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Tag: Robert Walser

Wednesday, October 5th

tonight in Chicago

They’ll be playing, together, at Constellation.

Kris Davis & Craig Taborn, “Fox Fire” (Duopoly), 2016

 

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lagniappe

musical thoughts

Is not all music, even the most niggardly, beautiful to the person who loves the very being and existence of music?

—Robert Walser (1878-1956), “The Walk” (translated from German by Christopher Middleton and Susan Bernofsky)

Tuesday, November 24th

More Sergio.

Sergio Fiorentino (1927-1998), live (master class), Italy (Bertinoro)

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lagniappe

reading table

This morning I breakfasted sumptuously and with delight, but one ought not to utter statements like this so loudly in an era when delicate persons have the most indelicate heaps of cares piled upon their shoulders.

—Robert Walser (1878-1956), “Hodler’s Beech Forest,” translated from German by Susan Bernofsky (Looking at Pictures, 2015)

Saturday, August 15th

How about a trip to Paris?

Steve Lacy Trio (SL [1934-2004], soprano saxophone; Jean Jacques Avenel, bass; John Betsch, drums), “Epistrophy” (T. Monk), “Revenue,” live, Paris (Sunset Jazz Club), 1993

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lagniappe

reading table

A gentleman of the better type is, in our opinion, only he who entertains a fair number of vain and foolish ideas about himself, and who above all imagines that his nose is better than any other good and sensible human nose whatsoever.

—Robert Walser (1878-1956), “The Walk” (translated from German by Christopher Middleton)

Wednesday, July 1st

string festival
day three 

Wolfgang Rihm (1952-), String Quartet No. 13
Arditti Quartet, live, London, 2012

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lagniappe

reading table

One peers down into regions where one’s feet would never, never have trod, because in certain regions, indeed in most, one has no purpose whatever.

—Robert Walser (1878-1956), “Balloon Journey,” 1914 (translated from German by Christopher Middleton)

Friday, March 27th

only rock ‘n’ roll

Courtney Barnett, “An Illustration of Loneliness (Sleepless in New York),” live, SXSW (Austin, Tx.), 3/18/15

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lagniappe

reading table

The Job Application
by Robert Walser, 1914 (translated from German by Christopher Middleton)

I am a poor, young, unemployed person in the business field, my name is Wenzel, I am seeking a suitable position, and I take the liberty of asking you, nicely and politely, if perhaps in your airy, bright, amiable rooms such a position might be free. I know that your good firm is large, proud, old, and rich, thus I may yield to the pleasing supposition that a nice, easy, pretty little place would be available, into which, as into a kind of warm cubbyhole, I can slip. I am excellently suited, you should know, to occupy just such a modest haven, for my nature is altogether delicate, and I am essentially a quiet, polite, and dreamy child, who is made to feel cheerful by people thinking of him that he does not ask for much, and allowing him to take possession of a very, very small patch of existence, where he can be useful in his own way and thus feel at ease. A quiet, sweet, small place in the shade has always been the tender substance of all my dreams, and if now the illusions I have about you grow so intense as to make me hope that my dream, young and old, might be transformed into delicious, vivid reality, then you have, in me, the most zealous and most loyal servitor, who will take it as a matter of conscience to discharge precisely and punctually all his duties. Large and difficult tasks I cannot perform, and obligations of a far-ranging sort are too strenuous for my mind. I am not particularly clever, and first and foremost I do not like to strain my intelligence overmuch. I am a dreamer rather than a thinker, a zero rather than a force, dim rather than sharp. Assuredly there exists in your extensive institution, which I imagine to be overflowing with main and subsidiary functions and offices, work of the kind that one can do as in a dream? —I am, to put it frankly, a Chinese; that is to say, a person who deems everything small and modest to be beautiful and pleasing, and to whom all that is big and exacting is fearsome and horrid. I know only the need to feel at my ease, so that each day I can thank God for life’s boon, with all its blessings. The passion to go far in the world is unknown to me. Africa with its deserts is to me not more foreign. Well, so now you know what sort of a person I am. —I write, as you see, a graceful and fluent hand, and you need not imagine me to be entirely without intelligence. My mind is clear, but it refuses to grasp things that are many, or too many by far, shunning them. I am sincere and honest, and I am aware that this signifies precious little in the world in which we live, so I shall be waiting, esteemed gentlemen, to see what it will be your pleasure to reply to your respectful servant, positively drowning in obedience.

Wenzel

Wednesday, March 4th

More of Cecil T.

Cecil Taylor, live, Switzerland (Montreux), 1974


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lagniappe

reading table

It is a very painful thing, having to part company with what torments you.

—Robert Walser (1878-1956), “Balloon Journey” (translated from German by Christopher Middleton)

 

Wednesday, January 28th

string quartet festival (day three)

Bela Bartok (1881-1945), String Quartet No. 6, 1939; Alban Berg Quartet, live

1st movt.

 

2nd movt.

 

3rd movt./part 1

 

3rd movt./part 2

 

4th movt.


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lagniappe

reading table

Everything always reminds one of its opposite.

—Robert Walser (1878-1956), “Snowdrops” (translated from German by Tom Whalen and Trudi Anderegg)

Saturday, January 17th

If your appetite for new music is insatiable, what better time to be alive?

Tyshawn Sorey (1980-), Quartet for Butch Morris (2012); International Contemporary Ensemble (ICE), featuring Erik Carlson (violin); Joshua Rubin (bass clarinet), Eric Lamb (flute), Cory Smythe (piano); live, New York, 2012

Six decades of listening and, until yesterday, I’d never heard this particular combination of instruments. You?

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lagniappe

art beat: yesterday at the Art Institute of Chicago

James Ensor (1860-1949), Rooftops of Ostend, 1884 (Temptation: The Demons of James Ensor, through January 25th)

1884-James-Ensor-Acoperisurile-din-Ostend-1

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reading table

Nature, the sky above us, is conducting no mean politics when it presents beauty to all, without discrimination, and nothing old and defective, but fresh and most tasty.

—Robert Walser (1878-1956), “Snowdrops,” excerpt (translated from German by Tom Whalen and Trudi Anderegg)

Thursday, January 8th

voices I miss

Lester Bowie’s From the Root to the Source (MCOTD Hall-of-Famer Lester Bowie [1941-1999], trumpet; Fontella Bass, vocals, piano; Martha Bass, vocals; Malachi Favors, bass, et al.), live, 1983


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lagniappe

reading table

I walked through the mountains today. The weather was damp, and the entire region was grey. But the road was soft and in places very clean. At first I had my coat on; soon, however, I pulled it off, folded it together, and laid it upon my arm. The walk on the wonderful road gave me more and even more pleasure; first it went up and then descended again. The mountainous world appeared to me like an enormous theatre. The road snuggled up splendidly to the mountainsides. Then I came down into a deep ravine, a river roared at my feet, a train rushed past me with magnificent white smoke. The road went through the ravine like a smooth white stream, and as I walked on, to me it was as if the narrow valley were bending and winding around itself. Grey clouds lay on the mountains as though that were their resting place. I met a young traveller with a rucksack on his back, who asked if I had seen two other young fellows. No, I said. Had I come here from very far? Yes, I said, and went farther on my way. Not a long time, and I saw and heard the two young wanderers pass by with music. A village was especially beautiful with humble dwellings set thickly under the white cliffs. I encountered a few carts, otherwise nothing, and I had seen some children on the highway. We don’t need to see anything out of the ordinary. We already see so much.

—Robert Walser (1878-1956), “A Little Ramble” (translated from German by Tom Whalen)