Thursday, March 31, 2011
The Dionysus in Shostakovich
This opera, Lady Macbeth of the Mtsensk District, offers one possibility of Dionysian-inspired tragedy in the 20th Century. I am partial to the audio version conducted by famed cellist Mstislav Rostropovich, and I find the visual interpretation here quite strange. Yet, this is a remarkable musical work that deserves a little attention.
Wagner on Masterpiece Theater
In case anyone is interested, Wagner is featured as the theme in this week's Masterpiece Mystery! Inspector Lewis: Music to Die For (2008) ;)
Thursday, March 17, 2011
Wednesday, March 16, 2011
A Case of Tannhauser
This clip reveals, I think, the magnetiseur and melancholia that Nietzsche finds in Wagner. I would like to highlight the segment (5:59-8:13 min) that accompanies the second quotation. You will find here a rare moment (7:06 min), when the weight of the overture falls on just two violins in the principal circle. The velvet-gloved clarinet softly transitions the orchestra into a quiet slumber, almost inducing an inebriated haze that coats the upper-register trills in the strings sections. The concertmaster plays a lazy, shut-eyed melody while the assistant concertmaster industriously urges a resistance to sleep, an earnest undercurrent, a refusal that becomes increasingly futile when the clarinet returns with his saccharine and seductive mournful call. We hear a duo become trio, but melodically, the clarinet as counter-point seems to pull the violin into a dripping lethargy. Enjoy.
0:00-3:07 min: "Once more: Wagner is admirable and gracious only in the invention of what is smallest, in spinning out the details. Here one is entirely justified in proclaiming him a master of the first rank, as our greatest miniaturist in music who crowds into the smallest space an infinity of sense and sweetness. His wealth of colors, of half shadows, of the secrecies of dying light spoils one to such an extent that afterwards almost all other musicians seem to robust" (Section 7, pp. 171, 1967 Kaufmann translation).
5:59-8:13 min:"But quite apart from the magnetiseur and fresco-painter Wagner, there is another Wagner who lays aside small gems: our greatest melancholiac in music, full of glances, tendernesses, and comforting words in which nobody has anticipated him, the master in tones of heavy-hearted and drowsy happiness" (Section 7, pp. 171, 1967 Kaufmann translation).
More Vertigo
Essentially I am posting this because I can't get images or the emotional affect of Vertigo out of my head while listening to Tristan and Isolde. However, I am also posting this clip from the film as a response to our discussion on Tuesday as to whether from our contemporary positionality with can emotionally connect to opera in the way that Nietzsche did. I was hoping that by posting this it would give people another avenue by which to experience the music, although I recognize for those who have not seen the film it will still be difficult to connect to it based on a single clip.
But, oh well.
I don't want to give an entire plot synopsis of the film because it is rather complicated, but in this moment Scottie (James Stewart) is anxiously awaiting the return of Judy (Kim Novak) whom he is trying to transform into the woman, Madeleine, that he was deeply and obsessively in love with during her life and in her death. Judy, wanting to capture Scottie's love has agreed to perform these illusive and imitative transformations. For me the heart wrenching moment is when she comes out of the bathroom, with the music soaring and the spectral hazy green illumination, we see her yearning desire to be loved and then the ecstasy when she realizes she has fulfilled Scottie's desires for a masked reality.
Tuesday, March 15, 2011
Monday, March 14, 2011
Summary of Bizet Carmen
The Story of Carmen, Act I
In a town square in Seville, soldiers and townspeople are gathered chatting and moving about, when a young peasant girl name Micaela questions the soldiers about her love, Don Jose. The soldiers try to persuade the young girl to stay with them until Don Jose returns, but she declines and leaves. Soon, Don Jose arrives moments before the cigarette factory bell rings and a group of women, including the beautiful gypsy, Carmen, exit the building. The soldiers flirt with the girls and asks Carmen when when she will love them. Her reply is given in the famous aria, "L'amour est un oiseau rebella" a.k.a. the Habanera. (Can't understand French? Read the Habanera lyrics and translation). (Watch a video of the Habanera.) Learn more about the creation of the Habanera in this Habanera Profile. When Carmen sees Don Jose she tosses a flower in front of him in order to seduce him. Don Jose picks up the flower and becomes enchanted by the beautiful Carmen. Shortly thereafter, Micaela returns with a letter and a kiss sent to Don Jose by his mother. In the letter, Don Jose's mother has asked him to marry Micaela. Don Jose promises his fidelity and love to Micaela. Moments later, a fight breaks out at the cigarette factory between Carmen and another woman. Carmen injures the woman before she is captured by Officer Zuniga. Zuniga commands Don Jose to escort Carmen to prison. However, Carmen charms Don Jose into letting her escape. When Don Jose is discovered for letting Carmen escape, he is thrown into jail for one month's time.
