Category Archives: music

Black Joe Lewis on a 4th Avenue night out

Tucson was good to us last night. Club Congress, beautiful old hotel and bar, old for Tucson anyways, where gangster Dillinger was once chased down and arrested in prohibition days and there once were bullet holes in the wooden paneling of the bar but not any longer and this is not a place that just trades on history, but is full of good music. And still has liquor. Of course.

I’ve seen Justin Townes Earle play here, one of my all time favourites though he was drunker than he should have been that night. But tonight it was Black Joe Lewis and the Honeybears and they were amazing live. My brother said they were, and he didn’t lie. Old time blues with some funk and some Jimi Hendrix, some rawness and some rhythm and dude plays the harmonica as well as guitar and so much energy and two saxes and a trumpet up on stage, and that Joe Lewis born in Tucson and his family all over the place and it meant that crowd was most diverse and I loved Tucson.

Fourth avenue too, full of young beautiful things (but oh, such a relief from the more contoured and sculpted, more predictable beautiful things of LA and London), and us older things, and even some much older folks. All of us out tonight, living life well. We headed to Shay’s after, and then to the R Bar to meet an old friend of my brothers’, dude went to elementary with T and plays soccer with Dan and his family owned the liquor store on 22nd and the freeway–I don’t know how many times we have driven past that liquor store. Now he’s getting his PhD on arid land ecologies and I almost waxed lyrical on Masanobu Fukuoka whose final philosophical manifesto of sowing seeds in the desert I just finished reading. But I didn’t wax too much. He’s a bit out there I guess from some of the the hard science points of view, and this PhD is all data. I think we talked too much about economics, racism and police brutality, but a good night because we were all on the side of the righteous. And there was cider.

Walking down under the bridge and along 4th, behind some cholos walking their walk with their tube socks pulled up and long shorts pulled down and then past some large women wearing very little and damn they were pretty impressive and  you know, you got it flaunt it, and a whole mix of everyone wearing whatever the hell they felt like from long skirts to short skirts, jeans to short shorts to little black dresses to hippy dresses, stupidly high heels and flip flops and cowboy boots, all ages and races and degrees of sobriety and I was pretty happy here in my home town. I realised I been missing cholos walking their walk. Been missing walking too. If only Tucson had a public transportation system that worked well enough to get us the whole way home (or anywhere else we needed to go). But this little piece of this sprawling unsustainable city feels like a real place, it has everything you need to bring different people together, get people walking, talking, meeting. So many people out and about walking and laughing it feels safe, so many different kinds of people it feels vibrant, it feels good. American cities are so segregated and Tucson isn’t that much different (though it’s got nothing on LA), but here everyone was out enjoying themselves. Together.

The planner geographer side of me could tell a lot of that had to do with this old core of an old walkable downtown, its mixed use and cluster of bars and the old Rialto theatre (with Michael Franti playing) and restaurants and taco trucks and the redevelopment of 4th avenue bridge with its purple lights and wide sidewalks and art making it no longer a scary-ass place to walk into so you can get from the vibrance of 4th Ave proper to that awesome strip along Congress and everyone is on the move between them. I like seeing the streetcars too, though I know they were hell of controversial.

Gives you a bit of hope. All except for the clusters of cops on a few of the corners, but they mainly seemed to be breathalizing people before they were anywhere near a car, and there was some laughter and people were talking to them voluntarily (though that confuses me and cops generally make me feel the opposite of safe), so it seems maybe they were just on a mission of prevention. But the crowds just flowed right around them.

A great night with my brother.

Joe Bataan, Legend. In Stockholm.

Joe Bataan playing in Stockholm, no fucking way!

Way.

But when? Not on one of the two nights we’re there, I know it.

Tonight!

Cabron! Tonight?

Yes.

Shall we go?

[Mark, can we go? Shall we go?]

Hell yes.

Chingon!

We walked around, posters everywhere for Swedish bands I don’t know and couldn’t care less about, finally we found Joe:

Joe Bataan in Stockholm

This shit is real. Joe Bataan has meant a whole lot to me over the years, from latin soul to above all boogaloo. I can’t believe I got to see him play in Stockholm.

The email said the concert started at 8 and the doors opened at 9. That was a little confusing. we compromised by showing up around 8:40. We got a little table getting there that early, and a good spot for seeing and dancing.

Joe Bataan in Stockholm

This 19th Century concert hall called Nalen was brilliant, though like everywhere in this puritanical paradise, the drinks were SO goddamn expensive. Finally, late, quite late, I mean the band played three songs before he got there late, but then finally damn. Joe Bataan.

Joe Bataan in Stockholm

He started with the Lord’s prayer, that was somewhat unexpected. Nice though, even to my atheistic self. He played Good Feelings, of course, one of my very favourites:

So much more, Setenta the backing band and they were pretty awesome. I missed the brass section, but the rhythm section was fierce. A little

Encore was Subway Joe.

Joe Bataan in Stockholm

Amazing. Joe Bataan is still amazing at 73, still young (at heart) gifted and brown. He rocked Stockholm.

Also, Mark now knows I will never go back to Georgia. He just doesn’t know why.

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Florence May’s Biography of Brahms

‘How can I most quickly improve?’ I asked him one day later on. ‘You must walk constantly in the forest,’ he answered; and he meant what he said to be taken literally. It was his own favourite prescription that he advised for my application.

Johannes_Brahms_1853Brahms’ became Florence May’s teacher through the recommendation of Clara Schumann, and her well researched biography of him is a lovely read. It is, of course, very much caught up in the romanticism of the time — the more I read of it, like E.T.A. Hoffman’s work and his character Kriesler whom Brahms particularly loved, the clearer it all becomes.

