Tuesday, July 19, 2011

Book Review: On Moderation

On Moderation: Defending an Ancient Virtue in a Modern World
by Harry Clor. 2008.

In everything it is no easy task to find the middle. . . therefore goodness is both rare and laudable and noble. –Aristotle

I have tried to imagine a reader who would not benefit from Harry Clor's On Moderation, to find someone for whom this volume is of no use. Surely this book must be redundant for the philosophically literate? No. Too esoteric for the layman? No. Too long? Certainly not, at 120 pages. On Moderation has enough of tempered sagacity to earn the trust of the old and enough challenges to common suppositions to stir the youthful. It is neither sententious nor witless, chastising nor therapeutic. It neither overwhelms with footnotes nor suffers from a lack of references. On Moderation is for everyone. Perhaps it is a banal, even hokey, compliment to say that a book titled On Moderation is itself of moderate proportions but such is quite a feat. How might we fare weaving the thread of one of Western Civilization's oldest ideas throughout all of its history? And not just through its treatment at the hands of philosophers but by authors and in the lives of political figures?  And then presenting it in a clear and useful form for any reader? Quite a feat.

Why attempt it, though? Why be moderate? To answer this question we obviously must define the idea and Clor divides the task into three categories: What does it mean to practice, 1) political moderation, 2) personal moderation, and 3) philosophical moderation. In each Clor seeks out the the proponents and examples of moderation and issues which seem to present challenges to moderation, i.e. people and problems who urge or seem to require some more extreme course of action. Present throughout is the author's own moderation. In particular Clor is always attentive to the alternative sides of an argument, the limits of what one may know of particular circumstances, the potential to gain insight from a position that seems generally wrong or unreasonable, and lastly that there exists a multitude of goods and one may not always attain them all.



Political Moderation

Clor begins discussing political moderation with a frank question. "Isn't political moderation just splitting the difference?" This is depressingly plausible, isn't it? We don't seem to be off to a great start. He then continues with an inviting and elucidating anecdote:
Once while teaching a course on the American Founding I thought it appropriate to stress the virtues of political moderation. An outstanding student (and congenital debunker) responded with a challenge: "So you would have been against the American Revolution or you would have looked for some compromise to avoid it!" At the time the question threw me embarrassingly off balance. [Clor, 11]
First off, anyone who has taught for any duration can spare a chortle for his experience. More to the point, though, Clor (citing the late Martin Diamond's amusingly-titled essay, "The Revolution of Sober Expectations") observes that the revolution was moderate as far as revolutions go. Unlike the French and Bolshevik ones it did not seek to overthrow all of society, to change man's nature, or to attain a massive list of rights. No one marched in the streets chanting, "We will have equality or we will destroy civilization," as in the French Revolution. Clor uses this example to demonstrate how moderation in political life consists in part of putting up with defects or limiting aspirations in order to bring about some good (presumably enough so that the defects are bearable.) Some may find this approach unsatisfying and tantamount to a revisionist approach in which certain events are demonstrated really to be moderate, yet another of the author's points provides a corrective to this criticism: that perspective and an impersonal distance are required for political moderation. One must step away and examine the issue, and its extreme positions, in order to perceive the moderate position.

Another aspect of political moderation Clor identifies is that of acknowledging a multiplicity of principles. Not mere conflict and strife, he points out, but multiple values deserving of your attention and which must be balanced, though preserving one may damage the other. Similarly, Clor identifies the principle of proportionality as appropriate to political moderation, finding it in the American system of government which achieves the balance of "constituted representative democracy" in contrast to "radical populistic democracy." Applying Burke's words to the American system, one may say that it "tempers together those opposite elements of liberty and restraint in one consistent work."

In contrast to the aforementioned principles of moderation Clor finds the so-called "value pluralism" unpersuasive as a force of moderation, for while its toleration is preferable to polarized struggles for control of the state, "tolerance by itself does not produce the sense of community on which it depends." [Clor, 20] That is, toleration is really only plausible when some underlying fundamentals, often unspoken, exist. Too, value pluralism, extolling diversity itself as a virtue, requires one to praise all walks of life and actions as good without recourse to any particular understanding of a "good life." Well how can they all be good?

One of the most important aspects of political moderation Clor picks up from Aristotle, who argued that we "ought not expect more precision from our study than the subject matter permits." This means not that there are no universal truths but that prescriptions to bring them about or abide by them may only be offered in outline because particular instances are variable. A few obvious examples follow, namely the two which philosophers have wrangled with and tried to, once and for all, proclaim as evil: lying and murder. Are they not sometimes the lesser of evils, for example if they prevented mass devastation? Too, does power really "always corrupt" or is it sometimes necessary as a force to counter evil? Clor infers two points from Aristotle's observation: 1) do not attempt to turn politics into an exact science, and 2) don't turn ethics into a body of categorical imperatives. Do so, and every political decision you make becomes an intractable one without any hope of negotiation. If all issues are moral ones, then no societies are possible except for ones in which everyone agrees about everything or about nothing. Most societies reach some degree of moderation, permitting some things and forbidding others.

