Entertainer Lives on St Armand’s Circle at the Sarasota Crab and Fin restaurant. How? Listen to the outdoor piano playing of David Ohrenstein. He plays there Monday from 6-10 pm. And during the daytime on Tuesday 12:30 to 5:30 and Wednesday, same hours. Are you in the mood for fun? Then come and listen to David at the Crab and Fin. Enjoy the music written by the genius of Scott Joplin, Arthur Marshall or Scott Hayden. These three musical giants collaborated and/or lived together in Sedalia, Missouri at the Marshall home. This was because at the turn of the 1900’s, Sedalia allowed minority groups the chance for an excellent education. While some locations only allowed schooling for 3 months/year, Sedalia allowed a full 9 months. In no small measure, Sedalia, by accommodating Joplin and friends, allowed for the birth of the ragtime movement. That, in turn, shaped American popular culture.
Poster stamp for the Sedalia Missouri State Fair, c.1930.
Sedalia is also home to The Pettis County Museum and Historical Society, located at 228 Dundee Ave. The building was once a Jewish Synagogue and features many Historical artifacts from all periods of Pettis County history.
Entertainer is Heard on the Streets of Sarasota at the Outdoor Setting of the Crab and Fin
David offers a lesson on playing the music of Scott Joplin in the enclosed video. He explains how the notes tied over the measure are of the essence. Of course, playing ragtime requires a beautiful tone. All three of the ragtime giants described above were classically trained. Ideally, any serious player of ragtime should have had such training. Without the production of nice tone, any music can become vulgar. David studied with Mischa Kottler at Wayne State University. He holds a Master of Music degree. Kottler,then head of the piano department at Wayne, believed that it took about one full year to develop a correct approach to touch and beautiful tone. David now offers piano lessons in Sarasota to this end. In the meanwhile, be entertained by David’s version of The Entertainer.
American Ragtime was founded by Scott Joplin, Arthur Marshall and Scott Hayden. Arthur Marshall was only fifteen years old when Scott Joplin first arrived in Sedalia, Missouri. Joplin took up residence with the Marshall family, and before long both Marshall and Scott Hayden, a Lincoln High School classmate of Marshall, became Joplin’s protégés. Marshall had already taken some private lessons in classical music years before, and was versed with piano technique and a gift for syncopation. The Marshall had family moved to Sedalia, Missouri because black children were allowed to attend school nine months a year there as opposed to the three months allowed blacks elsewhere. Sedalia townspeople were reportedly more acceptable of African Americans. Joplin also helped get Marshall a job at the Maple Leaf Club during its single year of existence in 1899. The featured picture displays the famous Maple Leaf Rag.
American Ragtime Needs More Recognition
I hold a Master of Music Degree from Wayne State University in Detroit. Yet, I never even heard of, let alone conceived of, an American Ragtime as being led by three composers. With my musical education I knew of the Russian Five and the French Six. Now, we have an American Three as plain as day. I play ragtime outdoors at the Crab and Fin restaurant on St Armands Circle in Sarasota, Fl. See featured events on DSOworks.com for time and location. Ragtime lightens moods, forms smiles, and and creates hearty laughter. Isn’t that an important part of living?
American Ragtime Was Lead by Three Composers; The Movement Had Six
American Ragtime is the Crown of the New Music in America
So what are these groupings of composers all about with American Ragtime. People in arts helping each other by pooling together ideas and resources. Creative artists need all the help they can get. This is true be it the general public, government, private donors or just friends. And when artists pool thoughts and ideas together, they create new directions and trends to match changing times.
Pachelbel Canon is Still Popular 350 years Later. Today is June 14, 2017. I have my first summer job in Sarasota, Florida in 20 years. I’ve been a regular in New York state and at the Gasparilla Inn on the isle of Boca Grande. Currently I play a well guarded and kept Yamaha console piano outdoors at the Crab and Fin on Saint Armand’s Circle. The setting is under a covered patio. My assigned times are Monday evening 6 -10 pm. Afternoons are Tuesdays and Wednesdays 12:30 to 5:30 pm.
Anniversary Couple Requests the Pachelbel Canon
A gentleman comes up to me at about 2:30 pm. That was today, Wednesday June 14, After hearing me play selections by Beethoven, he thought there was a possibility that I could play the Canon. He and his wife featured it at their wedding. June 14 was their anniversary. Among the Beethoven selections he heard me play on the piano was the 2nd movement from Beethoven’s 7th symphony. It was used as the theme for the movie, The King’s Speech.