Brahms didn’t like playing very much in front of people, especially his own work. May begs him to and he finally did — she describes it and thus gives us a lovely picture of her time with him that you can almost enter:

I never listen to it [string Sextet in B flat] without being carried back in thought to the gardener’s house on the slope of the Caecilienberg where, in my blue-papered, carpetless little room, Brahms sat at the piano and played it to me. The scent of flowers was borne in through the open lattice-windows, of which the green outside sun shutters were closed on one side of the room to keep out the blazing August sun, and open on another to views of the beautiful scenery.

He especially loved Schubert. Me too.

Perhaps one of the things I enjoyed most about May’s biography is how much insight it gives not just into the hopeful romanticism of the period, but also into their approaches to music. I played a little in my youth, but don’t really understand much of this and similar passages discussing the technical aspects of the work, or if we would still consider it true. Regardless, I am fascinated by them, especially in listening to Brahms’ music now:

He had always been extremely careful, when selecting music for me to work at, to choose what would develop my technical power without straining my hands, and when I had wished to study something of his had answered that his compositions were unfit for me for the present, as they required too much physical strength and grasp. He fancied, indeed, at that time that nearly all of them were beyond a woman’s strength. When I asked why it was that he composed only such enormously difficult things for the pianoforte, he said they came to him naturally, and he could not compose otherwise (‘Ich kann nicht anders’).

Years later they meet again, and she relates to him her continuing efforts to play his music regardless of difficulty:

I told him I had lately been getting up the same B flat Concerto which he had played at the time, and had performed it in London before a private audience. He was interested in hearing the particulars of the occasion, and when I said, laughingly, that the fatigue entailed by the practice of its enormous difficulties had given me all sorts of aches and pains, and made it necessary for me to go into the country for change of air after the performance was over, he replied in the same vein: ‘But that is very dangerous; one must not compose such things. It is too dangerous!’

It is, of course, funny to me to think of a single piece being so difficult for a privileged musician that they have to retire to the country after playing it. But still, I find this understanding of music’s power and its toll on the body fascinating.

Johannes Brahms was the son of Jacob Brahms — an impoverished guild musician, whose own career in contrast to that of his son offers some insight into the difference between everyday musical cultures and high culture, and the many links between guild musicians and age-old folk melodies and new music hall tunes, standing in very distinct contrast to high classical standards and the classical compositions demanded by royalty and high society.

There existed, not far from his home, a representative of the old ‘Stadt Pfeifereien,’ establishments descended directly from the musicians’ guilds of the Middle Ages, whose traditions lingered on in the rural districts of Germany for some time after the original institutions had become extinct. The ‘Stadt Pfeiferei’ was recognised as the official musical establishment of its neighbourhood, and was presided over by the town-musician, who retained certain ancient privileges. He held a monopoly for providing the music for all open-air festivities in the villages, hamlets, and small townships within his district, and formed his band or bands from apprenticed pupils, who paid a trifling sum of money, often helped with their manual labour in the work of his house and the cultivation of his garden or farm, and, in return, lived with him as part of his family and received musical instruction from himself and his assistants. At the termination of their apprenticeship he provided his scholars with indentures of character and efficiency, according to desert, and dismissed them to follow their fortunes. Country lads with ambition, who desired to see something of the world, or to attain a better position than that of a peasant or journeyman, would persuade their parents to place them in one of these establishments. They were expected to acquire a practical knowledge of several instruments, so as to be able to take part upon either as occasion might demand, and the bands thus formed were available for all local functions.

And here we have the Hamburg of Jacob Brahms, one long ago lost to us but some of which Florence May could still see and experience:

It is not easy to imagine the feelings of this youth of nineteen or twenty on his arrival, fresh from the simple life of the Ditmarsh peasants, in the great commercial fortress-city, still the old Hamburg of the day, with its harbour and shipping and busy river scenes; its walls and city gates, locked at sunset; its water-ways and bridges; its churches and exchange; its tall, gabled houses; its dim, tortuous alleys. Refined ease and sordid revelry were well represented there; the one might be contemplated on the pleasant, shady Jungfernstieg, the fashionable promenade where rich merchants and fine ladies and gay officers sat and sipped punch or coffee, wine or lemonade, served to them by the nimble waiters of the Alster Pavilion, the high-class refreshment-house on the lake hard by; the other, in the so-called Hamburger Berg, the sailors’ quarter, abounding in booths and shows, small public-houses, and noisy dancing-saloons, in which scenes of low-life gaiety were regularly enacted. Johann Jakob Brahms was destined to appear, in the course of his career as a musician, in both localities. He made his debut in the latter.

An aside, I quite love how she compares this to East London:

Thrown entirely on his own resources, with a mere pittance in his pocket for immediate needs, he had to pick up a bare existence, as best he could, in the courtyards and dancing-saloons of the Hamburg Wapping.

The street where Brahms was born is also long gone, so it is wonderful to have such a description of it, along with an old photograph.

The house in which Johannes Brahms was born still stands as it was seventy years ago, and is now known as 60, Speckstrasse. The street itself, which has since been changed and widened, was then Speck-lane, and formed part of the Gaenge-Viertel, the ‘Lane-quarter’ of the old Hamburg. Want of space within the city walls had led to the construction of rows of houses along a number of lanes adjacent to one another, which had once been public thoroughfares through gardens. A neighbourhood of very dark and narrow streets was thus formed, for the houses were tall and gabled, and arranged to hold several families. They were generally built of brick, loam, and wood, and were thrown up with the object of packing as many human beings as possible into a given area. The Lane-quarter exists no longer, but many of the old houses remain, and some are well kept and picturesque to the eye of the passer-by. Not so 60, Speckstrasse. This house does not form part of the main street, but stands as it did in 1833, in a small dismal court behind, which is entered through a close passage, and was formerly called Schlueter’s-court.  It would be impossible for the most imaginative person, on arriving at this spot, to indulge in any of the picturesque fancies supposed to be appropriate to a poet’s birthplace; the house and its surroundings testify only to the commonplace reality of a bare and repulsive poverty. A steep wooden staircase in the centre, closed in at night by gates, leads right and left, directly from the court, to the various stories of the building. Each of its habitations is planned exactly as every other, excepting that those near the top are contracted by the sloping roof. Jakob and Johanna lived in the first-floor dwelling to the left on facing the house. On entering it, it is difficult to repress a shiver of bewilderment and dismay. The staircase door opens on to a diminutive space, half kitchen, half lobby, where some cooking may be done and a child’s bed made up, and which has a second door leading to the living-room. This communicates with the sleeping-closet, which has its own window, but is so tiny it can scarcely be called a room. There is nothing else, neither corner nor cupboard. Where Jakob kept his instruments and how he managed to practise are mysteries which the ordinary mind cannot satisfactorily penetrate, but it is probable that his easy-going temperament helped him over these and other difficulties, and that he was fairly content with his lot. If Johanna took life a little more hardly, it is certain that husband and wife resembled each other in their affection for the children, and that the strong tie of love which bound the renowned composer of after-years to father and mother alike, had its earliest beginning in the fondness and pride which attended his cradle in the obscure abode in Schlueter’s-court.

