When Musicians Get Crabby

This will be hilarious to anyone who's ever despaired about the lack of complexity in pop music (some minorly offensive language starting around 4:00):



Three reasons Rob Parvonian is hilarious:

1) His name is Rob, so obviously he's cool.

2) He plays the same guitar game as my Rob: start with a standard rock progression and see how many pop songs you can sing to it.  Infinitely amusing.

3) He's Armenian.  Again, automatically cool.

Thanks, Lauren, for alerting me!

A Tip for Musicians in Paris

Sorry for the long silence, everyone – we went away for the weekend and came back to find our Internet service had stopped working.  Troubleshooting with multiple phone companies is exactly the barrel of laughs you might have expected.  Cavalier, in particular, has lived up to its name with depressing irony.  So my next few posts are leftovers that never got published before the Great Internet Debacle . . .

For a music teacher, I live a remarkably music-free life.  Aside from the hours I spend in instruction and performance in my studio and church, I rarely listen or play much on my own.  I’m not sure why.  I think it began after I moved back home from New York; I found I had heard enough noise there to last through a very  extended silence, and I didn’t miss music even on long car trips and at home by myself.  Over the years I came to enjoy it again, but my laziness usually wins out: it takes effort, even the smallest sort, to put something on while I’m otherwise occupied.

[Aside: The other thing is that, as a visual learner, I cannot abide clutter in any form, and music feels like clutter unless I am focusing solely on it. I really do enjoy my students’ playing (and my own, when I can carve out some time for it) but it’s because it’s the only noise around.  Even a wiggly or talkative sibling in the room can ruin a lesson for me.  In the car, if I’m driving, I focus so much on the music that I’m afraid I won’t be able to pay attention; my last speeding ticket, several years ago, was the result of a rare trip with the radio on.  And my biggest complaint is to restaurants that blare a soundtrack so distracting I can’t converse.  Even sidewalk cafes feel the need to wire the outdoors so that you can’t possibly enjoy a moment of silence, save the tinkling of glasses and forks and the ocean’s swell of human voices enjoying each other's company.]

All of this is to say that it’s shocking and saddening how often I forget what music really means to me.  So it was an unexpected and memorable surprise to discover the Cite de la Musique at the Parc de la Villete one afternoon during our trip.  I wandered in to pass the time while the students were sketching in the park; I ended up staying long after everyone else had left, exiting only reluctantly when it closed.

(The Parc de la Villette, of course, is the sprawling complex of museums, lawns, and carnival rides that turned a seedy area into a bustling family-friendly mecca.  It's punctuated with bright red follies that are a fun, lively, challenging example of deconstructivism, and I may have just a tiny crush on the architect. A tiny one.)

Though my French is pretty good (and was at its peak after nearly two weeks of constant practice) I most appreciated that the museum was set up multilingually.  An audio guide is included in the admission price – an unobtrusive pair of headphones wired to an iPod-sized device that hangs from your neck or handbag.  Throughout the museum, there are short audio samples – instrument demonstrations and soundtracks to accompany the videos on the screens throughout.  You just enter the number that accompanies the headphones symbol next to the exhibit you want to learn about.  And there are literally hundreds of them – everything from historical background to critique and performance.  I wandered through the displays of instruments –grouped by period, family and geographical location – in awe.  It was an amazing experience.  Here are a few of my favorite photos:



A huge bell – taller than me.  Probably a good thing this one was behind glass; it would have been really tempting to hit it with the clapper!


Intricate detailing inside a stringed instrument – a lute, I believe.


An antique wind instrument – much like a saxophone – with anthropomorphic tendencies.


One of the first keyboard instruments; clavichord, I think (I should have taken notes!)  I thought it was interesting that the colors of the keys are now reversed.


A guitar with gorgeous inlay patterns.


My favorite!  I think this guy is some kind of recorder.  Love his toady face.


Part of a huge set of Asian instruments; I think she's part of the side of a huge gong.

Obviously, for a musician, the Cite de la Musique is an imperative stop on your Paris journey!  I hope you get to see it someday.

Transported on a Tuesday

This evening I was sitting as close to my portable radiator as possible without actually sitting on top of it.  I had been chilly all day.  My last student of the night was playing through his repertoire after several weeks' hiatus.  I was enjoying it; all the little kinks were a joy to work out with a student who is as perceptive, talented and humble as Theodore.  We covered Schumann, Bach, and Mozart with ease.  I praised him honestly and effortlessly; he is really an accomplished musician, and I don't even mind that I can't take credit for it.  It's just a joy to listen to him.

Near the end of the evening, we came to a Bartok piece, one of two recently added to the second volume of the Suzuki repertoire.  I had already commented that Theodore's playing seemed much lighter than previously; his touch was deft, but sure.  Now, suddenly, with the opening chords of the left hand, he was transformed into a master.  The tempo was all wrong, much too slow . . . but no, it drew me in, forced me to accommodate and accept it.  Each chord struck a haunting, mournful timbre; my body suddenly felt warm all over, as if I were feeling the sun's rays for the first time.  I was transfixed, almost frightened by the artistry I saw and heard and felt.

The last notes faded, and silence rang in my ears.  Without moving his fingers from the keys, he shot a look at me, concerned that I hadn't yet chirped my customary words of praise.  And just as suddenly as he had become a virtuoso, he turned back into a boy, eager to impress but not quite sure what to make of the look of astonishment on his teacher's face.

The performer below doesn't hold a candle to my Theodore, but at least you'll hear the empty shell of the music.  Enjoy.

The Inauguration and the Arts

I wasn't going to cheapen the historic moment of the Inauguration by a cultural critique, but when I talked to Rob just now, he said, "Did you hear Aretha Franklin?"

"Yeah, she was okay," I said.  "A little showboat-y."

"What do you mean? She was awesome -- way better than that Yo-Yo Ma trio!"

"Quartet!"  I corrected him.  "And no way.  Aretha Franklin is most famous for demanding respect -- Yo-Yo Ma is a world-class cellist, and Itzhak Perlman is universally acclaimed as one of the most accomplished violinists of our time.  Their music is moving.  And it was so American -- a classic Shaker melody immortalized by one of our greatest symphonic composers, arranged by the composer of some of our most popular cinematic themes, with a nod to the roots of jazz in their choice of a black clarinetist and an improvisational pianist -- how can you not appreciate the musical significance of all that talent?"

There was a long silence.

"So, do you still want to go see Mamma Mia next time we go to New York?"

Point taken.  I guess there's no accounting for taste.

Aas long as I'm dissecting the moment, I want to say a word about poetry.  I hadn't heard of Elizabeth Alexander before today, but her name sounded regal enough that I thought she might be classy.  She did read with distinction and simplicity (no convoluted theatrics a la Maya Angelou) but I was disappointed in the lack of rhyme and meter.  (Here's the text.)  Why has modern poetry disintegrated into babbling sentences that take no note of grammatical rules ("the glittering edifices they would then keep clean and work inside of")?  Come on, real poets.  I know you're out there somewhere.

For eloquence, Dr. Joseph Lowery far outdid her in his prayer of benediction.  His glib little rhyme at the end merely tarnished what was an incredibly thoughtful and insightful opening, which quoted from "Lift Every Voice and Sing" before continuing on to preach repentance and humility -- two themes I also heard in the opening prayer and the president's speech itself.

What a thing, if the American people were to suddenly take responsibility for poor choices and bad decisions -- and then to ask forgiveness and pledge to change their ways.  I can't believe I'm seeing it.  I hope it's not just talk.