One reason for my success so far as public piano player: Play orchestral transcriptions on the piano. That was a specialty of Franz Liszt. It worked admirably for him. Basically the public loves hearing familiar orchestral works well played by the intimacy offered by a single piano player. Among the transcriptions that I regularly play at the Crab and Fin in the summer; and during the winter at Gasparilla Inn are:
“Jupiter” from the suite The Planets by Gustav Holst.
Selections from Carmen by Georges Bizet.
The Barcarole from Tales from Hoffman by Offenbach.
Tales from Vienna Woods by Strauss
The Beautiful Blue Danube by Strauss
The American in Paris by George Gershwin
Song of India by Rimsky Korsakov. The list goes on and on.
Shortly I will post my own rendition of a piano transcription of Pachelbel’s Canon in D. Keep checking DSOworks.com for my Pachelbel posting. I also have a few openings for piano lessons in Sarasota.
George Friederic Handel Versus Sopranos. Handel was born in the same year as J.S. Bach. J.S. Bach avoided the operatic form. Handel did not. George Frideric (or Frederick) Handel (/ˈhændəl/;[a] born Georg Friedrich Händel,[b] German pronunciation: [ˈhɛndəl]; 23 February 1685 (O.S.) [(N.S.) 5 March] – 14 April 1759)[c] was a German, later British, baroque composer who spent the bulk of his career in London, becoming well known for his operas, oratorios, anthems, and organ concertos.
Maria Callas (one of the greatest sopranos ever) with her teacher Elvira de Hidalgo in 1954
Georege Friederic Handel had his first operatic job was in his home town of Halle. There he played in the second violin section at the opera house near the famed Goosemarket. At age 19 he tired of being in the second violin section. So, he switched from playing “second fiddle” to playing the “first” (and only) harpsichord. He decided to write opera during the run of the Cleopatra by Johann Matheson. Matheson wanted to play the last part, as usual, on the harpsichord by himself, The was supposed to be during the very last scene. One night young Handel and Matheson got into a brawl just before the last scene. Handel didn’t want to abandon the instrument. Their verbal and physical fight lasted a half-hour. Of course, the audience went wild over this major disagreement. After that experience, Handel decided to write his own operas. And, he did. He wrote some 46 in total.
My own favorite story about George Friederic Handel Versus Sopranos
Victor Borge has a number of soprano stories in My favorite Intermissions. A particular wild anecdote involves the Italian soprano, Francesca Cuzzoni. The George Friederic Handel opera she was to appear in was called Ottone. Unfortunately, Francesca became inflamed: She thought Ottone did not show off her singing abilities to their fullest. Consequently, she refused to do the big number unless Handel let her improvise extra high notes. How did it resolve? Georege Friederic Handel, in a burst of anger, hoisted her over a window ledge on the 2nd floor of the building. While dangling from the window, she decided Handel’s way wasn’t so bad after all. It’s regrettable that so much color is lost in music history classes at both high school and university levels. These stories are necessary to perpetuate the art. Great composers were also real human beings. I think it’s time for a revival of great classical writers and their works. Such stories can help. More blogs will be posted on this topic. Keep watching. Don’t be shy about sharing them with friends. Also, I David Ohrenstein and wife Sharon Lesley, have collaborated on an opera, Octavian and Cleopatra. Here is a small excerpt. Be the first in your locality to have our new opera. Contact us through our DSOworks@gmail.com
Cleopatra’s ladies in waiting give her a potion to calm her over the her grief of the suicide of her husband, Marc Anthony. In a drunken stupor, Cleopatra mistakes the Captain of the Roman guard for her former lover and husband. The ladies in waiting gladly let this happen, hoping that the captain would fall in love with Cleopatra, and help them them to escape from Egypt. (Cleopatra played by Sharon Lesley Ohrenstein, Baron Garriott playes Captain Derceteus at the Players Theatre production in Sarasota, Florida)
Description Tags: Strong Role for a Leading Man *Strong Role for a Leading Lady *Musical Drama *Minimal Sets and Costumes *Period Piece/Historical *Classic Broadway *Operetta/Operatic.
Astrological Trine Stems From the 3 x 3 Number Square. The astrological aspects are noted in the central circle of this natal chart, where the different colors and symbols distinguish between the different aspects, such as the square (red) or trine (green).
A trine (abbrev. Tri) is an angle of 120° (1/3 of the 360° ecliptic), an orb of somewhere between 5° and 10° . The trine indicates harmony and ease. The trine is a source of artistic and creative talent, which is innate. The trine has been traditionally assumed to be extremely beneficial.
How Does the Astrological Trine Tie into the 3 x 3 Number Square?
Answer, in almost every conceivable way. The single core number the above square is 5. Consider the following:
The trine has an angle of 120°. Multiply the numbers 1 thru 5. Thus, 1 x 2 x 3 x 4 x 5 = 120. You have your trine by number.
