christmas and New Years in 1994 when a guy came into Tower with a stack of $100 gift certificates (3 or 4?), and Jordan noticed when he was cashing them in that they were from Adam Duritz. Then Jordan noticed that the guy cashing them in was David Bryson (I think?), the guitarist for the band. It was funny – because we had a Counting Crows poster on the wall behind the guy. It was one of the biggest selling albums that year, and here he was cashing gift certificates from the lead singer! We were jazzed to meet him, but somehow the conversation got around to why he had these gift certificates. I remember him telling us that since Adam was the songwriter (and therefore got writing credit) that he was the one that made all the money. And while the rest of the band did ok, they were basically employees. They liked the gig (he wasn’t complaining), but he certainly didn’t have $400 of his own to go out and spend on music. So Adam had given them gift certificates to Tower that year as presents.

I think both Jordan and I were floored by this… this guy was on a record that had sold millions, yet he wasn’t a millionaire. Maybe with the next record, but that initial contract didn’t have him sitting pretty yet. While I wasn’t entertaining ideas really of rock and roll stardom anymore at this point (I was going to make millions as a composer of new music!!!), it still struck me just how messed up the music industry was (and of course I remember remembering this night a few years later when I saw a little clearer what my role in that messed up situation was).