ATDTDA p 555 Chopin's E Minor Nocturne

[Cometman]

--- robinlandseadel at comcast.net wrote:
> . . . .wonder if there's an Asia Carerra performance available. . . .

and who dat? (oh!  another musician who changed careers - same
as Paul Foster Case, who gave up a musical career to found BOTA -
well sort of similar, higher calling sort of thing) 

>            Ajaxman:
hey, why not "Bon Ami man"?  ("hasn't scratched yet" and a nice
gold-colored container) 

>>            A whole page of Chopin's E Minor Nocturnes to choose
from:
> And none worth listening to on its own merits!!!

I wonder if YouTube is like the AM radio used to be...
if people will be nostalgic for that distinctive (if
imperfect) sound and the thrill of discovering new material
(like lying in bed in 1967 with the transistor radio under
the pillow and hearing Slim Harpo for the first time)
 
>            CTM:
>            Orange tab city!  
> 
> As I recall, those were the tabs that made me reach for the
> thorazine.

we were all preindoctrinated for drug use by the schools, when
they passed out those tasty red tabs to chew and show plaque...

> There's always this deliberate distortion of the mode of address 
> in Pynchon's presentation of 'The Classics'. Of course, classical 
> music , in all its "Margaret Dumont at the Opera" ostentation is 
> such an easy, juvenile target for TRP. But it seems much more 
> complicated here. 

...use of lampoon as an entry point for 
serious consideration is one of the hallmarks of OBA -
nobody does it quite like he...
 
>page 552, where Miles Blundell
> is discussing the low esteem of the ukulele with Thorn Ryder:
> 
>            . . . .traceable, we concluded to the uke's
> all-but-exclusive employment as a producer of chords---single, 
> timeless events apprehended all at once instead of serially [1].
> Notes of a linear melody, up and down a staff, being a record of 
> pitch versus time, to play a melody is to introduce the 
> element of time, and hence of mortality. . . .
> 

not only that, but, perhaps, introducing a melody requiring 
primacy of attention is also introducing hierarchy and
detracting from the anarchist miracle - "ja, these notes
are *more important* than the rest, the ueber-musik, and the
other notes must *serve* them..."

--that's my anarchist cadenza--

but also I think the section
is directly approaching a statement of preference for avoiding
"single vision and Newton's sleep", for considering multiple
factors and viewpoints simultaneously...refusing to ignore vectors
that point off in different directions but instead performing
vector (or quaternion) arithmetic on them, 
acknowledging their influence, grooving with it...

> While Chopin's E Minor Nocturne is nothing if not a whiff of
> mortality. . . .
> 

it reminds me of that pop tune "A Day in the Life of a Fool" ...
which I learned (again from YouTube, where there are, it goes
without saying, numerous versions in varying degrees of listenability)
comes from the 1959 film "Black Orpheus" which has something to do
with the same attempt and failure to retrieve people from death
that's being propounded by the Trespassers...

> 
>           ". . . .Do you know where we are right now?"
>           " On the road between Ypres and Menin, according to 
>           the signs," said Miles
> 
> Flanders, the 'mass grave of history.'
> 

doesn't Flanders also figure mightily in Tristram Shandy?


>            until one day they awoke, those who were still alive, and
> instead of finding themselves posed nobly against some dramatic
> moral geography, they were down cringing in a mud trench
> swarming with rats and smelling of shit and death." (1023-24)
> ....
>  The Chums, like the world itself, have fallen from
> innocence, and they choose now to make their way as independent
> contractors. . . .
> 
> http://www3.iath.virginia.edu/pmc/current.issue/17.2duyfhuizen.html
> 

interestingly, the contractor figures heavily in current warfare,
and in times past (100 years war, 30 years war, American Revolution)
was also prominent, and known as the mercenary...
so again, OBA hasn't removed ambiguity -
I'm not saying the Chums are to be military contractors, though their
experience is along those lines...

> A shit Madeline, eh?

eewww...

> A little background from 'A Gravity's Rainbow Companion, 
> Steven C. Weisenburger:

memo to self: get new edition...


> The E-minor is Chopin's earliest Nocturne but has the highest opus
> number, having been published posthumously. I'd recommend Artur 
> Rubinstein's stereo set from 1967---the Ariston's spinning a 'dead 
> dog' Dynagroove copy, 
> The new Maurizio Pollini set of Chopin Nocturnes is
> also very 
> worthwhile and probably easier to find in a brick 'n' mortar right
> about now.
> 
> http://www.deutschegrammophon.com/special/?ID=pollini-nocturnes
> 

whole new set of afficionado chops to develop...

> 1: Music is about to spin out in the cultural cul-de-sac of
> serialism, just 
> about the time the shit hits the fan in Passchendaele.
> 

a) there really are a lot of musical references to follow, aren't
there?
b) was Plato right about when music changes, society changes?
c) isn't the idea of serialism kind of cool in a way - everybody has
these cultural assumptions about what notes signify, let's do 
something different?

"So listen to my song of life -
you don't need a gun or a knife:
successful conversation will take you very far" - Pete Ham

"It is not difficult to define the place that Linux should occupy in a well- ordered social life. It should be its spiritual core"-Simone Weil, from 'The Need for Boots'

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