No. 60 Speckstrasse, Hamburg.
No. 60 Speckstrasse, Hamburg.

Coming from this background, Brahms was able to acheive all he did with the help of his father and the musicians guild, who not only taught him, but also raised funds so that he could be more classically trained.

The upshot of these things was that, a few months after the interview with Marxsen, a private subscription concert was arranged ‘for the benefit of the further musical education’ of Johannes, which took place in the assembly-room of the Zum Alten Rabe, a first-class refreshment-house, long since pulled down, that stood in its own pleasure-garden near the Dammthor. The programme included a Mozart quartet for pianoforte and strings, Beethoven’s quintet for pianoforte and wind, and some pianoforte solos, amongst them a bravura piece by Herz, the execution of which, by the youthful concert-giver, seems to have caused immense sensation in the circle of his admiring friends.

And so the door begin to open just a little. One of the other lovely features of May’s book is a glimpse into the lives and views and battles of Brahms’ contemporaries, beginning with Brahms’ first teacher, Marxsen:

To us, who belong to a generation that has been educated on the purist principles first made widely acceptable by Mendelssohn’s influence and since popularized by the genius of a few famous executants, with Clara Schumann, Rubinstein, and Joachim at their head, it is difficult to realize the revolution that has taken place in the general condition of musical art since the days when Marxsen, three years Mendelssohn’s senior, was young. Many things were then accepted and admired in Vienna, in Berlin, in Leipzig, in London, which would now be regarded as impossible atrocities. Marxsen was capable of setting the Kreutzer Sonata for full orchestra, but this is hardly so surprising as that the Leipzig authorities should have produced the arrangement at one of the Gewandhaus concerts, or that Schumann should have mentioned it indulgently, on whatever grounds, in the Neue Zeitschrift fuer Musik.

I love that May also gives the kind of teaching Brahms obtained under Marxsen, the musical traditions he was taught:

it may be said that as a teacher of free composition, and especially of the art of building up the forms which may be studied in the works of Haydn, Mozart, and Beethoven, he was great—the more so that he did not educate his pupils merely by setting them to imitate the outward shape of classical models. He began by teaching them to form a texture, by training them radically in the art of developing a theme. Taking a phrase or a figure from one or other of the great masters, he would desire the pupil to exhibit the same idea in every imaginable variety of form, and would make him persevere in this exercise until he had gained facility in perceiving the possibilities lying in a given subject, and ingenuity in presenting them. Pursuing the same method with material of the pupil’s own invention, he aimed at bringing him to feel, as by intuition, whether a musical subject were or were not suitable for whatever immediate purpose might be in view. [150]

‘Teaching them to form a texture…’ I quite love seeing music like that. Under Marxsen’s tutelage he gave his first public concert, and May is delightful enough to not just give the playlist, but her commentary.

It was on September 21 that Johannes made his fresh start in life by giving a concert of his own, thus presenting himself to his circle as a musician who was now to stand on an independent footing. It took place in the familiar room of the ‘Old Raven,’ ‘Herr Honnef’s Hall,’ with the assistance of Marxsen’s friends, Madame and Fraeulein Cornet, and some instrumentalists of Hamburg. The price of tickets was one mark (about a shilling), and the programme, as printed in the Hamburger Nachrichten of the 20th, was as follows:

FIRST PART.

1. Adagio and rondo from Rosenhain’s Concerto in A major for Piano, performed by the concert-giver.

2. Duet from Mozart’s ‘Figaro,’ sung by Mad. and Fraeul. Cornet.

3. Variations for Violin, by Artot, performed by Herr Risch.

4. ‘Das Schwabenmaedchen,’ Lied, sung by Mad. Cornet.

5. Fantasia on Themes from Rossini’s ‘Tell,’ for Piano, by Doehler, performed by the concert-giver.

SECOND PART.

6. Introduction and Variations for Clarinet, by Herzog, performed by Herr Glade.

7. Aria from Mozart’s ‘Figaro,’ sung by Frl. Cornet.

8. Fantasia for Violoncello, composed and performed by Herr
d’Arien.

9. a) ‘Der Tanz’ } Lieder, sung by Mad.
b) ‘Der Fischer auf dem Meer’ } Cornet.

10. a) Fugue by Sebastian Bach
b) Serenade for left hand only, by E. Marxsen
c) Etude by Herz, performed by the concert-giver.

Unattractive as it now seems, this selection of pieces was no doubt made with a view to the taste of the day, and the inclusion of a single Bach fugue was probably a rather daring concession to that of the concert-giver and his teacher.