A "moderate" political citizen then, with these "situational ethics" in mind, has much to observe in trying to negotiate what is and is not acceptable. Yet what happens when something is finally decided upon? It is usually made into some kind of law. How useful is this? Clor, again channeling Aristotle, notes that on the one hand laws are made by fallible men and thus may be biased and imperfect, and on the other they are still more dispassionate than any human judgment would be on the spur of the moment by virtue of their distance from the event in question. Again, on the one hand the law provides an impartial standard for a situation and on the other there are times when a "judgment call" is needed. It is hard to foresee every circumstance. Sentencing someone to life in prison for violating a rule which has been superseded or rendered defunct would be "excessive legalism." The rule of law itself, then, is a moderator in need of moderation.

Finally, then, the politically moderate man must be able to balance the demands of various principles, to calculate reasonable goals, to admit a degree of uncertainty to the situation, to refrain from moralizing, to be diligent about obtaining the facts, and maintain capacity for disinterested examination. Too, he must remember that all men are subject to passions and that even reason may find itself passion's instrument.



Personal Moderation

Nietzsche contest with the ancients for man's nature is at heart of this chapter. For both parties man may be of two natures, of reason and chaos, but in which does his ideal state exist? The former sees in  chaos the will to create and the latter in harmony the happiness of man. Does reason reveal the path to prosperity or does it simply saddle and devitalize one's passions and inner drive? After laying out the arguments for passion and reason, for order chaos and order, Clor makes a recommendation for moderation all the more powerful and sensible for its brevity: Are we not reasoning and social creatures, do we not carry various imperatives and entertain different claims upon us? Is an energetic or happy human really one in which many of these claims lay undeveloped? Relax control, maybe here and there, but only if you have a moral constitution as the norm. Clor concludes, "the demands of rationality may be relaxed by a mind in which reason retains a prominent voice." [Clor, 58] Such moderation feels almost like a relief from the extreme claims.

The author begins his discussion of love without much hope that he will find room for moderation. Who wants to be loved moderately? To recommend a "temperate ecstasy" is to invite parody. Yet if moderation has no place here than its overall usefulness to us is considerably less. Clor weaves through the extremes, though, noting, "if you don't want happiness and unhappiness to be a kind of lottery, you had better be in some position to judge the qualities of the person you consider giving yourself to and cherishing." [Clor, 60] As in political moderation, self-restraint and a rational consideration of character are called for. Yes, the act is the act regardless of whether it is good, but it cannot be fitting for man or you without some deliberation about life, self, and other. Love requires both dependency and independency. Love requires dedication, but general happiness requires investment in many pursuits, of which the attachment of love is but one. Clor finds in Freud just such a sort of pragmatic injunction for moderation. "Any choice that is pushed to an extreme will be penalized by exposing the individual to the dangers which arise if a technique of living that has been chosen as an exclusive one should prove inadequate." [Clor, 63]

While discussing man's capacity for passion Clor makes an interesting stop to discuss compassion. Yes, of course it maintains certain personal and social benefits. Yet is it somehow overrated? Perhaps, but perhaps one simply ought to distinguish more finely just what it is.  Sometimes compassion is simply rooted in a fear that the same thing could happen to you. Second, you may feel pity and empathy for someone's suffering but such is not the same as persistent concern for his well-being. Neither of these instances of "compassion" are quite so laudable as we might think. Lastly, one may indeed be deserving of compassion but also of anger or indignation. Compassion is not a virtue, something that refines a passion toward some good end, but a passion itself. As such, it requires guidance and consideration of goods since it can be properly or improperly directed.

Concluding Clor's discussion of the nature of man's passions he asks: are they wholly benevolent or do they need to be vigorously squelched? On the one hand we may consider if they are wholly benevolent, a position which Clor finds supported in some modern psychologies in which in which one needs to "grow" and "be oneself" and be "open to possibilities." In this thinking one must forge "contacts" through which the self will reconfigure and very little can be seen to be determinedly wrong. Though clearly unpersuaded by this immoderate approach, Clor, persistently moderate, accords gestalt psychology its due noting that, "the idea that personality develops through the experience and incorporation of connections with others is a sensible one as far as it goes, but the other side of wisdom is full recognition of the fact that not all contacts are good ones."[Clor, 74]

