Beethoven and His Nephew

In 1815, Beethoven’s younger brother Carl succumbed to tuberculosis. Carl left behind his son and wife, but his death began one of the most tumultuous periods in Ludwig van Beethoven’s life. Beethoven had it set in his mind that he must raise his nephew, Karl, as his own child. Beethoven struggled for years to obtain sole guardianship of Karl, and to keep him away from his mother, Johanna.

Solomon provides a detailed look at many of the events within the first five years of the conflict. He also refers to a variety of sources to obtain perceptions of Beethoven’s motivation during the conflict. What Solomon fails to include are interpretations of the events, and Beethoven’s own mentality, prefacing the conflict. Solomon glosses over the fact that two years earlier, Beethoven’s brother had already appointed him as guardian while seriously ill. This was not a whim of Beethoven’s when he saw his brother on the edge of death, but a clear goal that Beethoven kept over multiple years. No discussion of Beethoven’s prior relationship with Karl or his brother (besides some financial matters) is mentioned, making it difficult to deduce his motivation other than strictly delusional.

It would not be difficult to see Beethoven’s actions surrounding his brother’s death as a midlife crisis though. Beethoven was nearly 45 years old at this point, and had little in his personal life to show for it. Two years prior Beethoven wrote his infamous unsent letter to his “eternally beloved,” and Beethoven’s worsening deafness made social interaction increasingly difficult. Beethoven saw his brother’s death an opportunity to gain something he desired and would validate his life, a son.

Solomon sets out to argue that Beethoven used the “appropriation of his nephew” as the main method to achieve a new “psychological and creative equilibrium.” From this he enters into the long discussion of events. It is only at the end of the article that Solomon reaches many of his arguments of Beethoven’s motivation during these events, making the comprehension somewhat disjointed. Solomon continues on, but never arrives at Beethoven’s new equilibrium leaving the reader somewhat unsure of what he was discussing.

When Solomon brings Beethoven’s feud over Karl to a close in his article, he omits significant future events that are clearly related. The relationship between Beethoven and Karl continues to encounter problems, leading to Karl’s attempted suicide, which Solomon mentions but ends his discussion years before it occurs. Karl went to great lengths to commit suicide as an escape from his demanding uncle, but ultimately achieves his escape with his life intact, and Karl later decides to enlist in the military which Beethoven reluctantly agreed to; important issues that Solomon had not got to.

In the process of finishing the article, Solomon also neglected to prove his conclusive argument: that Johanna’s “passionate struggle for her son” kept Beethoven from losing “his own humanity.” Both parts of this argument are left basically unsupported. Solomon himself describes Johanna’s surrender by starting a new family, concluding the conflict ended at this point; this implies that Beethoven has finished a transition into his new mentality once Johanna has given up, not by the actual struggle. We are also given very little support that Beethoven actually kept his humanity during this time. We see only a downward spiral in Beethoven’s brutality during the fight over Karl, and increasingly delusional thoughts: from needing to raise the boy, to being his actual father, to following a mission from God.

Solomon also successfully disproves the commonly held belief that Beethoven was unproductive during this time, detailing work in Beethoven’s compositions, performances, and social life. More direct comparisons between Beethoven’s work and specific events would have helped the musical discussion, something not often possible, but easily attainable with the level of detain Solomon had given. Though not as comprehensive as would have been preferred, Solomon has detailed many events and aspects surrounding this time period of Beethoven’s life, and provided an overview of the complex narrative which had passed.

One Night at Kells

Kells Irish Pub is the place to come for a genuine good time; you cannot be disappointed. The atmosphere is unequalled and the music fits perfectly into the ambiance of the night. The act on Monday was Tom May, a figurehead of folk music. He is the producer and host of River City Folk, a nationally broadcast weekly radio program in its 23^rd year now, as well as a singer, guitarist, and songwriter. Originally from Nebraska, he now makes his home in the Pacific Northwest. May is known for founding (and continues to organize) Winterfolk, an annual charity event and Portland’s largest acoustic music concert. May is also a regular at Kells, often performing for a week each month. His Monday set had an Irish focus, playing many traditional songs. It is easily the next best thing to being back at a pub in Ireland, if not better due to his skill and professional experience. May enthralls listeners with his broad baritone voice as he sings Irish ballads such as “The Spanish Lady” and “A Walk in the Irish Rain.” As a prelude to another song, May even took out his Irish whistle and played a tune with as much skill and style as I’d seen in my last eight days through Ireland.