Bach’s Fugue as a concession, not as a crowd pleaser! That’s interesting. But emerging thus as a ‘professional’ musician was not enough to climb out of poverty, instead he entered into the hard narrow life of a low-level musician:

The four or five years immediately succeeding his formal entry into life were, perhaps, the darkest of Brahms’ career. Money had to be earned, and the young Bach-Mozart-Beethoven enthusiast earned it by giving wretchedly-paid lessons to pupils who lacked both talent and wish to learn, and by his night drudgery amid the sordid surroundings of the Hamburg dancing-saloons.

A little more about his poverty as he remembered it:

We have read in Widmann’s pages of the spirit in which the great composer, a few years before his death, recalled these passages of his struggling youth:

‘He could not, he said, wish that it had been less rough and austere. He had certainly earned his first money by arranging marches and dances for garden orchestras, or orchestral music for the piano, but it gave him pleasure even now, when he came across one of these anonymously circulating pieces, to think that he had devoted faithful labour and all the knowledge at his command, to such hireling’s work. He did not even regard as useless experience that he had often had to accompany wretched singers or to play dance music in Lokals, whilst he was longing for the quiet morning hours during which he should be able to write down his own thoughts. “The prettiest songs came to me as I blacked my boots before daybreak.”‘

It was partly luck that changed his circumstances, a meeting with Hungarian refugee Edward Reményi — the commentary from such a time on the influx of refugees is itself fascinating in its parallels with today:

It happened as a natural consequence of the political revolution which took place early in the year 1848 in Germany and Austria, that, during the year or two following its speedy termination, there was an influx into Hamburg and its neighbourhood of refugees on their way to America. Conspicuous among them were a number of Hungarians of various sorts and degrees, who found such sympathetic welcome in the rich, free merchant-city that they were in no hurry to leave it. Some of them remained there for many months on one pretext or another, and amongst these was the violinist Edward Reményi, a German-Hungarian Jew whose real name was Hoffmann. (92 – 93)

Particularly in migrants’ shifting relationship with authority.

The violinist had connections of his own in the neighbourhood. Begas, a Hungarian magnate, had settled down into a large villa at Dehensen, on the Lüneburg Heath, that had been placed at his disposal for as long a time as he should find it possible to elude or cajole the police authorities, and kept open house for his compatriots and their friends. To his circle Brahms was introduced, and much visiting ensued between Dehensen and Winsen, for one or two musicians staying with Begas were pleased to come and make music with Reményi and Johannes, and to partake of the Giesemanns’ hospitality. (93)

It was to be Reményi, refugee that he was, who would make it possible for Brahms to gain introduction to those who would champion his talent and make it possible for him to find the time and space to perfect his skill and compose music.

No doubt Brahms’ heart beat fast when he left home on this his first quest of adventure, and probably not the least ardent of his anticipations was that of making the personal acquaintance of the celebrated violinist whose first appearance in Hamburg at the Philharmonic concert of March 11, 1848, with Beethoven’s Concerto, remained vividly in his remembrance as one of the few great musical events of his own life. (96)

On to more of the politics of the German music world!

The musical world of Leipzig, the city raised by the leadership of Mendelssohn to be the recognised capital of classical art, had become split after the death of the master in November, 1847, into two factions, both without an active head. The Schumannites, whilst receiving no encouragement from the great composer whose art they championed, decried Mendelssohn as a pedant and a phrase-maker, who, having nothing particular to say, had covered his lack of meaning by facility of workmanship. The Mendelssohnians, on the other hand, declared Schumann to be wanting in mastery of form, and perceived in his works a tendency to subordinate the objective, to the subjective, side of musical art. The division soon spread beyond Leipzig throughout Germany, and, in the course of years, to England, with the result that Mendelssohn, once a popular idol, is now rarely represented in a concert programme.

Meanwhile Franz Liszt, perhaps the greatest pianoforte executant of all times, and one of the most magnetic personalities of his own, had exchanged his brilliant career of virtuoso for the position of conductor of the orchestra of the Weimar court theatre, with the avowed noble purpose of bringing to a hearing such works of genius as had little chance of being performed elsewhere. He declared himself the advocate of the ‘New-German’ school, and, making active propaganda for the creeds of Hector Berlioz and Richard Wagner, succeeded in attracting to his standard some of the most talented of the younger generation of artists, amongst whom Joachim, Raff, and the gifted and generous Hans von Bülow, were some of the first converts. There were, therefore, three different schools of serious musical thought in the year 1853, each of which boasted numerous and distinguished adherents.(100- 101)

A world where youth was catapulted into fame as prodigy, like Joseph Joachim, student of Mendelssohn and friends with Liszt, who was to become one of Brahms’ greatest friends and champions:

The loss of Mendelssohn left him, at the age of sixteen, lonely and disconsolate, in spite of his being himself already a distinguished personality and a universal favourite. (103)

Brahms and Joachim, 1855.
Brahms and Joachim, 1855.

Brahms in fact meets Liszt in this first halcyon trip along the Rhine where it seems as the whole world opens up to him. Apparently this first meeting is famous and they didn’t get along. But did Brahms nod off? It didn’t really matter, he was a hit, and from there he would only move up from recognition to recognition.

Why I love him? Because he never forgot where he was from:

He certainly touched Joachim’s heart by his loving talk of Hamburg, rich in proud traditions, and not without art memories of its own, associated with the great names of Klopstock and Lessing, of Telemann and Keiser, of Handel and Mattheson and Emanuel Bach.

