Island Passage

Robert A. Heinlein wrote: “A human being should be able to change a diaper, plan an invasion, butcher a hog, conn a ship, design a building, write a sonnet, balance accounts, build a wall, set a bone, comfort the dying, take orders, give orders, cooperate, act alone, solve equations, analyze a new problem, pitch manure, program a computer, cook a tasty meal, fight efficiently, die gallantly. Specialization is for insects.” There has been text written in the last year or so lamenting the loss of skills that were common just a generation ago. These laments range from the I Can't Do One-Quarter of the Things My Father Can , to Popular Mechanics 25 Skills Every Man Should Know. Now Esquire Magazine publishes its list, The 75 Skills Every Man Should Master . I wonder at the purpose of some of the entries on the list, perhaps they were included just so everyone who reads it would have something to check off and say, "Got that one!" 5. Name a book that matters. The Catcher in ...

A nifty review in the Wall Street Journal of The Great Transformation of Musical Taste by William Weber points out that our taste for great classics in concert hall music is rather modern. Up until the mid-1800s, concert programs were primarily composed of recent works by living composers: Until the early 19th century, Mr. Weber says, no body of European music was viewed as innately superior to any other. Concerts displayed a variety of tastes and styles and rarely featured esteemed composers or particular genres. Having studied hundreds of concert programs spanning several decades, Mr. Weber tells us that the typical 18th-century public performance featured a miscellany of opera overtures, arias, concertos and ensemble numbers – all by living composers. "Variety is the soul of a concert," one pundit pronounced. Mozart's father advised him that success lay in keeping his compositions "short, easy and popular." What happened to music? Over the course o...

Beethoven's 5th symphony in C minor is such a workhorse (or warhorse) that it has become a symbol of Western concert music and it has been been drafted into many uses. Most often it appears musically as a straw man with a sign hanging from it's neck that reads, "Dead White European Music." But occasionally the genius of the composer calls forth some genius from the adapter. Two treatments come to mind. First is Peter Schickele's "New Horizons in Music Appreciation: Beethoven’s Fifth Symphony" to this: Sid Ceasar and Nanette Fabray having an argument to the Fifth Symphony's first movement. Two points that strike me: They used the entire first movement of nearly six minutes. I don't think a television programmer today would let a skit develop that long. Though the movements seem to be repetitive, they develop the story with the music and let the music dictate the pace of the skit. This would be very daring whenever it was done.