Bow Brush Body

I have known Fred Hatt for almost 12 years. Over the course of our friendship, his inexhaustible well of artistic expression and experimentation has never ceased to amaze me. I’d like to share this mesmerizing Fred Hatt project with Museworthy readers. From Vimeo:

Strokes of a violin bow, traces of a paintbrush, and the gestures of the body: dancer Kuan-Ling Tsai, artist Fred Hatt, and musician Andrei Matorin bring three art forms together in a collaborative shadow-screen performance.

Riding the Train

So I turned 49 years old on Saturday, and though I didn’t make a big deal out of the occasion it was still a perfectly fine day sprinkled with reflection and reverie. Jessie the cat brought me a present: a dead cicada she carried around in her mouth for 10 minutes before she deposited it on the driveway, batted it around a few times, and then sauntered off. Thanks Jessie! Just what I always wanted 😆

Turner Classic Movies unintentionally gave me a birthday present as well, by airing “All About Eve” for its primetime feature. One of the most delicious screenplays ever to come out of Hollywood, it’s all theater people “throwing shade” at each other as the kids today would call it. It’s Bette Davis in all her audacious, mouthy, chain-smoking glory, dressed in gorgeous Edith Head gowns, uttering phrases like “Maaax, you sly puss”. My favorite is toward the end, when she says to the conniving climber Eve Harrington, “Nice speech, Eve. But I wouldn’t worry too much about your heart. You can always put that award where your heart ought to be.”  Savage.

We haven’t had a Music Monday on this blog in quite some time so I will remedy that right now. Our video is the magnificent Eva Cassidy singing a stirring rendition of “People Get Ready”, a gospel-inspired song written by the legendary Curtis Mayfield. It became a hit single by The Impressions in 1965 and has been covered by many notable artists since then, among them Bob Dylan, Bob Marley, and Rod Stewart. It is widely considered one of the greatest songs of all time, and for good reason. But I promise you, you have never heard a version of this song as affecting as this. Eva Cassidy was one of the most remarkably gifted vocalists we’ve ever had. When she died in 1996 from melanoma, at the tragically young age of 33, the world lost an enormous talent.

The song also has personal significance for me, because I boarded that “train” a few years ago. Striving every day to stay aboard has strengthened me to perceive my life – my purpose here on earth – with more clarity, more courage, and more devotion. I’ve included the lyrics below. See you soon, friends!

 

People get ready
There’s a train a comin’
You don’t need no baggage
You just get on board
All you need is faith
To hear the diesels a hummin’
You don’t need no ticket
You just thank the Lord
Yeah yeah yeah

People get ready
For the train to Jordan
Picking up passengers from
Coast to coast
Faith is the key
Open the doors and board them
There’s room for all
Among the loved and lost

Now there ain’t no room
For the hopeless sinner
Who would hurt all mankind
Just to save his own
Have pity on those
Whose chances are thinner
Cause there’s no hiding place
From the Kingdom’s throne

Ohh people get ready
There’s a train a comin’
You don’t need no baggage
You just get on board
All you need is faith
To hear the diesels a hummin’
Don’t need no ticket
You just thank the Lord

Call to Sorrow

When Army bugler Sergeant Keith Clark received the call that he was chosen to perform “Taps” at the funeral of President John F Kennedy it came as a bit of a surprise. He had assumed that a Navy bugler would do the honors, since President Kennedy was a World War II U.S. Navy veteran, decorated with a Navy Marine Corps medal for his valor in the South Pacific when a collision with a Japanese destroyer tore his PT-109 in half. But Keith Clark, a patriot and an American in the throes of shock and grief along with the rest of the country, was truly the right man for the job. He had been playing and studying the trumpet since he was a child, receiving musical training during his youth in Michigan, through college and then the military. Just two weeks before Kennedy was assassinated, Clark had performed “Taps” for him at the Veteran’s Day ceremony at the Tomb of the Unknown Soldier.

Comprised of just 24 notes, “Taps” is the traditional bugle call played at military funerals. It’s been in use since the Civil War, when Brigadier General for the Union Army Daniel Butterfield arranged it into the form we know today. Somber, melancholy, stirring in its simplicity, “Taps” communicates a profound sense of grief over fallen service members as they are laid to rest.