Upon his return after this trip where fame first touched him, he began a tradition:

As to Johannes himself, the feelings he had not been able to describe in his letter to Schumann were probably strong enough within his heart to touch the joy of the first home embraces with a gravity that did not immediately admit of speech. The first emotions over, however, an exuberant mirthfulness asserted itself in the bearing of the happy young fellow. He established at this time a custom from which he never afterwards departed. The first visit paid by him after his arrival was to Marxsen. One to the Cossels soon followed, and, on this occasion of his return from a first real absence, he went the round of several Lokals, where he had been accustomed to work regularly, and in his lightness of heart flourished on some of the instruments that had been the sign of his bondage, in very joy at his emancipation. (143-144)

Brahms was to become deeply involved with, and indeed practically part of Schumann’s household, taking care of his wife and family after he committed himself to a mental asylum. In a book written at this time, you can see the helplessness in the face of unknown and terrifying mental illness:

Schumann was already in an advanced stage of the disease which, technically described under different learned names, according to its many varieties, is known to the layman as softening of the brain. (196)

We haven’t many better words for Schumann’s illness today, but he died within three years. After this, Brahms gained employment for a petty German prince (see his mockery of high society here, again following in the footsteps of Johannes Kreisler). Volume 1 ends after he has resigned his post and is getting ready to leave for Vienna. May writes of his leave-taking:

‘Father,’ said Brahms, looking slyly at his father as he said good-bye, ‘if things should be going badly with you, music is always the best consolation; go and study my old “Saul”—you will find comfort there.’

He had thickly interlarded the volume with bank-notes. [281]

She ends with a summary in terms of his music, just how much Brahms had accomplished over this period of his life. Now to find evenings when I can sit and listen:

It is highly interesting to possess a clear conception of Brahms’ achievements as a composer, and, therewith, of his exact title to consideration at this important moment of his career. This will be best obtained by a glance at the list[Pg 281] of the chief completed works with which he was to present himself in the city associated with the most hallowed memories of his art. His departure for Vienna is by no means to be regarded as coincident with the close of any one period of his creative activity, though it emphatically marks the end, not only of a chapter, but of the first book of his life.

List of Brahms’ Chief Completed Works on his Departure for Vienna.

Pianoforte Solos:
Three Sonatas.
Scherzo.
Variations on Schumann’s theme in F sharp minor.
Variations on an original theme.
Variations on a Hungarian song.
Variations and Fugue on Handel’s theme.
Pianoforte Duet: Variations on a theme by Schumann.
Pianoforte with Orchestra: Concerto in D minor.

Orchestral: Two Serenades.

Chamber music:
Sextet in B flat for Strings.
Trio in B major for Pianoforte and Strings.
Quartet in G minor ” ” ” ”
Quartet in A major ” ” ” ”

Songs:
Five books (thirty songs).
‘Magelone Romances’ (first six).
Vocal Duets: two books.
Three Vocal Quartets.
Women’s Chorus:
‘Ave Maria.’
Part-songs.
Mixed Chorus:
Begräbnissgesang.
Marienlieder.
The 13th Psalm.
Motets.
Sacred Song.

The newly-finished String Quintet is not included in the list, as the work was not published in this its first form. The Hungarian Dances, as being arrangements, are also omitted.

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Romantic Genius in Johannes Kreisler and Brahms

Our visit to Hamburg inspired a little extra reading — I started with a life of Johannes Brahms by one of his students, Florence May. It is a wonderful biography giving a real taste of how both the man and his music were seen in his own time (and its blinkers of course). I found this:

…his best encouragement must have been derived from his own sense of his artistic progress. This was advancing by enormous strides, the exact measure of which is furnished by the manuscript of the Sonata in F sharp minor now in the possession of Hofcapellmeister Albert Dietrich. It bears the signature ‘Kreisler jun.,’ a pseudonym adopted by Brahms out of love for the capellmeister Johannes Kreisler, hero of one of Hoffmann’s tales, and the date November, 1852.

Hoffmann's Life and Opinions of Tomcat MurrE.T.A. Hoffman wrote three novels about the musician and Kapellmeister Kreisler: Kreisleriana (1813), Johannes Kreisler, des Kapellmeisters Musikalische Leiden (1815), and The Life and Opinions of the Tomcat Murr together with a fragmentary Biography of Kapellmeister Johannes Kreisler on Random Sheets of Waste Paper (1822).

Looking for more information I found that Schumann had actually written a piece he called Kreisleriana for piano, op. 16 (1838), and that Brahms had more than once used Johannes Kreisler as a pseudonym. It is also Schumann who really launched Brahms’ career, and rather fascinating that they shared a love for this fantastical figure in common. So after finishing the biography I read The Life and Opinions of the Tomcat Murr, with much enjoyment. I thought I might write about them in reverse order really, because the romantic vision of what a musician should be is so interesting, and plays such a role in the Brahms saw himself, as well as in the way he was received in a rather horribly snobbish society despite his origins.

Helene von Vesque, after meeting Brahms for the first time during his introduction to society, would write:

We had plenty of points in common: Joachim, the Wehners, our mutual favourite poets, Jean Paul and Eichendorf, and his, Hoffmann and Schiller…. He vehemently urged me to read “Kabale and Liebe” and the “Serapionsbrüder,” but above all Hoffmann’s musical novels, of which he spoke with real enthusiasm. “I spend all my money on books; books are my greatest pleasure. I have read as much as I possibly could since I was quite little, and have made my way without guidance from the worst to the best.”

Perhaps I so loved the biography because I quite loved Brahms himself. But on to some of Hoffman’s establishment of Johannes Kreisler as the romantic ideal:

Johannes KreislerThe stranger, a man about thirty years old, was dressed in black and in the height of fashion. There was nothing at all odd or unusual in his clothing, and yet his appearance did have something singular and eccentric about it. In spite of the cleanliness of his garments, a certain negligence was apparent, seeming to stem less from carelessness than from the fact that the stranger had been obliged to go along a path he had not expected to take, and for which his clothes were ill-suited.

This was quite brilliant, and so recognizable from descriptions of Byron down to the romantic regency novels of Georgette Heyer passed from my grandmother to my mother to me.