The Story of Carmen, Act II
At Lilas Pastia's Inn, Carmen and her friends, Mercedes and Frasquita, are socializing with several soldiers including Officer Zuniga, when the victorious bullfighter, Escamillo, arrives with a celebrating entourage. During the Toreador song, "Votre toast, je peux vos le rendre", Escamilo attempts to capture Carmen's heart. (Watch a video of "Votre toast" (Toreador Song).) Learn the Toreador Song lyrics and text translation. However, his attempts are unsuccessful, as are Officer Zuniga's, who tells Carmen that he will return to the inn later to meet with her - Carmen's heart waits for Don Jose's release from prison. A while later, once the crowd has dispersed, the smugglers Dancairo and Remendado ask for help from Carmen and her two friends. Mercedes and Frasquita agree to help, but Carmen refuses as she knows that Don Jose will be released from prison that day and meet her at the inn. When he finally arrives, Carmen dances for him. Her dance is cut short when a bugle sounds in the distance, signaling Don Jose to return home. Carmen mocks his obedience and tries to persuade him to remain with her and live the gypsy life. Don Jose does not give in until Zuniga arrives at the inn searching for Carmen. Zuniga orders Don Jose to leave, but in a fit of jealousy, he defies his commanders orders. Dancairo and Remendado tackle Zuniga and take him away from the inn. After all of this, Don Jose, feeling as if he has no other choice, stays at the inn with Carmen.
The Story of Carmen, Act III
Don Jose, now at the smuggler's hideout in the mountains, begins to reminisce about his former home and his mother and starts missing them dearly. Carmen, who has decided she no longer loves him, takes notice and starts taunting him to leave, but he does not. Mercedes and Frasquita tell their fortunes with a deck of cards. For the two girls, the cards reveal a life of wealth, love, and luxury. For Carmen and Don Jose, it reveals death. After discussing their plains, the smugglers and the girls leave, while Don Jose watches over the hideout. Soon, Micaela, assisted by a guide, comes to the mountain hideout and hides behind a mound of rocks when she hears a gunshot fired by Escamillo. Escamillo enters the hideout and begins telling Don Jose about his crush on Carmen. He also tells Don Jose about Carmen's relationship with a soldier, not knowing the story is about Don Jose. Don Jose becomes very angry and starts fighting Escamillo. The smugglers return before the fight gets worse. Escamillo invites Carmen and the others to his upcoming bullfight as he leaves the hideout. Micaela finally emerges from her hiding spot, and tries to convince Don Jose to return home during the aria "Je dis, que rien ne m'épouvante". (Watch a video of "Je dis".) After several unsuccessful attempts, she finally persuades him to leave by telling him his beloved mother is dying. Don Jose promises his return to Carmen and leaves with Micaela. In the distance, Escamillo can be heard singing, and Carmen begins heading in that direction.
The Story of Carmen, Act IV
During the procession of the toreadors, Carmen and Escamillo are seen arriving together. Mercedes and Frasquita warn Carmen that Don Jose is lurking around the crowd plotting to kill her. She tells them that she will speak to him to resolve the matter once and for all. While Escamillo enters the bullfighting ring, a desperate Don Jose meets Carmen outside the arena. He tells her she must commit her love and fidelity to him. She explains that she no longer loves him and throws the ring he gave her on the ground. Now completely mad, Don Jose stabs Carmen in the heart with a dagger. She dies simultaneously with Escamillo's bullfighting victory. When the arena empties, Don Jose confesses his crime to the crowd. (Watch a video of the final scene from Carmen.)