Kells has an authentic air about it. There are scores of Irish whiskeys proudly displayed behind the bar, validating the class of the pub, but don’t be frightened of the pub food either: it is a mix of authentic Irish and local favorites, and the kitchen does a great job. The acoustics of are great for a venue like this; speakers hung above the stage project clear and evenly, and the volume can always be the right level depending on your seating. Kells was not packed on Monday by any means, but I was surprised at the overall number of patrons; tables were at least half full throughout the night.

It may have been the mood of the night, but May showed an inclination towards the deeper and serious songs such as “Black and Tan”, a song about the suppression of the Irish independence revolution, and “There Were Roses”, recounting the murder of the writer’s friend in a senseless act of religious discrimination. Between some of these songs, May talked specifically about the much improved political condition of Northern Ireland and his hope for the future, which gave these songs all the more meaning. These songs are really some of the most beautiful, and May gives a wonderful and heartfelt rendition. That isn’t to say that the traditional drinking songs were completely neglected. After a quick “Happy Birthday” to a party up front led May into a rousing “Drunken Sailor”, completely changing my concept of it as humdrum pirate tune. He also sung a Scottish love song to the well-loved beverage “O whiskey, whiskey, Nancy Whiskey / Whiskey, whiskey, Nancy-o.”

May has a vast knowledge of songs, from Irish and Scottish, to American and his own folk-inspired work. He performed a few of his own songs Monday night, including the title track off his new album Blue Roads, Red Wine, a song about his own travels with his favored drink. He also played his signature song, a tribute to one of his favorite places in the country, “Just Another Night at Kells.” After twelve full albums, various compilations and over 33 years of experience, you can be sure that Tom May knows his music and is a regular worth seeing at Kells.

Has the Web Revitalized Classical Music?

I really do think that online classical music sales are a great thing. I use a site called eMusic every so often, and generally for classical music because their collection is really huge and contains everything I’ve ever looked for whether it is a brand new sax concerto, or some Debussy piano works. It’s a monthly subscription fee of $9 for 20 or 25 tracks so its really one of the most affordable online music options. I find the most convenient part is the ability to purchase single tracks, because often I am looking for specific pieces and it saves a lot of money over a CD.

Classical music is something that is rarely pirated, especially if you want a specific performer. It's never like the latest Metallica album that everyone has downloaded and is readily available for free. Yes, you'll be able to find Beethoven's 5th, but Symphony No. 1 will be much more difficult to find.

One other area the internet has influenced classical music is in the availability of public domain scores. Sites like the International Music Score Library Project (IMSLP.org) and Project Gutenberg (gutenberg.org) have huge databases of full public domain scores. They are much more convenient places to find rare single works, instead of having to order a whole book from Germany.

I'm Finding My Religion Again

What’s going to be playing at the end of the world? Ask R.E.M. and their new album of this year. After a slowing pace during the last decade R.E.M. has returned with Accelerate, its best album of the decade. Invigorated by their 2006 induction into the Rock and Roll Hall of Fame, the trio’s fourteenth studio release Accelerate embodies their refreshed energy. Compared to Around the Sun, the poorly received release of 2004, R.E.M. took a different turn: revivifying the rock, while shying away from alternative ballads. The majority of songs are fast-paced and considerable focus is placed on the guitar. The group also took a new path in the distribution of Accelerate. A week prior to the US release, the entire album was available for streaming over the internet.

The album opens with "Living Well Is the Best Revenge," scornful words to an ex-lover in rapid lyrics. This track has the classic R.E.M. form, chord progressions, and overall sound. While not the strongest track of the album, it is a connection to previous work. “Man-Sized Wreath” continues with vague, but potent lyrics and a classic feel, which is enough for a two and a half minutes. The first single and hit of the album is “Supernatural Superserious.” The lyrics immediately grab you “Everybody here comes from somewhere / that they would just as soon forget” and the song is supported by a driving guitar, and a catchy chorus sporting great writing.