He is utterly committed to his music, through it he awakens deep passions that often frighten a shallow, aristocratic audience, and though he is capable of deep love it is to remain platonic:

For a true music-maker carries the lady of his choice in his heart, desiring nothing but to sing, write or paint in her honor, and may be compared to the chivalrous knights of old in their exquisite courtesy — indeed, he is to be preferred to them in point of innocence of mind, since he does not conduct himself like those knights who, in their bloodthirsty manner, would strike down the most admirable folk in homage to the ladies of their hearts…

‘No,’ cried the Princess, as if waking from a dream, ‘no, it is impossible for such a pure vestal fire to be kindled in the breast of a man!…’

In Brahm’s own early life there is little of physical romance or love (or none, though in this kind of biography you can’t be sure) — though it is believed he was passionately in love with Clara Schumann, a brilliant pianist in her own right and wife to composer Robert Schumann. After Robert committed himself to a mental asylum, Brahms and the small circle of musicians around Schumann cared for Clara and the family (Clara had just delivered his eighth child! It was a different time…). Brahms actually moved into the same building and devoted several years of his life to them as Robert Schumann’s condition steadily degenerated.

Quite beautiful, really.

Before all this though, as a youth first meeting Schumann and being introduced to society, he inspires them as representing this ideal, this kind of pure artist. (there is also some delightful gossip on musical circles):

Von Sahr was the first person in Leipzig to make Brahms’ acquaintance, and, on the day after his arrival, insisted that he should leave his hotel to become his guest. He introduced him to Mendelssohn’s old friend, the celebrated concertmeister, David; to Julius Rietz, conductor of the Gewandhaus concerts; to the personal acquaintance of Dr. Härtel; to Wieck and his daughter Marie (Frau Schumann’s father and sister); to Ernst Ferdinand Wenzel, one of Schumann’s special friends; to Julius Otto Grimm, a young musician whose room was on the same staircase as his own, and who soon became numbered amongst Johannes’ particular chums; and, generally speaking, to the entire Leipzig circle.

‘He is perfect!’ he exclaims in a letter to Albert; ‘the days since he has been here are amongst the most delightful in my recollection. He answers so exactly to my idea of an artist. And as a man!—But enough, you know him better than I do…. Unfortunately, he can only stay till Friday. He has, however, promised, and I think he will keep his promise, to come again soon.’ (135)

Returning to Helene von Vesque:

The extracts from her diaries and letters contained in Helene von Vesque’s book include several of interest to musical readers. Of young Brahms she says:

‘Yesterday Herr von Sahr brought me a young man who held in his hand a letter from Joachim. He sat down opposite me, this young hero of the day, this young messiah of Schumann’s, fair, delicate-looking, who, at twenty, has clearly-cut features free from all passion. Purity, innocence, naturalness, power, and depth—this indicates his being. One is so inclined to think him ridiculous and to judge him harshly on account of Schumann’s prophecy; but all is forgotten; one only loves and admires him.

 Johannes Brahms (1833-1897), pencil drawing (1853), by Jean-Joseph Bonaventure Laurens

Johannes Brahms (1833-1897), pencil drawing (1853), by Jean-Joseph Bonaventure Laurens

From Schloenbach’s ‘open letter’:

We listened now to the young Brahms from Hamburg, referred to the other day in Schumann’s article in your journal. The article had, as you know, awakened mistrust in numerous circles (perhaps in many cases only from fear). At all events it had created a very difficult situation for the young man, for its justification required the fulfilment of great demands; and when the slender, fair youth appeared, so deficient in presence, so shy, so modest, his voice still in transitional falsetto, few could have suspected the genius that had already created so rich a world in this young nature. Berlioz had, however, already discovered in his profile a striking likeness to Schiller, and conjectured his possession of a kindred virgin soul, and when the young genius unfolded his wings, when, with extraordinary facility, with inward and outward energy, he presented his scherzo, flashing, rushing, sparkling; when, afterwards, his andante swelled towards us in intimate, mournful tones, we all felt: Yes, here is a true genius, and Schumann was right; and when Berlioz, deeply moved, embraced the young man and pressed him to his heart, then, dear friend, I felt myself affected by such a sacred tremour of enthusiasm as I have seldom experienced…. If you should smile now and then whilst reading my letter, remember that it is the poet who has spoken, and that it was yourself who invited him to do so.

‘Leipzig,
‘December 5, 1853.’ [139-140]

The other aspect of Johannes Kreisler is his disrespect for rank and money. Hoffman’s book opens on a most hilarious scene that involves the painful humiliation of much of the small court because the Prince had requested an impossible spectacle for a party in the woods, and his courtiers were too afraid to betray the knowledge that everything was going wrong.

Kreisler’s first meeting with the princess goes badly, as she feels insulted by him. He is unrepentant later, talking to an old acquaintance:

‘By no means,’ replied Kreisler, ‘any more than a little princess walking in her good Papa’s open park can be forgiven for trying to impress a respectable stranger with her small person.’

He mocks the roles that talented musicians are forced to play in a feudal world that in fact tames if not destroys their talents:

‘Oh, dear lady, you have no idea how I’ve profited by my appointment as Kapellmeister, and above all I have become wonderfully convinced of the value of artists’ going into service in due form, wince otherwise those proud, unruly folk might stand comparison with the Devil and his grandmother. Make the worthy composer Kapellmeister or Music Director, appoint the poet Court Poet, make the painter Court Portraitist, the sculptor Court Sculptor, and you’ll soon have no more useless fantastical fellows in the land, you’ll have nothing but useful citizens of good breeding and mild manners!’

This is actually just one long book of mockery of the aristocracy (and through the cat’s tales, of the romantic ideals in general). Here the Prince describes another Prince who asked everyone in his court to play the recorder:

It is appropriate for persons of high degree to be prey to strange notions; it increases respect. What might be called absurd in a man without rank or station is, in such persons, merely the pleasing whim of a mind out of the common run, and will rouse astonishment and admiration.

May loves and respects Brahms, but does note that he was often unhappy and uncomfortable in high society, that people often found him rude, rarely understood his jokes and pranks and sense of humour. This reveals more than anything, I think, that not all the class barriers ever came tumbling down, despite his talent and the power of the time’s romantic idealism.