In a town square in Seville, soldiers and townspeople are gathered chatting and moving about, when a young peasant girl name Micaela questions the soldiers about her love, Don Jose. The soldiers try to persuade the young girl to stay with them until Don Jose returns, but she declines and leaves. Soon, Don Jose arrives moments before the cigarette factory bell rings and a group of women, including the beautiful gypsy, Carmen, exit the building. The soldiers flirt with the girls and asks Carmen when when she will love them. Her reply is given in the famous aria, "L'amour est un oiseau rebella" a.k.a. the Habanera. (Can't understand French? Read the Habanera lyrics and translation). (Watch a video of the Habanera.) Learn more about the creation of the Habanera in this Habanera Profile. When Carmen sees Don Jose she tosses a flower in front of him in order to seduce him. Don Jose picks up the flower and becomes enchanted by the beautiful Carmen. Shortly thereafter, Micaela returns with a letter and a kiss sent to Don Jose by his mother. In the letter, Don Jose's mother has asked him to marry Micaela. Don Jose promises his fidelity and love to Micaela. Moments later, a fight breaks out at the cigarette factory between Carmen and another woman. Carmen injures the woman before she is captured by Officer Zuniga. Zuniga commands Don Jose to escort Carmen to prison. However, Carmen charms Don Jose into letting her escape. When Don Jose is discovered for letting Carmen escape, he is thrown into jail for one month's time.
The Story of Carmen, Act II
At Lilas Pastia's Inn, Carmen and her friends, Mercedes and Frasquita, are socializing with several soldiers including Officer Zuniga, when the victorious bullfighter, Escamillo, arrives with a celebrating entourage. During the Toreador song, "Votre toast, je peux vos le rendre", Escamilo attempts to capture Carmen's heart. (Watch a video of "Votre toast" (Toreador Song).) Learn the Toreador Song lyrics and text translation. However, his attempts are unsuccessful, as are Officer Zuniga's, who tells Carmen that he will return to the inn later to meet with her - Carmen's heart waits for Don Jose's release from prison. A while later, once the crowd has dispersed, the smugglers Dancairo and Remendado ask for help from Carmen and her two friends. Mercedes and Frasquita agree to help, but Carmen refuses as she knows that Don Jose will be released from prison that day and meet her at the inn. When he finally arrives, Carmen dances for him. Her dance is cut short when a bugle sounds in the distance, signaling Don Jose to return home. Carmen mocks his obedience and tries to persuade him to remain with her and live the gypsy life. Don Jose does not give in until Zuniga arrives at the inn searching for Carmen. Zuniga orders Don Jose to leave, but in a fit of jealousy, he defies his commanders orders. Dancairo and Remendado tackle Zuniga and take him away from the inn. After all of this, Don Jose, feeling as if he has no other choice, stays at the inn with Carmen.
The Story of Carmen, Act III
Don Jose, now at the smuggler's hideout in the mountains, begins to reminisce about his former home and his mother and starts missing them dearly. Carmen, who has decided she no longer loves him, takes notice and starts taunting him to leave, but he does not. Mercedes and Frasquita tell their fortunes with a deck of cards. For the two girls, the cards reveal a life of wealth, love, and luxury. For Carmen and Don Jose, it reveals death. After discussing their plains, the smugglers and the girls leave, while Don Jose watches over the hideout. Soon, Micaela, assisted by a guide, comes to the mountain hideout and hides behind a mound of rocks when she hears a gunshot fired by Escamillo. Escamillo enters the hideout and begins telling Don Jose about his crush on Carmen. He also tells Don Jose about Carmen's relationship with a soldier, not knowing the story is about Don Jose. Don Jose becomes very angry and starts fighting Escamillo. The smugglers return before the fight gets worse. Escamillo invites Carmen and the others to his upcoming bullfight as he leaves the hideout. Micaela finally emerges from her hiding spot, and tries to convince Don Jose to return home during the aria "Je dis, que rien ne m'épouvante". (Watch a video of "Je dis".) After several unsuccessful attempts, she finally persuades him to leave by telling him his beloved mother is dying. Don Jose promises his return to Carmen and leaves with Micaela. In the distance, Escamillo can be heard singing, and Carmen begins heading in that direction.
The Story of Carmen, Act IV
During the procession of the toreadors, Carmen and Escamillo are seen arriving together. Mercedes and Frasquita warn Carmen that Don Jose is lurking around the crowd plotting to kill her. She tells them that she will speak to him to resolve the matter once and for all. While Escamillo enters the bullfighting ring, a desperate Don Jose meets Carmen outside the arena. He tells her she must commit her love and fidelity to him. She explains that she no longer loves him and throws the ring he gave her on the ground. Now completely mad, Don Jose stabs Carmen in the heart with a dagger. She dies simultaneously with Escamillo's bullfighting victory. When the arena empties, Don Jose confesses his crime to the crowd. (Watch a video of the final scene from Carmen.)