Now, add the same numbers 1-5. Thus, 1 + 2 + 3 + 4 + 5 = 15. We have the following congruence with this sum. Any row of three numbers on this square totals 15. For example, added horizontally we see that 4 + 9 + 2 = 15. Vertically we get the same totals as 4 + 3 + 8 = 15. Diagonally, likewise the same. 4 + 5 + 6 = 15. You can find fifteen in eight different ways on this square: Three diagonally, three vertically and two horizontally. We now have 8 x 15 = 120. Here is yet another congruence with the 120 astrological trine number.
As you already have read above, the elliptic orb is somewhere between the boundaries of 5° and 10°. We have the following on the square of thee with the numbers of these boundaries: The central number is five. Any two opposite numbers are 10. An example being (4 + 6) or ( 9 + 1).
At one time knowledge was based on number squares. This includes the knowledge of the sciences and arts of mankind. As mentioned, the trine has been traditionally assumed to be extremely beneficial. It too, is associated with a number square, being 3 x 3. I say, to understand a more peaceful past, at which time the cycle of yin dominated the world, study number squares. It seems that most of this knowledge was destroyed when the Library at Alexandria, Egypt was burned down. My work on number squares has been self-directed. However, my source for the existence of more peaceful times is Riane Eisler who wrote, The Chalice and the Blade. Her book is well worth reading. Riane Eisler. Riane Tennenhaus Eisler (born July 22, 1931) is a cultural historian, systems scientist, educator, attorney, speaker, and author whose work on cultural transformation has inspired scholars.
Beer Versus Coffee and Johann Sebastian Bach. Bach is cool. I love his sense of humor and strength of spirit. Speaking of spirits: During J.S. Bach’s life there were two distinct points of view in Germany with regards to beer versus coffee. In this incredible battle J.S. Bach, a humble and poor musician, took on Frederick the Great. First a little background on the man Bach fought against in the beer-coffee battle:
Frederick II (German: Friedrich; 24 January 1712 – 17 August 1786) was King of Prussia from 1740 until 1786, the longest reign of any Hohenzollern king. His most significant accomplishments during his reign included his military victories, his reorganization of Prussian armies, his patronage of the arts and the Enlightenment in Prussia, and his final success against great odds in the Seven Years’ War.
Now, enter J.S. Bach to face King Frederick the Great. An edict by Frederick the Great declared: “It is disgusting to notice the increase in the quantity of coffee used by my subjects and this must be prevented. His majesty was brought up on beer and so were his ancestors and his officers. Many battles were fought and won by soldiers nourished on beer, and the king does not believe that coffee-drinking soldiers can be depended upon to endure hardships or to beat his enemies in case of war.” My source is a quote by Victor Borge in My Favorite Intermissions.
Bach’s Coffee Cantata is close to being an opera. His Coffee Cantata #211 has a plot, recitatives, and arias. Had money been raised for scenery and costumes, it would have been a baroque opera. Bach wrote it in defiance of the king’s edict. Basically, in the cantata, a daughter’s father tries to reason with her to kick the coffee habit. After all kinds of threats, in desperation he promises to find her a handsome husband. Marriages were pre-arranged in those days. However, as Borge states: “She (daughter in the cantata) and Bach (the composer) have the last laugh together”. The daughter confides that she would only marry the man that lets her drink all the coffee she wants.
Beer Versus Coffee – Coffee Wins (at least in the Coffee Cantata #211)
For years J.S. Bach gave weekly coffee concerts at Zimmerman’s Coffee House in Leipzig. Isn’t it amazing how something as simple as beer versus coffee could create such conflict. Please share if you like this Bach blog. Oh yes, I am available for piano lessons in Sarasota, should you want to study some of the music of this great master. I also play Bach’s entire Italian Concerto on St Armand’s Circle in Sarasota at the Crab and Fin restaurant. Days are Monday, Tuesday and Wednesday -check events on DSOworks for details. Yes, the Crab and Fin serves coffee, coffee drinks and beer. Your choice.
Jupiter Offers Square Deal and Then Some. The word Jupiter translates to Jovial King. Jovial, according to Webster, is characterized by hearty, joyous humor. We all need this influence in our lives. The question becomes, how did Jupiter acquire this meaning? And, what can we do to become more hearty and joyous in this trying day and age?
Leader of the Olympian Gods; Jupiter means “Jovial King” and/or “Father of Thunder”.