Of course, I also love that he didn’t really care to fit into this society.

Brahms spent three years as Kapellmeister in a small principality at Detmold, rather similar in fact to that described by Hoffman, as well as the post Kreisler himself rejected. May writes:

Brahms found himself more than ever in request amongst the general circle of Detmold society during the autumn of 1859. He had become the fashion. It was the thing to have lessons from him, and his presence gave distinction to a gathering. The very circumstance of his popularity, however, caused some friction between himself and his acquaintances. He disliked to waste his time, as he considered it, in mere society, and, when occasionally induced to attend a party against his will, gave his hosts cause to regret their pertinacity. If not silent the whole evening, he would amuse himself by exercising his talent for caustic speech. Carl von Meysenbug, when at home, jealous for his friend’s credit, often called Johannes privately to account for his perversity, but was always silenced by the unanswerable reply, ‘Bah! that is all humbug!’ (Pimpkram). (244)

The opportunities for mockery remain the same for Brahms as they were for Hoffman:

His lessons to the Princess, who was really musical and made rapid progress, continued to give him genuine pleasure, but he chafed at the constant demands on his time arising from his fixed duties, and the rigid etiquette observed at the Court of a very small capital gave him a distaste for his work as conductor of the choral society. The circle of Serene Highnesses, Excellencies, and their friends, did not furnish sufficient voices for the adequate rendering of two or three oratorios and cantatas by Handel and Bach which he selected for practice during his second and third seasons; and, with Prince Leopold’s permission, he supplemented them by persuading some of the towns-people to become members. His sense of the ridiculous was strongly excited by the rules of conduct prescribed for these not very willing assistants, who were not even permitted to make an obeisance to the Serenities, and scarcely ventured to lift their eyes from the music whilst in their august presence. There were some good performances of great works, however, and Bach’s cantata ‘Ich hatte viel Bekümmerniss’ was given four times; but the difficulty of procuring tenors continued serious, and the entire circumstances of the meetings made Brahms feel increasing desire to be relieved from the necessity of attending them. (245)

Transcending class barriers, commitment to art, fine clothing and romantic ideals, mockery of wealth and power — there is a lot to enjoy here. I’ll just end with a final delightful quote from Hoffman:

What a fine time that was after the French Revolution, when marquises were making sealing-wax, and counts were netting lace nightcaps and claiming to be nothing but plain Monsieurs, and the great masquerade was such fun!

Justin Townes Earle and Cory Younts

Came to LA again, played at Spaceland this time. And I see them every time they come, and I am always blown away.

Always. They’re just getting better and better in fact, though I’d have a hard time saying whether their latest album “Midnight at the Movies” or “Yuma” is my favourite. And I love “The Good Life” as well. The latest is less country I’d say, more folk, but we all know the distinction is a stupid one imposed by commercial interests, the tradition is the same one, and Woodie Guthrie, Hank Williams Senior, Steve Earle and Townes van Zandt and… the list goes on really, they all transcend definitions. I love them, and as young as he is, Justin can be added to the list on his own merit and not on the strength of a name given him at birth. He adds a new greatness to the decades of tradition, and I don’t think there is a higher compliment I could give anyone. His song lyrics are incredible, I love the deeply personal nature, the beauty of so many of them. And the good times, and the good food, his own flaws and the bad women. And the good ole working class traditions of  work and struggle. And you can sing them in the shower, which to me is one of the ultimate tests of a good song.

Well when John Henry died, he lay lookin’ at the sun
He said Lord take me now my work is done, Lord, Lord
Lord, take me now my work is done
Yeah, but when they laid him out in that box of pine, boy
They laid that hammer by his side, Lord, Lord
laid that hammer by his side

Yeah Joe Hill, he worked any job he could find, boy
He’d rake your leaves, and pick your vine, Lord, Lord
Rake your leaves, and pick your vine
Yeah and they killed Joe Hill, put a bullet to his name
But that bullet made a martyr of the same, Lord, Lord
that bullet made a martyr of the same

Yeah, and my grandaddy worked his whole damn life, well
He never saved a nickle though he tried, Lord, Lord
Never saved a nickle though he tried
And he died in Tennessee but he couldn’t find no rest,
With that long road to Texas lyin’ ahead, Lord Lord,
that long road to Texas lyin’ ahead

So I ain’t no brave man, And Lord I expect to lead
A long life a’workin’ and you’re dead, Lord Lord
A long life a’workin’ and you’re dead
They killed John Henry, they killed John Henry
They killed John Henry, but they won’t kill me, Lord
They killed John Henry, they killed John Henry
They killed John Henry, but they won’t kill me.

And his favourite Van Zandt songs? Mr. Gold and Mr. Mudd, and Rex’s Blues, mine too, though I’d throw Dollar Bill Blues in there. And there’s a cover of him playing his Daddy’s Tom Ame’s Prayer…another of my favourites. And they did a Replacement’s cover, Can’t Hardly Wait…I love this song. And the Woody Guthrie song they always play, I Don’t Care…funny, it’s just funny. And explains why I love everything he writes. All the man needs are liner notes, then some of the hipsters who attended last night’s concert would find out who Townes, Woody Guthrie, Joe Hill and John Henry actually were.