Saturday, March 12, 2011
Summary of Tristan und Isolde
Act 1
"Isolde, promised to King Marke in marriage, and her handmaid, Brangäne, are quartered aboard Tristan’s ship being transported to the king's lands in Cornwall. The opera opens with the voice of a young sailor singing of a “wild Irish maid,” ("West-wärts schweift der Blick") which Isolde construes to be a mocking reference to herself. In a furious outburst, she wishes the seas to rise up and sink the ship, killing all on board ("Erwache mir wieder, kühne Gewalt"). Her scorn and rage are directed particularly at Tristan, the knight responsible for taking her to Marke, and Isolde sends Brangäne to command Tristan to appear before her ("Befehlen liess' dem Eigenholde"). Tristan, however, refuses Brangäne's request, claiming that his place is at the helm. His henchman, Kurwenal, answers more brusquely, saying that Isolde is in no position to command Tristan and reminds Brangäne that Isolde’s previous fiancé, Morold, was killed by Tristan ("Herr Morold zog zu Meere her.")
Brangäne returns to Isolde to relate these events, and Isolde, in what is termed the "narrative and curse", sadly tells her of how, following the death of Morold, she happened upon a stranger who called himself Tantris. Tantris was found mortally wounded in a barge ("von einem Kahn, der klein und arm"), Isolde used her healing powers to restore him to health. She discovered during Tantris' recovery, however, that he was actually Tristan, the murderer of her fiancé. Isolde attempted to kill the man with his own sword as he lay helpless before her. However, Tristan looked not at the sword that would kill him or the hand that wielded the sword, but into her eyes ("Er sah' mir in die Augen"). His action pierced her heart and she was unable to slay him. Tristan was allowed to leave with the promise never to come back, but he later returned with the intention of marrying Isolde to his uncle, King Marke. Isolde, furious at Tristan’s betrayal, insists that he drink atonement to her, and from her medicine-chest produces a vial to make the drink. Brangäne is shocked to see that it is a lethal poison.
Kurwenal appears in the women’s quarters ("Auf auf! Ihr Frauen!") and announces that the voyage is coming to an end, Isolde warns Kurwenal that she will not appear before the King if Tristan does not come before her as she had previously ordered and drink atonement to her. When Tristan arrives, Isolde reproaches him about his conduct and tells him that he owes her his life and how his actions have undermined her honor, since she blessed Morold's weapons before battle and therefore she swore revenge. Tristan first offers his sword but Isolde refuses, they must drink atonement. Brangäne brings in the potion that will seal their pardon, Tristan knows that it may kill him, since he knows Isolde's magic powers ("Wohl kenn' ich Irland's Königin"). The journey is almost at its end, Tristan drinks and Isolde takes half the potion for herself. The potion seems to work but it does not bring death but relentless love ("Tristan! Isolde!"). Kurwenal, who announces the imminent arrival on board of King Marke, interrupts their rapture. Isolde asks Brangäne which potion she prepared and Brangäne replies, as the sailors hail the arrival of King Marke, that it was not poison, but rather a love potion.
Act 2
King Marke leads a hunting party out into the night, leaving the castle empty save for Isolde and Brangäne, who stand beside a burning brazier. Isolde, listening to the hunting horns, believes several times that the hunting party is far enough away to warrant the extinguishing of the brazier—the prearranged signal for Tristan to join her ("Nicht Hörnerschall tönt so hold"). Brangäne warns Isolde that Melot, one of King Marke’s knights, has seen the amorous looks exchanged between Tristan and Isolde and suspects their passion ("Ein Einz'ger war's, ich achtet' es wohl"). Isolde, however, believes Melot to be Tristan’s most loyal friend, and, in a frenzy of desire, extinguishes the flames. Brangäne retires to the ramparts to keep watch as Tristan arrives.