It is obvious from “Hollow Man” and others that Stipe’s vocals on Accelerate emanate directly from his heart and experience; few songs from previous albums easily compare to his commitment on this release. Slow, somber verses contrast wonderfully with the running choruses of empowering lyrics. “Houston” an acoustic based track, a sort of modern folk tune, is followed by the title track “Accelerate”, another variety of typical R.E.M. sound with a focus on distorted guitar. “Until the Day is Done” is a sullen acoustic song with clear underlying political discontent: “the battle’s been lost / the war is not won / … / the verdict is dire / the country’s in ruins.” The last four tracks of the album focus strongly on a variety of rock songs. “Mr. Richards” brings back the guitar distortion in a fashion more akin to the Smashing Pumpkins than to R.E.M., but “Sing for the Submarine” is a masterpiece of R.E.M. style infused with novel techniques, movement, and harmonizing. “Horse to Water” identifies one of R.E.M.’s lyrical methods of taking a phrase, and riffing through more or less random thoughts and rhymes. As the final track “I’m Gonna DJ” expresses the hopes to DJ the party when the world ends.

A notable shortcoming to Accelerate is its length. With eleven tracks, the album comes in shy of even 35 minutes, making their new album their shortest of all fourteen. This may be great for radio play, but any R.E.M. fan will quickly search out the bonus tracks: two extra studio tracks and four live performances from the album. Fueled by their recent Hall of Fame status, production of their first ever live collection in 2007, and successful new album, Accelerate is R.E.M.’s new motto as they move forward. R.E.M. is a group that will always have a future, and as their current progress suggests we will not be disappointed by their next album. So even if R.E.M. does not get the gig to “DJ at the end of the world”, we know they will still be somewhere on the playlist.

Monk

In her 40 year career, Meredith Monk has influenced music, theatre, and film, and is especially known for her interdisciplinary performance. Dolmen Music is primarily music, but many of the works contain echoes of theatrical performance. Ms. Monk’s music has an astonishing ability to communicate an expanse of diverse emotions by using such little material. She eases us into her world of timelessness during the progression of this album. Her music is generally viewed as minimalist in nature, and Monk places a focus on her extended vocal techniques, a field which she is considered one of the few pioneers in. The first piece “Gotham Lullaby” is an unconventionally simple but soothing piece. The piano’s arpeggiated chords are not unfamiliar, and Monk’s vocals project tranquility without any lyrics.

In “Travelling,” the vocals become more innovative, often resembling exotic calls. The music is quicker, but again led by the piano. Repetition and exploration is the basis of this song.

Some of Monk’s few lyrics are heard in “The Tale,” a piece where Monk’s interdisciplinary affinities are clearly present. The piece describes a character, maybe a story, through a combination of Monk’s laughing vocals and basic short lines: “I still have my telephone …/… I still have my philosophy.” Additional theatricality is found in the harsh bows from strings creating an effect reminiscent of car horns and by an abrupt interlude of breaking glass.

A piano beautifully opens “Biography” and Monk’s deep vocal line quickly follows. She manipulates the tone of her voice on a seemingly meaningless syllable to express significant emotion. As the piece progresses Monk’s voice shifts from erratic sobbing, back into her standard exploration of a syllable, and into something I can only describe as speaking in tongues.

The title track, “Dolmen Music,” is the focus of this album; it’s an epic suite for six voices, cello, and percussion, longer than all the other tracks combined. The piece is the apex of Monk’s minimalist desire “to express a sense of timelessness; of time as a reoccurring cycle.” The sound is everchanging, but rarely at a conscious level, and the repetition within the piece creates overwhelming tension. The piece contains interludes to break up the repetition or start a new direction, easing the ability to listen. “Dolmen Music” clearly sounds similar to archaic chant, reinforced by the title; a dolmen is an ancient megalithic tomb. The music begins slowly. Long notes are played on a solitary string, which fades away to allow the voices to enter the chant one by one.

Dolmen Music is a strong album, but the title track is easily the focal point, leaving us to question if a three minute minimalist work such as “The Tale” is actually effective.