Cory Younts is fucking incredible as well, the mandolin, the banjo, the harmonica…the man is a quick picking master, lyrical and gorgeous one minute, and then the best train you’ve ever heard, he can make your heart stop its beating. I almost prefer just the two of them together to the more orchestrated tracks on the albums, but then a CD can never speak to what it means to see someone play live. Go see them play. And buy their music here, more of it will go to the band and less to evil Amazon or itunes…

Frank Fairfield opened for them, and he was great too, he made me happy…like stepping back in time really, way back. And I couldn’t believe I was in L.A. The old school fiddle playing, banjo, guitar, the quaver in the voice, the shabby grey suit, the old Carter Family songs and pure death and desolation. There’s just something about him…you can hear him here, but contact him, stay up on where he’s playing, anything else? I’m afraid not…

Justin Townes Earle

I saw him play again at the Echo, and as before, I have to say he was brilliant, he and Corey. Just the two of them up on stage and it made me happy. To watch someone give of themselves so much on stage, and the joy in the music, and incredible musicianship…I don’t think I have words for it really. Their own songs are incredible, Yuma, and One Pine Hill, and the song to Woodie Guthrie, I don’t know where I’m going, oh lord, I don’t know, and I don’t care, their two songs about trains and I love them both even more than I love trains, and I couldn’t say better than that. And they played Bill Monroe and Lightnin’ Hopkins and Mr. Gold and Mr. Mudd by Townes van Zandt. And I knew almost no one there knew who those people were. Nor did they know Joe Hill or understand who killed John Henry. I know who killed John Henry, they are still killing people every day, a long slow death it is now, and no one seems to know why or care.

I can see the darkness fall
Like the rain against the wind blows
And I can see your memory
Like a dream outside my window
Even though I know you’re gone
I don’t have to have to be alone now
You’re here with me every night when I
turn out my lights

And it’s the same old blues comin’ round again
Everytime I close my eyes
Callin’ me like a long lost friend when I
Turn out my lights

And once again the audience was …er…funny. Or in other words shite. Too much talking once again. We had Bill and Ted to our right, chatting loudly through the songs, the use of the word totally was totally out of line and if anyone needed a slapping it was them. I had even thought one of them cute earlier in the evening. Until he opened his mouth, I hate it when a guy opens his mouth and destroys all of your illusions, but it always happens so I spose I should just resign myself. More surfers to our left, and then two of the group moved in front of us, and a flipflopped blond guy in front of us kept turning around to give the thumbs up sign to his mate in back. The mate kept yelling out fuck yeah Justin. They reminded me of the Glaswegians watching Andy Murray and getting totally into it without understanding it at all. And the girl in the red dress in front, she was funny and I enjoyed watching her. She enjoyed watching the crowd as well.

But they were brilliant, I am sure one day they shall be playing packed stadiums and I shall remember the echo, where I saw them in a tiny crowd rocking the mandolin and the guitar and the harmonica…

Seeing the Pogues live at the Wiltern Theatre

I fucking love the Pogues!  I have loved them since always and will love them forever and even if Shane MacGowan is a wreck who looks like he was hit by a truck, even if he looks twice as old as he should and has no teeth, even if he was drunk off his arse and frankly painful to watch between songs, even so…when he stood up in front of the mic with his cigarrette lit and sending blue clouds of smoke curling round him, the backlighting obscuring all faults and setting a golden halo through his unbrushed hair, his voice as gravelly and powerful as always and the band sounding fucking fantastic, well, I struggle to find words, there simply aren’t any.

Hommage done, on to the rest of the evening.  It was at the Wiltern, this cool old Art Deco theatre on Wilshire…some advice if you go and are in the back floor section, make sure you are either right in front or in back and whatever you do, do not stand directly under the edge of the balcony because cups full of various alcoholic beverages came plumetting over from time to time…we were right in front and I had a perfect view – the high heels helped with that cause they make me almost 6 feet tall though I pity the folks behind me and my poor feet at the end of an evening…

I went with Bev, who is both totally punk rock and eminently practical, I suppose the only explanation of such mad inconsistency is that she’s Canadian, and the fact that both of her parents are from Newfoundland explains even more.  She couldn’t quite get over how old all of them looked so didn’t enjoy it as much as I did…I was sad too but more cause I think it’s a damn shame that rock stars can’t age while in all other kinds of music age just means you’re that much better.  Look at the blues, I don’t think you can even take a blues singer seriously if they’re under 30 or even 40, and all the greats are these old men and women roaring into the microphone with every year of hard living and heartache sounding in every fiber of their voice.  Still, Mr. MacGowan was in eminent danger of strangling himself with the microphone cord, or possibly giving himself a black eye, as he swang it around his head during the instrumental bit of the Turkish Song of the Damned…and he was knocking the mic stand over and attempting to catch it rather in the way you would do if you were drunk and trying to prove you weren’t quite as drunk as everyone thought and yes, he did  knock the whole thing over more than once and yes, he was drunk of his arse and yes, I did find it a bit sad.  But as I said before, who could care because when he was singing it was magical…second encore was a rainy night in soho, and people tried to hold their lighters up but security went rushing about to put them out, that was amusing.  Third encore was fairytale in New York, dunno who the chick was singing but all this white confetti came down as they danced at the end.  The woman next to me was hilarious after it was over, imagine the broad California valley accent, and exact words were “Oh my God!  That was fucking amazing!  Oh my God, yes! yes! yes!  That was fucking amazing, Oh my God!  Yes! Yes! YES!”  and so on and so on, she was clearly having a “when harry met sally” moment.  Bit embarassing to listen to.

One of the best parts of the evening though, was Ollin opening!  They are a fantastic but still not well known homegrown East Los band, and turns out they were playing a gig and the Pogues were there and actually invited them to open the last night in LA, what an incredible break for them!  Last I’d seen them was a good while ago, and Bev last saw them in an Inglewood bowling alley…they were even better than I remembered  though the crowd could have been more excited for them…it was not exactly the punk ska cumbia xicano crowd I suppose, but Ollin brought out all these tunes half Irish and half mexican and played in honour of the San Patricios…They came up on stage with the Pogues during the last song, I have never seen such frenetic happiness!  They were even racing their fucking harp back and forth behind the band, and their honorary Boyle Heights Irish band member fell down on stage and threw his shoe up in the air and everyone was hitting themselves in the head with these silver trays and then throwing the bent remnants out into the crowd…insanity and a perfect ending to an incredible evening!