The lovers, at last alone and freed from the constraints of courtly life, declare their passion for each other. Tristan decries the realm of daylight which is false, unreal, and keeps them apart. It is only in night, he claims, that they can truly be together and only in the long night of death can they be eternally united ("O sink' hernieder, Nacht der Liebe"). During their long tryst, Brangäne calls a warning several times that the night is ending ("Einsam wachend in der Nacht"), but her cries fall upon deaf ears. The day breaks in on the lovers as Melot leads King Marke and his men to find Tristan and Isolde in each other's arms. Marke is heart-broken, not only because of his nephew's betrayal but also because Melot chose to betray his friend Tristan to Marke and because of Isolde's betrayal as well ("Mir - dies? Dies, Tristan - mir?").
When questioned, Tristan says he cannot answer to the King the reason of his betrayal since he would not understand, he turns to Isolde, who agrees to follow him again into the realm of night. Tristan denounces that Melot has fallen in love with Isolde too. Melot and Tristan fight, but, at the crucial moment, Tristan throws his sword aside and allows Melot to severely wound him.
Act 3
Kurwenal has brought Tristan home to his castle at Kareol in Brittany. A shepherd pipes a mournful tune and asks if Tristan is awake. Kurwenal replies that only Isolde’s arrival can save Tristan, and the shepherd offers to keep watch and claims that he will pipe a joyful tune to mark the arrival of any ship. Tristan awakes ("Die alte Weise - was weckt sie mich?") and laments his fate — to be, once again, in the false realm of daylight, once more driven by unceasing unquenchable yearning ("Wo ich erwacht' Weilt ich nicht"). Tristan's sorrow ends when Kurwenal tells him that Isolde is on her way. Tristan, overjoyed, asks if her ship is in sight, but only a sorrowful tune from the shepherd’s pipe is heard.
Tristan relapses and recalls that the shepherd’s mournful tune is the same as was played when he was told of the deaths of his father and mother ("Muss ich dich so versteh'n, du alte, ernst Weise"). He rails once again against his desires and against the fateful love-potion ("verflucht sei, furchbarer Trank!") until, exhausted, he collapses in delirium. After his collapse, the shepherd is heard piping the arrival of Isolde’s ship, and, as Kurwenal rushes to meet her, Tristan tears the bandages from his wounds in his excitement ("Hahei! Mein Blut, lustig nun fliesse!"). As Isolde arrives at his side, Tristan dies with her name on his lips.
Isolde collapses beside her deceased lover just as the appearance of another ship is announced. Kurwenal spies Melot, Marke and Brangäne arriving ("Tod und Hölle! Alles zur Hand!"), he believes they have come to kill Tristan and, in an attempt to avenge him, furiously attacks Melot. Marke tries to stop the fight to no avail. Both Melot and Kurwenal are killed in the fight. Marke and Brangäne finally reach Tristan and Isolde. Marke, grieving over the body of his “truest friend”, explains that Brangäne revealed the secret of the love-potion and has come not to part the lovers, but to unite them ("Warum Isolde, warum mir das?"). Isolde appears to wake at this and in a final aria describing her vision of Tristan risen again (the “Liebestod”, "love death"), dies ("Mild und leise wie er lächelt")."
Courtesy of Wikipedia
"Isolde, promised to King Marke in marriage, and her handmaid, Brangäne, are quartered aboard Tristan’s ship being transported to the king's lands in Cornwall. The opera opens with the voice of a young sailor singing of a “wild Irish maid,” ("West-wärts schweift der Blick") which Isolde construes to be a mocking reference to herself. In a furious outburst, she wishes the seas to rise up and sink the ship, killing all on board ("Erwache mir wieder, kühne Gewalt"). Her scorn and rage are directed particularly at Tristan, the knight responsible for taking her to Marke, and Isolde sends Brangäne to command Tristan to appear before her ("Befehlen liess' dem Eigenholde"). Tristan, however, refuses Brangäne's request, claiming that his place is at the helm. His henchman, Kurwenal, answers more brusquely, saying that Isolde is in no position to command Tristan and reminds Brangäne that Isolde’s previous fiancé, Morold, was killed by Tristan ("Herr Morold zog zu Meere her.")
Brangäne returns to Isolde to relate these events, and Isolde, in what is termed the "narrative and curse", sadly tells her of how, following the death of Morold, she happened upon a stranger who called himself Tantris. Tantris was found mortally wounded in a barge ("von einem Kahn, der klein und arm"), Isolde used her healing powers to restore him to health. She discovered during Tantris' recovery, however, that he was actually Tristan, the murderer of her fiancé. Isolde attempted to kill the man with his own sword as he lay helpless before her. However, Tristan looked not at the sword that would kill him or the hand that wielded the sword, but into her eyes ("Er sah' mir in die Augen"). His action pierced her heart and she was unable to slay him. Tristan was allowed to leave with the promise never to come back, but he later returned with the intention of marrying Isolde to his uncle, King Marke. Isolde, furious at Tristan’s betrayal, insists that he drink atonement to her, and from her medicine-chest produces a vial to make the drink. Brangäne is shocked to see that it is a lethal poison.