Answer to Jupiter Offers Square Deal lies in its magnificent number square of antiquity
Every planet had its own number square. This squares were used to invoke the influence of their particular planet. Jupiter’s was 4 x 4. Below is the traditional arrangement. It hides a special code of numbers. This was called the Fibonacci series. Numbers are pictured and described below.
Jupiter Offers – so where are 13 and 21 in the 4 x 4 number square?
The 4 x 4 number square hides the numbers of a special group of numbers. It is called the Fibonacci series. The numbers are set. The graph above starts the series. Numbers grow by successive addition. In the Fibonacci series we have 1,1,2,3,5,8,13,34…Of course the series continues to infinity. Life favors the ratio of any two consecutive numbers. As the series develops, the ratio gets closer and closer to 1.618… That number is called by the Greek word, phi, or the Golden Section. A definitive phi number can never be exactly reached. It is an irrational number that extends to infinity. Could that be why man will always fall short of immortality?
Back to the 4 x 4 Number Square
Look at the numbers vertically two at the time: 16 + 5 = 21. Underneath, 9 + 4 = 13. Next, 3 + 10 = 13. Then, 13 + 8 = 21. Next 12 + 1 =13 etc,.The entire square is filled with Fibonacci numbers 13 and 21. . Be assured that our Neolithic ancestors knew everything that you are now reading about.
They also knew that: (1) The potentiality of the entire number square is dormant in the central four numbers. Here’s how: Cross multiply the central four numbers. Then add the two products as follows: (10 x 7) + (6 x 11) = 136. (2) The 4 x 4 number square uses the numbers 1 through 16. Add these numbers. Their sum is 136. That is the same as the cross multiplication products and their sums just given. Not only does this number square of Jupiter evoke infinite potential for growth, but it also harbors within its central four numbers the potentiality for that growth. Our ancestors tapped into this knowledge.
The square was understood at least 11,000 years ago. Number squares played a large part in lost and forgotten civilizations right here on planet Earth. That’s one of the major themes of our DSOworks.com website. Music is its main theme. I believe that a peaceful civilization can be restored by the study of music and by revitalizing lost knowledge.
Vast Ancient Temple Plan is Based on Music. The outer hexagon is greater than the inner by the ratio of 3/2. That is the ratio of the higher note of a perfect fifth to the lower in terms of vibrations per second. First, what is the Ancient Temple Plan?
It is a master blueprint used since prehistoric times for measuring temples by musical ratios. It is based on musical tones and geometry. Numbers used in the plan are those enumerating vibrations per second of the various tones of the ancient diatonic scale. The geometry used is based on the central circle of the seven as in the featured picture. It is crossed by three equidistant diameters through central point “D”. In the ancient temple plan, any one of these three diameters ( FE, RG or LK) equals 352.
Why 352 by number only with no attached measures? The answer in a word is gematria. So what is gematria? /ɡəˈmeɪ.tri.ə/ originated as an Assyro-Babylonian-Greek system of alphanumeric code/cipher later adopted into Jewish culture that assigns numerical value to a word/name/phrase in the belief that words or phrases with identical numerical values bear some relation to each other or bear some relation to the number itself as it may apply to Nature, a person’s age, the calendar year, or the like.
In Judaism word appear together in the Torah. They are milk and honey. They have a combined gematria of 352. These key words appear in a prime place: Deuteronomy 6:3. With the very next line, being, Deuteronomy 6:4, we find the opening 6 words of the most sacred prayer in Judaism- the “Shema Yisroel”.
So where is the music? The tone “F” above what we would call middle “C” vibrates in the diatonic scale at the rate of 352 times per second. This equals the 352 Hebrew gematria by letters of “milk and honey. The old diatonic “Middle “C” vibrated 264 times per second. “C”. The next higher octave, 528 “C”, is one octave higher than middle “C”. This higher “C” is also in the ancient temple plan. Each side of the larger hexagon measures 528 by number. Ancient unearthed instruments prove the vibrations per second of the notes or tones of this diatonic scale.
Vast Ancient Temple Plan Holds the 3/2 Musical Fifth Ratio
Let’s look at the following for a model. Refer to the featured picture to read the lines by letters.
Triangle MPD forms an equilateral triangle. Each side is 352.
Extend DP to point “O”
Or extend DM to point “N”
In a view of the vast ancient temple plan, an inclusive new triangle is defined by DNO. It includes DMP. Thus DNO than DPM by the ratio of 3/2. We see that 352 x 3/2 = 528. We now have a second tone in terms of vibrations per second. The “C” 528 vibrations per second is one octave higher than the diatonic middle “C” of 264 vibrations per second. This is significant because in ancient and modern systems, all tuning is based on fifths. Music by numbers applied to vibrations per second of music tones fill the ancient temple plan. Its inclusion of the ratios of perfect harmony calls for the following: Rebuilding the sites all over the world that were once conceived by this plan. Future blogs as well as some already on the website will cover or have already covered this topic.
The goal of building by the math of sound pleasing ratios of musical tones was to have the same ratios please the visual sense in architecture. These qualities need to find their way into our collective culture.
Grand Poetic Revival is Just Around the Corner! That’s remarkable. Poetry has been hiding for centuries. For example, most Chinese believe that the last time poetry peaked was in the Tang Dynasty. That ended more than 1100 years ago. The Golden Age of Russian Poetry is the name traditionally applied by Russian philologists to the first half of the 19th century. It is also called the Age of Pushkin, after its most significant poet (in Nabokov‘s words, the greatest poet this world was blessed with since the time of Shakespeare). The history of American poetry is also in rough shape. One example: American poetry published between 1910 and 1945 remains lost in the pages of small circulation political periodicals, particularly the ones on the left, destroyed by librarians during the 1950s McCarthy era.
So How is A Grand Poetic Revival Just Around the Corner?
Issac Newton stated that for every action there is an equal and opposite reaction. Poetry is a force equal in magnitude and opposite in direction to prose. The second body (poetry) is about to react contrary to action first body. Given Newton’s Laws (1687), poetry should become popular for a minimum of a few hundred years: Note his third law:
When one body exerts a force on a second body, the second body simultaneously exerts a force equal in magnitude and opposite in direction on the first body. The three laws of motion were first compiled by Isaac Newton in his Philosophiæ Naturalis Principia Mathematica (Mathematical Principles of Natural Philosophy), first published in 1687.
A greater percentage of prose has degenerated to colorless “information.” Poetic techniques have flown out of the window with computer technology. Original analogy has all but disappeared. Those that are around are terribly overworked. In my opinion, the worse of the uncolorful current bunch is the word “issues.” To paraphrase Shakespeare, “issues” has “died a thousand deaths.”
I’ve written a book of poetry called The Oquaga Spirit Speaks. After memorizing and practicing reciting the entire book, I am ready to tour. I hope the Oquaga Spirit will be the herald a new and peaceful age. In the words of the Oquaga Spirit:
Proper Musical Rendition Has Multiple Choices. For this blog I reference one of my favorite books, Inside Music by Karl Haas. Karl Haas (December 6, 1913 – February 6, 2005) was a German-American classical musicradio host, known for his sonorous speaking voice, humanistic approach to music appreciation, and popularization of classical music. He was the host of the classical music radio program Adventures in Good Music, which was syndicated to commercial and public radio stations around the world. He also published the book Inside Music.I grew up in Detroit. Karl Haas was one of the Detroit’s musical luminaries. When I started to play the piano at age 11, I composed a piano concerto in Eb minor (six flats). Also, at my 1st year piano recital I played the entire Moonlight Sonata by Beethoven from memory. I still play it at on St Armand’s Circle at the Crab and Fin Restaurant. See events on DSOworks.
After this initial start, my father then took me to Karl Haas for an interview. Haas was giving some piano lessons to a few students. He was getting busy with his radio program on WJR in Detroit so he recommended that I go to Mischa Kottler. Kottler was the head of the piano department at Wayne State University. I also began a 20 year association with Rubinoff and his Violin through the college. Here’s how it happened: I had just completed a piano lesson with Mischa . Mischa had his studio next door to the Liberal Arts Music Office. Rubinoff called the office as a was walking past. He was looking for an accompanist/arranger. Professor Morris Hochberg summoned me in to talk with Rubinoff. The rest is history.
By special request, here is a story about Rubinoff And His Violin – The Fascination Waltz (1905) and how he approached the music with style and finesse.
Proper Musical Rendition and Rubinoff and His Violin
Karl Haas states in Inside Music that a performer must always question the validity of the “subjective tastes of the editor.” That even applies to fingering. He tells a story about studying a Beethoven Sonata under the guidance of famed German pianist Artur Schnabel. Karl found the fingering extremely difficult that Schnabel penciled into the score. On questioning Schnabel, he replied: the fingering was simply ” a prompter to try ways by yourself in order to find the one best suited to your digital needs.”
Rubinoff both questioned and interpreted music in countless ways. Typically he would try difference rhythms, as I explain in the youtube video. He would change phrasing: Which notes to emphasize, or which to drop off on. The point is, the public loved his interpretations. If the proof of the pudding is in the tasting, his pudding was great. Some years in the 1930’s he could make $500,000.00.
Conclusion: Success in music, as well as in in other disciplines, is based on questioning and analyzing the subject at hand in great depth for proper musical rendition.