Bugler sketch by Civil War illustrator Alfred Waud:

Keith Clark showed up at Arlington National Cemetery early in the morning on Monday, November 25th, 1963. It was cold with drizzling rain. Temperatures hovered around freezing most of the day. Over a quarter of a million people waited in line for up to ten hours to view President Kennedy’s flag-draped casket as it lie in state in the Capitol Building Rotunda. After the funeral mass at St. Matthew’s Cathedral, the procession began to make its way to Arlington National Cemetery. It finally arrived around 3:00 in the afternoon. After the traditional Catholic burial rites, the military honors were carried out.

Horse-drawn caisson transporting President Kennedy’s casket:

As the daughter of a trumpet player I know a thing or two about the challenges brass players face. I was raised around my father’s trumpet talk, daily practices, and the private trumpet lessons he gave in our home. Brass instruments are tough. They’re not for the delicate or the lazy. Cold outdoor air is the enemy. Numb, chapped lips are not helpful when you have to place your mouth on a horn and blow. So Keith Clark had been standing around for hours in the cold that day. On top of that, he was positioned just a few feet from the Old Guard Third U.S. Infantry firing squad who shot three rifle volleys as a farewell. Those loud blasts could not have been good for Clark’s ears. Then it was Sgt. Clark’s turn to complete the military honors for America’s slain President. With millions of eyes and ears on him from around the globe, watching on TV and listening on the radio, he began to play the solo “Taps” on his bugle . . . and cracked the sixth note. (I remember my father and his trumpet player friends calling it a ‘clam’). In a melody as slow and sparse as “Taps”, every note hangs out there conspicuously. So while many listeners might have winced at that sixth note, brass players everywhere, like my father, no doubt felt for the guy, as they could relate all too well.

How would I, or any of us, perform under such pressure? Under less than ideal circumstances, on the darkest day in our country’s history? Keith Clark is not the Bill Buckner of military musicians, famous for one error. Not even close. He was the experienced bugler who stepped up to the gut-wrenching task of committing our murdered President into his grave.

Here is the historic moment. Keith Clark’s “Taps” begins at 2:22:

 

The clammed sixth note has been described as sounding “like a sob”, and therefore deemed fitting for the tragic occasion; Clark’s bugle cracked in sorrow to reflect a sorrowful nation. And that is surely a fine way to think about it. In that Cold War period, when a horrendous act of political violence left an indelible wound in our collective consciousness, and President Kennedy’s optimistic dreams for the new generation to whom the torch had been passed seemed suddenly uncertain, Keith Clark’s poignant rendition of “Taps” should be a source of solace. It was imperfect, yes. But it was beautiful.

Keith Clark died in 2002. You can read his obituary at The New York Times.
And for an excellent, detailed account of Sgt. Keith Clark and the events of that day, and all things “Taps”, go to this article on TapsBugler. Keith Clark’s bugle, a Bach Stradivarius, is on display at Arlington National Cemetery. By the way, if any of you find yourselves in the Washington D.C. area and have never been to Arlington, make a point of visiting. Its serene beauty juxtaposed with its heart-rending reality has a staggering effect I can’t fully describe.

On this Memorial Day weekend, in this Memorial Day-themed Music Monday, we pay tribute to all those who sacrificed their lives – the celebrated ones and the forgotten ones. The ones who faced fear, wrestled with moral choices, and now dwell in eternal rest.

“Finally, whether you are citizens of America or citizens of the world, ask of us here the same high standards of strength and sacrifice which we ask of you. With a good conscience our only sure reward, with history the final judge of our deeds, let us go forth to lead the land we love, asking His blessing and His help, but knowing that here on earth God’s work must truly be our own.”

John F. Kennedy, Inaugural Address
January 20, 1961

Joe’s Violin

We are now in the midst of “awards season”, and for those of us who didn’t get to the movies at all last year, we have no preference to root for “La La Land” or “Manchester by the Sea” or any of the nominated feature films or actors’ performances. But I will have something to root for during the Academy Awards broadcast on February 26th; a nominated film in the Best Documentary Short Subject category. “Joe’s Violin” is an extraordinary story of survival, hope, and music’s capacity to provide comfort during hardship. Directed by Kahane Cooperman, the film tells the story of Joe Feingold, a 91 year-old Holocaust survivor and how he came to form a bond with Brianna Perez, a 12 year-old schoolgirl from the South Bronx.

I am an avid listener of WQXR, New York’s classical music station. For the past couple of years they’ve been organizing an instrument drive, in which people donate used musical instruments to be distributed to music and arts programs at under-resourced schools in the area. Joe Feingold donated a violin to the program – a 70 year-old violin that he came across while living in a displaced persons camp in Germany. He acquired it by trading for a carton of cigarettes. Through the instrument drive, Joe’s violin ended up in the hands of Brianna Perez, who lives in one of the poorest congressional districts in America.