Kurwenal appears in the women’s quarters ("Auf auf! Ihr Frauen!") and announces that the voyage is coming to an end, Isolde warns Kurwenal that she will not appear before the King if Tristan does not come before her as she had previously ordered and drink atonement to her. When Tristan arrives, Isolde reproaches him about his conduct and tells him that he owes her his life and how his actions have undermined her honor, since she blessed Morold's weapons before battle and therefore she swore revenge. Tristan first offers his sword but Isolde refuses, they must drink atonement. Brangäne brings in the potion that will seal their pardon, Tristan knows that it may kill him, since he knows Isolde's magic powers ("Wohl kenn' ich Irland's Königin"). The journey is almost at its end, Tristan drinks and Isolde takes half the potion for herself. The potion seems to work but it does not bring death but relentless love ("Tristan! Isolde!"). Kurwenal, who announces the imminent arrival on board of King Marke, interrupts their rapture. Isolde asks Brangäne which potion she prepared and Brangäne replies, as the sailors hail the arrival of King Marke, that it was not poison, but rather a love potion.
Act 2
King Marke leads a hunting party out into the night, leaving the castle empty save for Isolde and Brangäne, who stand beside a burning brazier. Isolde, listening to the hunting horns, believes several times that the hunting party is far enough away to warrant the extinguishing of the brazier—the prearranged signal for Tristan to join her ("Nicht Hörnerschall tönt so hold"). Brangäne warns Isolde that Melot, one of King Marke’s knights, has seen the amorous looks exchanged between Tristan and Isolde and suspects their passion ("Ein Einz'ger war's, ich achtet' es wohl"). Isolde, however, believes Melot to be Tristan’s most loyal friend, and, in a frenzy of desire, extinguishes the flames. Brangäne retires to the ramparts to keep watch as Tristan arrives.
The lovers, at last alone and freed from the constraints of courtly life, declare their passion for each other. Tristan decries the realm of daylight which is false, unreal, and keeps them apart. It is only in night, he claims, that they can truly be together and only in the long night of death can they be eternally united ("O sink' hernieder, Nacht der Liebe"). During their long tryst, Brangäne calls a warning several times that the night is ending ("Einsam wachend in der Nacht"), but her cries fall upon deaf ears. The day breaks in on the lovers as Melot leads King Marke and his men to find Tristan and Isolde in each other's arms. Marke is heart-broken, not only because of his nephew's betrayal but also because Melot chose to betray his friend Tristan to Marke and because of Isolde's betrayal as well ("Mir - dies? Dies, Tristan - mir?").
When questioned, Tristan says he cannot answer to the King the reason of his betrayal since he would not understand, he turns to Isolde, who agrees to follow him again into the realm of night. Tristan denounces that Melot has fallen in love with Isolde too. Melot and Tristan fight, but, at the crucial moment, Tristan throws his sword aside and allows Melot to severely wound him.
Act 3
Kurwenal has brought Tristan home to his castle at Kareol in Brittany. A shepherd pipes a mournful tune and asks if Tristan is awake. Kurwenal replies that only Isolde’s arrival can save Tristan, and the shepherd offers to keep watch and claims that he will pipe a joyful tune to mark the arrival of any ship. Tristan awakes ("Die alte Weise - was weckt sie mich?") and laments his fate — to be, once again, in the false realm of daylight, once more driven by unceasing unquenchable yearning ("Wo ich erwacht' Weilt ich nicht"). Tristan's sorrow ends when Kurwenal tells him that Isolde is on her way. Tristan, overjoyed, asks if her ship is in sight, but only a sorrowful tune from the shepherd’s pipe is heard.
Tristan relapses and recalls that the shepherd’s mournful tune is the same as was played when he was told of the deaths of his father and mother ("Muss ich dich so versteh'n, du alte, ernst Weise"). He rails once again against his desires and against the fateful love-potion ("verflucht sei, furchbarer Trank!") until, exhausted, he collapses in delirium. After his collapse, the shepherd is heard piping the arrival of Isolde’s ship, and, as Kurwenal rushes to meet her, Tristan tears the bandages from his wounds in his excitement ("Hahei! Mein Blut, lustig nun fliesse!"). As Isolde arrives at his side, Tristan dies with her name on his lips.
