WMV Music Web Log

That is a very useful observation about the songs. Yes, the translations were abominable, and we gave no real explanation, so of course we have a disoriented audience (except for the Czech speakers, maybe). I think the texts are simply proverbs in dialect, or folk sayings (spruche, in german). They were quite moving when Karyn supplied the word for word translations.

Well, on to the next thing - EVOLUTIONS! I am really getting into this - thinking about how jazz is one of the pillars of American music in all its forms, including chamber music. Of course, American composers, like composers in other countries, draw on what they hear; that is everything around, top 40 radio, folk music, jazz, etc. But what is most interesting about American culture is the effective mixing and multilogue of immigrant (and native) cultures, and that is also the strength of our music.

I am studying syncopation - what is it, how do you it? is it magic? When I asked Rhonda whether it was second nature for a jazz musician, she said yes, but only after practising many many hours with a metronome. So that's what I'm doing, consulting "Dr. Beat", the super-metronome. My parents objected to my early experiments with jazz, insisting that you had to have some innate talent for it, (implying that our family was not properly programmed genetically, I suppose). But I don't agree; we are all rhythmically programmed as humans, and as Americans, jazz is all of our heritage. And europeans have no trouble borrowing it either.

Actually, the piece Rhonda and I are currently working on is San Antonio by Harbison, inspired by Mexican-american music in Texas. It makes me remember a single lesson I had once with a guitarist on Latin dance rhythms - completely overwhelmed by the complexity, and my inability to reproduce them on the piano. I think maybe I should take lessons again! San Antonio is kind of a lesson, in that Harbison has notated with exquisite clarity what he wants, and when you actually do it, it works! Very exciting.

We are also working on several of Libby Larson's works; now there is an interesting composer! She draws on Jerry Lee Lewis, the blues, cocktail piano, torch songs, and tango for her song cycle - a very sexy group called Love After 1950. I can't wait to hear Karyn's mezzo on these. And of course, ther is "Four on the Floor", speaking of which, I had better schedule some rehearsals. More later.