On transience, sad beauty, and The Western Tradition

["Dennis Moser" <sinsofmachaut@gmail.com>]

Heh.

As I have been getting ready for my very own Great Western Migration
the end of this month, I have had to skim the list far more than usual.
One of the things that leaps out, from the Subject headings of a number
of recent postings, is the sheer level of maudlin nostalgia that we
collectively seem to be expressing of late ... now there is nothing
inherently "wrong" with this, it simply got me in a little more
introspective frame of mind. Well, that and confronting the reality of
moving my wife, cat, and household 2000 miles across the country!

Some not-so-random thoughts, then:

1. Too many years ago, I was given a damaged sitar (the upper
resonating gourd was damaged. I removed it and was able to make hideous
noises and pretended to be George Harrison for a few months, until I
gave up) and in trying to learn about playing it, I came across a thin
little paper back "How to Play the Sitar" by Ravi Shankar (no, that
ISN'T the title, but it was something equally ridiculous by a Western
writer interviewing the Master about the process). The one thing that
DID stick with me was Shankar's discussing a concept that he referred
to as "the universal sadness of humanity" ... as if sadness was a
ubiquitous for all of us. Being as I was also neck-deep (ALL puns
intended there) in 16th-18th century lute performance, this resonated
strongly with what I was experiencing with the music of English
lutenist and composer John Dowland, whose "touch upon the lute, doth
ravish human sense" or as appears in many references, "Semper Dowland,
semper dolens" ("Forever Dowland, forever sad"). We Westerners have no
corner on the market of universal sadness ... "all things must pass."

2. Someone mentioned "The Pines of Rome". An excellent piece, indeed.
For me, discovering Ottorino Respighi (sorry to be so pedantically
correct, but that's how his name is spelled) meant his "Ancient Airs
and Dances", the three suites of music based on lute music of the
Italian Renaissance, especially after finding the very lute songs that
he had arranged for orchestra. Some great little gems in there.

3. Ralph Vaughn Williams: wow, what to say ... first encounter was
actually in high school band, playing his "English Folk Song Suite"
(2nd trombone, for those keeping score). The sheer richness of melodic
theme material that Williams used in this is not to be belittled.
Fairport Convention, Steeleye Span, Pentangle, and host of other
folk-rockers would be much-diminished had it not been for the likes of
Williams and others who brought together the Child's Ballads and other
folk songs and brought them back into the public eye. It was only later
that I heard "The Lark Ascending", then "Fantasia on a Theme by Thomas
Tallis". I want to go on record again (I say this about every other
time I hear that piece) and say that when I shuffle off this mortal
coil, that someone will PLEASE play that piece in my memory) ... the
"Greensleeves" variations were nice, but it was those two that really
spoke to me.

It was at this same time and place that I discovered Percy Granger and
his "Lincolnshore Posy" (geez, what a whack job! Grainger is one of
those ones, whose music you can love, but really don't care to know too
much about his personal life ... ). He predates Cage in the use of
"chance" in his compositions and his use of arhythmia ("Rufford Park
Poachers (Poaching Song)") is absolutely daunting.

4. Perhaps we can start a new thread on "Songs of Ecstasy and Joy" to counterbalance this one?

Best to all in 2009,

Dennis