Isolde collapses beside her deceased lover just as the appearance of another ship is announced. Kurwenal spies Melot, Marke and Brangäne arriving ("Tod und Hölle! Alles zur Hand!"), he believes they have come to kill Tristan and, in an attempt to avenge him, furiously attacks Melot. Marke tries to stop the fight to no avail. Both Melot and Kurwenal are killed in the fight. Marke and Brangäne finally reach Tristan and Isolde. Marke, grieving over the body of his “truest friend”, explains that Brangäne revealed the secret of the love-potion and has come not to part the lovers, but to unite them ("Warum Isolde, warum mir das?"). Isolde appears to wake at this and in a final aria describing her vision of Tristan risen again (the “Liebestod”, "love death"), dies ("Mild und leise wie er lächelt")."
Courtesy of Wikipedia
Friday, March 11, 2011
Bob Dylan Masters of War
Masters of War 4:32 Bob Dylan The Freewheelin' Bob Dylan Rock
Listen to it on BSPACE.
Listen to it on BSPACE.
Wednesday, March 9, 2011
Another example where this is similar in its elements but differs in its emphasis might be the track "No Regrets," by Aesop Rock. There is an inverse effect from the lyric as Apollonic, poetic / folksy, and the other playing the maddening & vigorous repetitive consortium of sounds instrumentalized to support the verse's content progression (this might be visually resembled by a gothic chapel tower lain horizontally along a city block, with the steeple in tact, progressively elevating from the ground beneath which real estate prices skyrocket and urban demographers scratch their heads in passing). Schopenhauer might disagree with these selections being regarded as music altogether, considering they may lack a certain purity and also appear ephemeral in the scope of contemporary culture.
As for what these selections do possess, according to my reading of Nietzsche, I would venture to posit as being tragic. For a fun example in which the spirit of the dyonesiac is elevated through the original composition above being drug toward effacement (and possibly acceptably Schopenhauery) check out this cover / acoustic rendition of the second selection (only for the daringest souls) below.
Sunday, March 6, 2011
Bob Dylan - Most Likely You'll Go Your Way
I found this great Dylan video that I thought would be perfect to share. It's clearly a retrospective time-line of Dylan, and a few things came to mind: One, at 0:47, there's a shot of a newspaper in the trash, showing a sub-headline that reads "Dylan Goes Electric," while the main headline is about the troops in the Vietnam War. I thought this was clever, specifically because of Dylan's intentional omission of the war from his music, and how he came to be associated with the anti-war movement; two, this whole video speaks to the question of authenticity -- because, is it even Dylan in the video? We never see his face. Also, the lyrics of the song--Most Likely You'll Go Your Way-- are so much about Dylan questioning some unnamed person's loyalty; interesting, after Greil mentioned the extreme hatred people felt towards Dylan for betraying the folk tradition. In the video, as Dylan walks through the different decades and trends, the statement seems to be that he has has clearly stood the test of time, regardless of the judgment. At the end of the video (3:18), two soldiers run through the shot, and Dylan ignores them, bringing the whole thing full circle. It's a great video and song.
Thursday, March 3, 2011
Wednesday, March 2, 2011
Protest Music Post 9/11
During our class discussion about protest music that came out after 9/11, this song by P!nk came to mind.
What also came to mind, however, was how many people were vilified for protesting the war. For example, the Dixie Chicks came under fire after Natalie Maines made the simple comment that as a Texan, she was embarrassed Bush was from Texas. A media onslaught took the quote and ran with it causing the group a lot of financial damage until Maines was actually forced to apologize for her comment.
Several months later comedian Dave Chapelle made a joke about the matter commenting how he wanted to protest the war, with the punchline, "but f*** that! If they'll do that to three white women, they'll tear my black a** apart!" While Chapelle is not a singer, his somewhat quasi-reverence for the power held by the media to villify anti-war sentiments is rather interesting and brings out an important point about music and its popularity. His joke is not about any protester, but about a pop-singing protesters being excommunicated from the social privilege of fame and stardom. Granted one might argue the Dixie Chicks don't have the same popularity as "bubblegum-pop" like Britney Spears, Christina Aguilera, etc. but they certainly are (were) more popular than most other protest singers outside of more mainstream music (i.e. Tom Waits, Pete Seeger, and so on).