I don’t usually post lengthy videos on the blog, but I’ve made an exception in this case because the story, and the filmmakers’ deeply-felt telling of the story, is poignant and remarkable. If you have 24 minutes to spare, watch the movie in full here, for our Music Monday:

Athena Comes to Town

Hellooooo Museworthy friends! I haven’t forgotten about you or about blogging – never!! I’ve just been – what else? – busily modeling in our fair city, as things are in full swing at our art schools, academies, and life drawing groups. Besides helping me to get my bills paid on time, modeling work has been fortifying me, and restoring me, as it always has.

I’d like to share this short video from The Metropolitan Museum of Art. Anyone who appreciates Hellenistic sculpture will enjoy this. It’s also a superb glimpse at how museums install large marble statues and the diligent process it involves. “Athena Parthenos”, (ca. 170 B.C.), on loan from the Pergamon Museum in Berlin, is now gracing the Great Hall at the Met, greeting visitors as they enter the building, and will remain there until the fall of 2018. Welcome to the Big Apple, Athena. We’re honored to have you 🙂

Hail Jupiter

I hadn’t planned to post a Music Monday this week. Right now it’s 10:30 PM New York time and I’ve decided to squeeze one in just under the wire because of a video I came across on Classic fm, a UK-based classical music site I visit from time to time. In the post, “The awe-inspiring counterpoint in Mozart’s final symphony”, musicologist Richard Atkinson provides an analysis of the symphony’s breathtaking and majestic finale. The symphony, No 41, is known as the “Jupiter” symphony, and it was Mozart’s last and longest. The Jupiter is universally adored and held in the highest esteem as one of the greatest symphonic works ever composed. It’s hard to argue with that status, which is probably why nobody ever does.

I have blogged about Mozart previously. That post touched upon a particular aspect of his genius. The video below illustrates the actual complex workmanship that Mozart employed. Atkinson uses the language of music theory to show us precisely how Mozart achieved the brilliant musical effects he did, with a nuts-and-bolts breakdown. He also uses color coding to highlight the recurrent themes and motifs which I found helpful. Back in my piano studying days my teacher would give me worksheets in music theory, and the more advanced they became the more confused I got! Challenging for mere mortals like me, but simple oxygen for Mozart. But I do love the vocabulary of music theory: counterpoint, intervals, triads.

The Jupiter symphony is a piece that, when you listen to it, you want to shout, “Go Wolfgang, go!! Yeah!!“. Pure joy. Pure uplift. The gleaming musical diamond atop the canon of Western civilization.

I know my fellow classical music geeks will appreciate this. And I also think everyone can enjoy the feeling of underachieving slackerdom and inferiority that comes when exposed to Mozart’s genius. Just kidding! I kid 😉

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For those less inclined to classical music deconstruction, something else from Classic fm – a doodle by Mozart on his music sheet. The lovely lady was his pupil, Barbara Ployer. I wonder if Mozart taught her any counterpoint?

mozarts-manuscript-doodle-1409242332-view-1

Rocking the Stairway

“There’s only so many notes on a f*cking guitar!”. Those are the eloquent words of one Ozzy Osbourne, when asked his opinion about the recent legal victory for Led Zeppelin. As you may have heard, Jimmy Page and Robert Plant were hauled into a Los Angeles courtroom for a plagiarism suit brought by the estate of Randy Wolfe of the American band Spirit. The suit alleged that Led Zeppelin stole from Wolfe the iconic opening guitar chords of Zep’s famous epic song “Stairway to Heaven”As many people predicted, Led Zeppelin was exonerated.

If you crave more of Ozzy’s assessment of this matter go to this Rolling Stone article to read the rest of his profanity-laced interview 😆

Also, I blogged about this topic – Led Zeppelin and their copyright infringement issues – in a Museworthy post from 2014 for anyone who might be interested.

A reminder to everyone that submissions are open for the Museworthy Portraits and Pets art show. I haven’t set a date for the show yet so of course you still have time. But do feel free to send your piece whenever you’re ready. Everyone is welcome to participate! I’m still working on mine 🙂

I’ll be back very soon with another blog post. In the meantime, here is Led Zeppelin, in their prime, performing “Stairway to Heaven” live. Robert Plant is in full “golden god” glory, and Jimmy Page is pure rock and roll. Around 9:52 is my favorite part. For Music Monday: