Panacea is Found in Our Civilization’s Music. Originally I posted this on our other website: Reviving Antiquity@aol.com, however, I feel it is common to both of these sites. Certainly, in the past many composers of music borrowed from themselves. For example, in music, the BACH motif is a motif. Its notes are a succession of notes important or characteristic to a piece. These notes are B flat, A, C, B natural. In German musical nomenclature the note B natural is named H and the B flat named B. It forms Johann Sebastian Bach‘s family name.
So, Here is My Panacea Quote from Reviving Antiquity
Panacea – what is its meaning? In Greek mythology, she(Greek Πανάκεια, Panakeia) was a goddess of universal remedy. This remarkable entity was the daughter of Asclepius and Epione. With her sisters each performed a facet of Apollo‘s art:
Panacea (the goddess of universal health).
Hygieia (“Hygiene”, the goddess/personification of health, cleanliness, and sanitation).
Aglæa/Ægle (the goddess of beauty, splendor, glory, magnificence, and adornment).
It’s time to cure the ills of mankind. Music, when properly applied, can do just that. Best of all, it’s free. Also the knowledge I write about has the capacity improve the interpretation of music by a searching musician. That analysis is for the future. First notice there are 12 basic key signatures. The bottom three are called “enharmonic.”
C# major is merely another letter name for Db major.
F# major is another name for Gb major
Cb is another name for B major.
This means there are basically 12 key signatures. I have my reasons for aligning the 12 key signatures with the 12 zodiac signs. Many have done this before me, but I feel my way is most correct. My reasons will be explained over time.
Let’s discuss heart problems. To cure these problems listen to classical music in the key of one flat. That, as you can see from the diagram, is F major and its relative minor of D. Why classical? Quite often, classical music is defined by its key signature. i.e. : Symphony in F major, Quartet in D minor, Trio in D minor, etc. The minor key alleviates the sordid condition. The major maintains good health in the area needed. More will be forthcoming. Keep checking.
Poetry signals Change is in the Air. Said another way: When there is no poetry of quality then musical quality takes a nose dive. This is not only my own observation. As my resource I quote Music by Frederic V. Grunfeld. The book I read it in is published by Newsweek Books out of New York. Place and year- Mondadaori, Verona, Italy, 1974.
Poetry (founded as Poetry: A Magazine of Verse) has been published in Chicago since 1912. It is one of the leading monthly poetry journals in the English. Poetry is founded by Harriet Monroe and now published by the Poetry Foundation. It is currently edited by Don Share
Those who decry the primitivism of today’s music along with its limited scope, need to look for another Heinrich Heine type figure. Indeed, so many “songs” use about three or four repeated notes or thrive on platitudes and vulgarity. I have already mentioned him on DSOworks in the internal link below. The problem is where is our Henrich Heine for this present day and age?
As a writer of poetry, I am inspired by the same place at which the Marvelous Mrs. Maisel was filmed for this coming season: Scott’s Oquaga Lake House on Oquaga Lake. The beauty and enchantment of the lake knows no limits.
Here is an excerpt from my poem called “Fun.” It describes this setting in some detail.
The diving platform is located
End the end of the extended dock.
Canoes and kayaks are nearby
The woods where the birds do flock.
The swimming area is marked
By yellow balls on rope
Fastened to a rubber raft
Beyond which the lake has slope.
A second dock is to the left
With a speedboat at its end.
On its left we find a showboat
Built just for voices to blend.
A playhouse is to the rear
Grand piano is set on stage
Near bowling ping-pong and pool
Games all quite the rage!
Do yourself a favor and make a pilgrimage to Oquaga Lake and visit Scott’s Hotel. A number of doctors from India did just that! All this beauty and memorabilia can be yours to enjoy. Revive that ancient poetic feeling so many once had. And please share this post!
Ten Minute Musical Bliss of Rubinoff and His Violin https://www.youtube.com/watch?v=QUz-LOrzTQU. Like fine wine, musicians and artists improve with age. Dave Rubinoff is much too ignored today. That is due to the jealousy of the 100% pure classical musicians. Indeed, I even wonder how many pure symphonic musicians are left to be found today. It seems like so many are crossing the lines into the popular field.
Even as of recently, Dave Rubinoff refuses to give up the ghost. This is true even some 35 years after he passed away. Maestro, conductor, and curator Joseph Rubin (not related to Rubinoff except in spirit) gave a concert commemorating this great artist last summer. I was called to appear with violinist extraordinaire, Steven Greenman. It was held at the Circleville High School near Colombus, Ohio. Maestro Greenman had just returned from a tour of Poland. Among other places, he played the most haunting melodies in the synagogue in Cracow. Below was the itinerary Maestro Rubin sent me for the Circleville. Ohio concert.
Witness Another Ten Minute Musical Bliss with Steven Greenman and I playing the Rubinoff’s Fiddler
Friday, June 1 (2017)
Around 3 PM – Rehearse Fiddler Medley with Steven Greenman, location TBA
7-9:30 PM – Orchestra Rehearsal at Circleville High School
Saturday, June 2
11 am – Rehearse Fiddler Medley with Steven Greenman
2-4:30 pm- Orchestra Rehearsal at Circleville High School
6:30 PM – Pre-show lecture at High School
7-9 PM Concert at High School
9-10:30 PM Post show VIP reception at High School
Copy and paste the youtube link above to see what success is obtainable by playing incredibly well what the general public enjoys. I was thrilled to work so many years with this man.
Romantic Composer Comrades were Common. Musical composers are the avant-guard of civilization. Avant-guard defines a group of artists, musicians, or writers working with new and experimental ideas and methods. Without composer comrades, it is doubtful that we would ever know who Franz Schubert was. Composers are vital to a civilization. Yet, they are like babies. They need help. Such was the case with Franz Schubert. He only lived to age 31. Franz Peter Schubert was an Austrian composer of the late Classical and early Romantic eras. Despite his short lifetime, Schubert left behind more than 600 secular vocal works (mainly Lieder), seven complete symphonies, sacred music, operas, incidental music and a large body of piano and chamber music.
Oil painting of Franz Schubert by Wilhelm August Rieder (1875), made from his own 1825 watercolor portrait.
His last symphony, “The Great,” was never performed in his lifetime. He received payment for it from the Gesellschaft der Musikfreunde in 1828. However, they ended up performing an easier symphony by Schubert, , No 6. The “Great” remained in the truck of his brother, Ferdinand Schubert. His Romantic composer comrades included Robert Schumann. Scumann went searching for it. He discovered it in Ferdinand’s trunk in his attic.
Fortunately, Felix Mendelssohn, counted among Schubert’s Romantic composer comrades, was in a position to make the “Great” come to life. He was the director of the Gewandhaus Concerts in Leipzig, Germany. The story goes it was difficult to perform even for his orchestra. To make it more palatable, Mendelssohn omitted the repeats in the symphony that were indicated by Schubert. Here is another story of Schubert’s almost lost and forgotten music:
THE CLIFF HANGER QUEST OF GILBERT AND SULLIVAN to save Schubert’s Music
Gilbert and Sullivan had heard of Schubert’s Rosamunde. The manuscript was not to be found. On a whim, they traveled to Germany to find the music. There, they caught wind of a Doctor Snyder who may have been in possession of the score. The rest of the story reads like a cliff hanger. When they arrived at his home, Dr. Snyder told them he had had a number of Schubert’s manuscripts in his attic. Unfortunately, he had already placed them in the trash bin. The operetta duo ran to the refuse container. There, they not only discovered the score to Rosamunde, but numerous other symphonic works by Schubert. The rest of the story goes, they were so excited at the find, that they played leap frog with each other to celebrate the find.
Without the arts, life seems shorter and even brutish. We must support creators of the fine arts who supply the musicians in the concert hall with new music. After all, there might not be a team like Robert Schumann, Felix Mendelssohn or Gilbert and Sullivan at the right moment to save the great works of another poor Schubert-like composer.
Singer Composer Was the Creator of Opera. Today, many do not think of singers as the creators of opera. In the early 1700’s they were. The taste in Naples, Italy at that time, dictated how opera was created. That taste was manifested in the love of vocal display. Popular idols were made of singers. Theodore M. Finney writes in a History of Music: The composers became “a kind of formality that had within it the seed of artistic sterility and death.”
What Happened to Opera as a Result of the Singer Composer Phenomenon?
Many composers at that time would write scores of historical interest. However, they had little if any musical interest. Opera composers turned from opera to writing for other mediums, such as instrumental. Society in Italy mainly fawned over virtuosity in musical drama. This gave rise to the Golden Age of Bel Canto. Francesco Bernardi, for example, loaded his adagios with countless ornaments. Opera singers became heroes. Hogarth immortalizes a singer in one of his arias in The Rakes Progress: He receives the adulation of a lady who says: “One God, one Farinelli.” The composer was reduced to the sideman.
As a matter of fact, the admiration of opera singers of the at time was so tremendous that most were totally unconcerned with the excellence of an opera itself. For that reason the music of many operas had nothing more than a figured bass and perhaps the outline of a melody. They singer flushed out the rest of the opera. The singer was also the primary composer. Figured bass, or thoroughbass, is a kind of musical notation in which numerals and symbols (often accidentals) are used. They indicate intervals, chords, and non-chord tones that a musician is to play. Historically this was most often applied to piano, harpsichord, organ, and lute.
Women out West: Rodeo. Copeland wrote Rodeo in 1942 as a Ballet in One Act. The Ballet Russe of Monte Carlo commissioned choreographer Agnes de Mille to collaborate with Aaron Copeland on the Rodeo project. I found a score arranged for piano. The arrangement is copyrighted by the Aaron Copland Fund for Music. It was printed in 1962. It has six principle sections:
First Episode: Buckaroo Holiday
Second Episode: Corral Nocturne
Ranch House Party
Third Episode: Saturday Night Waltz
Fourth Episode: Hoe-Down
Women Out West Had to Find Suitable Men!
Basically, throughout the American southwest, the Saturday afternoon rodeo was a tradition. Usually, it was followed by an evening dance at the Ranch House. Copland’s Rodeo uses this basic western concept. As a matter of fact dating between the sexes was problem confronting all American women since early pioneer times. The question has been how to get a suitable man? Most likely, it is still a problem everywhere.
Women Out West Relished the Saturday Evening Dance.
On Saturday evening, after the Rodeo, social time was shared by dancing the square dance. The principle theme of Copland’s Hoe-Down in Rodeo uses a square dance tune called Bonypart. Of course this is a humorous reference to Napoleon Bonaparte.
Agnes de Mille describes the basic concept for choreography: “Throughout the American Southwest, the … dance was a tradition. On the remote ranches, as well as in trading centers and the towns, the “hands” get together to show off their skill in roping, riding, branding and throwing. Often, on the more isolated ranches, the rodeo is done for an audience that consisted only of a handful of fellow-workers and women-folk. Any neighbors that attended often had to do an eighty mile or so run-over to witness the event.”
I, the blogger, also wrote a ballet called The Dance of the Zodiac. It also features the bull, as in the rodeo. Only it appears as the symbol of Taurus. Enjoy this internal link to my own ballet.
Instrumental Versus Vocal – Which One Dominates at any particular time? Secular cultures have greater emphasis on instrumental. Religious cultures emphasized more vocal music. Troubadours and jongleurs elevated the dominance of instrumental music in Medieval times. How did they come about? The oldest mention of the word troubadour as trobadors is found in a 12th-century Occitan text by Cercamon.The sixteenth century Italian historian Giammaria Barbieri was perhaps the first to suggest Arabian influences on the music of the troubadours. With instrumental versus vocal, the former comes out ahead in this case. Later scholars like J.B. Trend have asserted that the poetry of troubadours is connected to Arabic poetry written in Spain.
Instrumental music was given a boost by the Crusades. War and hardship also resulted from the Crusades. But, these Holy Pilgrimages also brought about free flow of ideas to Europe from the Middle East. Author Theodore M. Finney in A History of Music goes so far as to state: …”the development of harmony may sometime need to be rewritten giving much more weight to Eastern influence. Eastern being Arabian influence.”
Instrumental music, Finney states, was at first fashioned by what he calls “rough people”. This simply means people who did not dwell in towns or villages. They used instruments to accompany their wanderings with their flocks of goats or sheep. . Also, they would play for their own dancing. These activities, in turn, gave rise to instrumental secular music.
Here are two class systems that gave rise to more instrumental music. This system involved the division between Troubadours and Jongleurs. This music was performed by groups of musicians known as troubadours,trouvères, and jongleurs. The troubadours and trouvères were active in France. The troubadours to the south. Trouvères to the north. They were medieval poet musicians that catered to the upper class, or the nobility. Oftgen they were noblemen themselves.
The Jongleurs were often collaborators or assistants of Medieval Troubadours or Minstrels. Jongleurs gained a reputation of itinerant entertainers of Medieval France and in Norman England. Many were deemed to be vagabonds. They wandered from court to court with their music.
Finally, with regards to the featured picture. David Rubinoff is on the left. Fritz Kreisler is on the right. They were royalty of music. We can compare them to the troubadours. Dave made as much as $500,000 annually by performing on the violin and conducting for the Paramount Theaters in New York and Paramount pictures in Hollywood. For some 15 years I was his accompanist and arranger. Enjoy this caricature of a classic jongleur to troubador Rubinoff to realize an exaggerated difference.
Music Prolongs Life of Rubinoff and His Violin – DSO Works
Nov 9, 2017 – Music prolongs life as it did for David Rubinoff and His Violin. He just returned from the… This blog story has an air of mysticism. It doesn’t seem …
Hollywood Nineteen Thirties under Rubinoff’s Baton. I frequently blog about David Rubinoff and His Violin. That’s because I worked with him for over 15 years. My capacity was as his arranger and piano accompanist. The years spanned 1971 to 1986. In 1986 Dave passed away at age 89. He was the very model of musical success. This was especially true in Hollywood during the nineteen thirties. I’ll never forget the spontaneity of his reply when I said to him: “Mr Rubinoff, music has been good to you.” He immediately replied as a matter of factly, “Why, that’s because I’ve been good to music.”
You can now listen to a recent concert that I was honored to perform at with maestro Steven Greenman. Steve performs the Fiddler just as Rubinoff intended it. The Ted Lewis Big Band museum curator and conductor extraordinaire, Joseph Rubin, invited me in from Sarasota to play the concert honoring my friend and mentor, David Rubinoff.
Dave’s wife, Darlene Rubinoff, wrote a book about his life. Dave personally dictated it to her as she tape recorded his voice. Eloquence, sophistication, technical prowess, passion and perfection marked his playing. But most of all he openly conveyed the love he had for his audience. In return his audiences loved loved him. This was to the tune of hundreds of thousands annually in the 1930’s. In this regard I must quote Mr. Rubinoff’s words through his angel of a wife, Darlene Azar Rubinoff:
“I worked every hour of the day and night, driving everyone with no conception of time, being only interested in my music and pleasing the public. My audiences screamed and applauded. They were after me night and day, waiting for me outside the stage door for a glimpse or for an autograph. I seldom refused them. They were the reason for my success. That is why I drove the orchestra and the arrangers so hard. I screamed, I cajoled. I even, on occasion, threw things in order to win my way. The amazing thing was, I was always right when it came to my music.”
Please enjoy the internal link below of the concert I gave with Rubinoff in the Catskills at Scott’s Oquaga Lake House. The youtube link is at the end of the blog. It was over 30 years ago. Also, my wife Sharon and I have written a new opera entitled “Patra”. The featured artwork is used by permission from the “From Cairo With Love” art gallery in Cairo, Egypt. It will be premiered in New York on Schroon Lake this coming September. Please read about the details under the “stage”on our front page of DSOworks.com.
Steady Eddie Had the Gift of Rhythm. I always seem to have had the best of luck in mentors. Maestro Edmund DeMattia was up there with the best. He recently passed away. I miss him. I’ve always excelled as a composer and am a fairly good pianist. Ed communicated how I could steady my rhythm in performance.
“Steady Eddie” was a Great Musical Innovator of the American Military
The idea for a “National Concert Band” began in 1973. Discussions were held among retired and former members of the four major military service bands in the Washington, DC area. The organization’s two main purposes were: (1) To provide a way for area military musicians to continue to play after retirement. (2) To preserve the concert band tradition of music in the United States. Ed also happened to be one of the founding members of the American Concert Band Association (ACB). The National Concert Band became a member of this professional organization. This was in no small part due to Ed. Because of him, those who retired from military service could continue their music in the National Concert Band .
One of Ed’s last concerts was with my wife and myself. Wife, mezzo soprano Sharon Ohrenstein, is also a composer, lyricist and arranger.
Sharon and I shared in co-composing. We worked together on a couple of military marches for Memorial Day. Link is below to our live performance of “Glory and Honor”. We even had Civil War Re-enactors firing their muskets during the concert on conductor’s cue!
Finally, what I am most proud of in the realm of the American military march. I worked with “Rubinoff and His Violin.” This was over a 15 year span. I was his arranger and accompanist. The American March King “-John Philip Sousa” gave Rubinoff’s career a big boost: He procured a continuous stipend from the State Department for bringing fine music to children in the public schools.
If you enjoyed this blog, please share it with friends. We can all be proud of our wonderful traditions!
Keyboard Consideration is Still Glossed Over Today. For an explanation, let’s look back to the Baroque era. Its years were approximately 1600 – 1750. Very few composer/keyboardists in the Baroque era were said to have mastered even two types of keyboards! Most often, if they played the organ, they were deficient in the harpsichord. In reverse, if they could play the harpsichord, they were deficient in organ. This is the point of this blog: If two types of keyboards were confusing, even for geniuses; today we literally have hundreds of types. This of course takes into consideration the electronic wizardry which seems to multiply daily.
Wilhelm Friedemann Bach (22 November 1710 – 1 July 1784), the second child and eldest son of Johann Sebastian Bach and Maria Barbara Bach. He was a German composer and performer. He possessed two mind sets for keyboard instruments: One for the organ. One for the harpsichord. Historian and contemporary of J.S. Bach, Johann Forkel, wrote: Their style (harpsichord and organ) and manner of playing differ as much as their respective destinations. That which at the harpsichord produces excellent effect, does not express anything at the organ and vice versa.”
Keyboard Consideration of Organ V. Harpsichord
Further on Forkel states how he only knew of two musicians equally adept at both: J.S. Bach and his eldest son, Wilhelm Friedmann Bach. He states: “Both were elegant virtuosos at the harpsichord. Once seated at the organ, it is impossible to perceive the slightest trace of the the harpsichordist.” Forkel states the following of Wilhelm Friedmann Bach: “I had the pleasure of hearing Wilhelm Friedmann at the harpsichord. All was delicate, elegant and pleasing. When I heard him at the organ, I was truly seized with religious respect. ”
Words of Keyboard Consideration from My Own Teacher- Mischa Kottler
Mischa studied in Paris and Vienna in the 1920’s. He worked with Alfred Cortôt in Paris and Emil von Sauer in Vienna. He told me right from the beginning, do not play the organ if you study piano. Seeing what Forkel just had to say about two different keyboard instruments, I think he was absolutely correct! Please share with friends that might be interested.