Some folks are intimidated by this stuff. Part of the problem is the label: “classical” music. That sounds like something for graduate students. Nonsense. You don’t need to know anything—anything at all—to connect with this. All you need are two ears, a mind, and a heart.
Maurice Ravel (1875-1937), String Quartet in F major (1903), first movement; Chiara String Quartet, live, University of Nebraska, 2013
More sounds from the shadows.
György Kurtág (1926-), 12 Microludes for String Quartet (Hommage à Mihály András) (1978), Maxwell Quartet, live, Scotland (Argyllshire), 2012
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lagniappe
reading table
“Chartres”
By George Oppen (1908-1984)The bulk of it
In airIs what they wanted. Compassion
Above the doors, the doorwaysMary the woman and the others
The lesserAre dreams on the structure. But that a stone
Supports anotherThat the stones
Stand where the masons locked themAbove the farmland
Above the willBecause a hundred generations
Back of them and to another peopleThe world cried out above the mountain
Claude Debussy (1862-1918), String Quartet in G minor (1893), first movement; Cypress String Quartet, 2006
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lagniappe
musical thoughts
I wouldn’t want to listen to the same kind of music every day any more than I’d want to eat the same kind of food.
the other day
I heard this ensemble play this piece, along with works by Smetana* and Janacek,** at the University of Chicago’s Logan Arts Center. As I said a while back, if one morning I were to learn that my life would be over at midnight, I would be happy to spend the afternoon as I did the other day—listening, with loved ones, to a string quartet.
Ludwig van Beethoven (1770-1827), String Quartet No. 16 in F major, op. 135, excerpt (2nd movement); Pacifica Quartet, live, 2012
*String Quartet No. 1 (“From My Life”).
**String Quartet No. 2 (“Intimate Letters”).
Some instruments just seem made for each other.
Ned Rothenberg (clarinet), Mivos Quartet, Clarinet Quintet (N. Rothenberg), excerpt, live, Ann Arbor, 2011
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lagniappe
reading table
Let there be physical suddenness.
—Michael McClure
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random thoughts
This morning, before sunrise, when I was out walking my son Luke’s dog, Roscoe, he stopped to inspect each blade of grass, carefully.
last night
At the University of Chicago (Mandel Hall), I heard this played by the Keller Quartet, wonderfully.
Ludwig van Beethoven, String Quartet No. 15 in A minor, Orion Quartet, live, Santa Fe Chamber Music Festival, 2008
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lagniappe
musical thoughts
Music, like sex, is an immersive experience—you go to be engulfed.
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Intermission. Men’s room. Old man, with a cane, at the urinal. I hope I still go out to hear live music when—if—I’m his age.
last night
I heard a concert, at the University of Chicago, devoted to the work of this man, a composer, a longtime professor, a MacArthur “genius” grant recipient. The performances featured different combinations of violin, viola, cello, clarinet, and piano. The music was often thorny. Occasionally whimsical. Frequently emphatic. Sometimes beautiful. And wholly absorbing.
Ralph Shapey (1921-2002), String Quartet No. 6 (1963)
The Lexington Quartet of the Contemporary Players of the University of Chicago
#1
#2
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lagniappe
musical thoughts
To me, [it’s] very important that [the audience] can recall it as an emotional experience; as though it were something they could hold in their hands.
—Ralph Shapey
yesterday afternoon
I took a journey that began in late 18th-century Austria, proceeded to mid-20th-century Russia, and concluded in early 20th-century France. Joseph Haydn, Dmitri Shostakovich, Maurice Ravel—they were the hosts. These folks, playing at the University of Chicago’s new Logan Arts Center, were the guides. If one day I learned that my life would be over at midnight, I’d be happy to spend the afternoon, after lunching at a Mexican restaurant (maybe Nuevo Leon on 18th Street), listening to a string quartet.
Pacifica Quartet, New York, 2009; Leo Janacek (1854-1928), String Quartet No. 2 (“Intimate Letters”), first movement
last night
I heard these guys at the University of Chicago’s Mandel Hall, where the program ranged from Felix Mendelssohn to John Zorn.
Philip Glass, Mishima (1984-85, excerpt); Brooklyn Rider, New York, 2006
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