It seems this kind of backlash speaks to the power of music. By attempting to suppress protest music, pro-war conservatives (more specifically conservative media) demonstrate a kind of fear of it and its potential power within the public sphere. Perhaps a factor in Dylan's ability to stay within the popular public sphere during the '60s was by not explicitly addressing the Vietnam war.
Greil Marcus on Music as a Social Fact and Listening
From "One Step Back" New York Times 19 January 1998
"Because so much money is at stake, pop music seems to be about careers. But beneath the surface, perhaps on the level where the money is actually made, pop music is really about a social fact. At any moment, anyone might have something to say that the whole country, even the whole world, might want to hear, and maybe only one such thing. The ruling values of pop music might seems to be situated in the accumulation of fame and riches. They might be found in the way a song can turn your day around and then disappear.
A singer reaches you with a song. He or she has no responsibility to reach you with another one, and you have no responsibility to respond if he or she tries. Heard or overhead, a song--on the radio, in a bar, hummed by someone standing next to you in line--diverts you from the path your day has taken. For an instant, it changes you. But you can forget about it as surely as you may feel shadowed until you hear it again.
Or, rather, you may try to forget about it. You may not be allowed to. A hit song you don't like is an oppressive mystery.....What was Jakob Dylan doing dully offering "One Headlight" until spring turned into fall? It was like watching someone do a jigsaw puzzle with four pieces, over and over again. As omnipresent hit singles go, "One Headlight" was too flat to be more than a mild headache, and of course you could change the station. " (p.217)
"Because so much money is at stake, pop music seems to be about careers. But beneath the surface, perhaps on the level where the money is actually made, pop music is really about a social fact. At any moment, anyone might have something to say that the whole country, even the whole world, might want to hear, and maybe only one such thing. The ruling values of pop music might seems to be situated in the accumulation of fame and riches. They might be found in the way a song can turn your day around and then disappear.
A singer reaches you with a song. He or she has no responsibility to reach you with another one, and you have no responsibility to respond if he or she tries. Heard or overhead, a song--on the radio, in a bar, hummed by someone standing next to you in line--diverts you from the path your day has taken. For an instant, it changes you. But you can forget about it as surely as you may feel shadowed until you hear it again.
Or, rather, you may try to forget about it. You may not be allowed to. A hit song you don't like is an oppressive mystery.....What was Jakob Dylan doing dully offering "One Headlight" until spring turned into fall? It was like watching someone do a jigsaw puzzle with four pieces, over and over again. As omnipresent hit singles go, "One Headlight" was too flat to be more than a mild headache, and of course you could change the station. " (p.217)
Tuesday, March 1, 2011
The Will and Knowledge of Patrick Flynn
I know my obsession with hardcore, specifically Have Heart, is most likely exasperating by now, but I just can't help myself. It speaks to me; truly, what more is there to say about music?
The title of this post is also the title of my essay (Patrick Flynn is the vocalist of Have Heart), and the song "Brotherly Love" is the subject of discussion between Schopenhauer and Levitin.
I hope you find something close to what I do when I hear this song...
"O brother, you leave me like blood from a vein."
Music Speaks Louder Than Words: Interpreting the Language of Music in Schopenhauer's "On the Inner Nature of Art"
Here is a live recording of the Peter, Paul and Mary song I refer to in the beginning of my essay, and indeed, the inspiration for its title.
For the first essay question we've been given I chose to write on the first prompt, the dialogue about a musical work. The piece I chose is called Knee Play III (video above), and it's one of the interludes between the acts of the opera by Philip Glass called Einstein on the Beach.
I thought it would be interesting to consider a Schopenhauerian view of the opera which was not negative, but positive (or at the very least neutral). The second philospher I utilized is Jerrold Levinson considering his views in, "What a Musical Work is". Although I'm not sure I exactly tackled the Platonic dialogue, some of the main points I discussed were subject matter of the opera, a Schopenhauerian view on Levinson's "pure sound structures", the opera's use of solfege syllables, and it's relation to the mass as a "better" form of music.
Also as a sidenote, I think the video portion accompanying the piece is somewhat interesting, but not strictly related to the opera itself.
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