Yet if some passions are moderated, how is this accomplished? It seems foolish to think that one can "temper impetuous impulses by remonstrating with them." To Aristotle, one's habits and dispositions, the ways in which the passions are incorporated into one's disposition, moderate otherwise unrestrained desires. Repeatedly choosing an action, under whatever guidance or communal pressure, slowly makes that way of dealing with the passion part of who you are. Personal moderation, like political moderation, would seem to require much of the individual. In fact it requires nothing less than an awareness of self and society. It requires rationally choosing values but also understanding those which one has unconsciously acquired through habituation. It requires building a character but also understanding the values one has inherited as an individual in a particular family and country and even those one has by chance. It requires measured introspection and accordingly corrective action, not dogmatism or unlimited "openness" to any outcome. It requires having a character, which necessitates the ability to perceive a situation and reason what the right thing to do is, and then the will to temper oneself. One might say it requires both wisdom and virtue.



Philosophical Moderation

We have several times spoken of reason and therefore must defend it as legitimate. We must defend reason if we are to justify the habituation, education, and self-discipline that moderation calls for. A defense of reason is necessary, as Clor puts it, because, "one who has no respect for reason is ill-disposed to listen to argument, entertain viewpoints differing from those one currently holds, and cultivate that capacity for deliberation that is part and parcel of a self-controlling character." [Clor, 86]

Clor takes on a number of the postmodernist attacks on reason and his first is surprisingly simple. If it is so that "everyone is coming from somewhere" and that no one can escape his influences and circumstances, why bother with structures of any kind? Why bother with a liberal education, for example, if reason and debate are meaningless? Why bother with structures for legislative deliberation if it is really just a contest of wills? Clor makes an excellent and subtle observation about Plato's Republic
The persons Socrates encounters in the Platonic dialogues assert opinions that reflect their (diverse) personalities, backgrounds, or aspirations, and the encounters are designed to show the attentive reader both who difficult it is to make them entertain challenges to their received opinions and that it is sometimes possible to do so. Platonic dialogues recognize that everyone is coming from somewhere, but that where you are going is, at least on occasion and with the right person, open to effectual discussion. [Clor, 87]
Indeed, postmodernist anti-reason ideologies do not promote questioning traditional thought so much as they "render the injunction 'know thyself' virtually meaningless." [Clor, 88] Such attacks on rationality of course also affect all norms and standards, which "are dissolved under the acids of a critique that pronounces them to be groundless if not fraudulent." Clor refers to this as an "ultra-libertarianism," quoting Dostoevsky's disapproving observation, "everything is permitted." The postmodernist position also unravels society by rendering all lifestyles equal. Clor makes less than he could of the disconnect between these postmodernist ideas and the positions of some contemporary liberals that "equal respect is a categorical imperative." (Never to us a straw man, Clor uses Dworkin's 1977 Taking Rights Seriously as an example.) As with political moderation, there must be some recourse to values which transcend particular circumstances lest the whole enterprise of moderation be equally relativistic. Using Clor's example, a terrorist leader who compromises amongst the extreme demands of his followers cannot be considered a moderate.

At last Clor tackles Nietzsche's epistemology. If we take Nietzsche's philosophy to be true, with its conclusion that  philosophy is not reasoned inquiry but creativity driven by the will to power, then what do we make of it? If we do believe it, how can we believe it? Clor seems slightly offended by Nietzsche's own response to the question, that if you realize this conundrum, "So much the better." So much the better?" asks Clor. Truly? Yet Clor's moderation restrains him and he seeks a moderate view of Nietzsche, culling from the bluster that from Nietzsche's perspectivism we learn that our understanding is often only partial, that seeking the truth is not precluded but rather no one can presume to have grasped the whole of it.

Despite such observations about epistemology, which Clor, perhaps with tongue-in-cheek, calls "contributions to moral relativism," Nietzsche's philosophy itself praises something and discourages others. It affirms zeal over enervation and struggle over complacency. In Nietzsche Clor does not find the philosopher of "anything goes" but of "a demanding spiritedness." "What is to be admired is "energetic commitment, which is, at its pinnacle, self-creative." [Clor, 93] Whether or not one agrees with this reading of Nietzsche, it certainly is allows a moderate person to learn something from the philosophy without committing to its extreme prescriptions. It also casts considerable doubt upon it as anything workable on its own.

Perhaps the most novel attack on reason, though, comes not from Nietzsche but from Rousseau, who argued that reason (and imagination) produce desires which are distinct from our natural, necessary, inclinations. "Sensual desires are inflamed into lusts. . . thought makes possible egoism." [Clor, 99] Nature's impulses are simple, inescapable, and able to be sated. Appetites rooted in thought may not be. Clor counters:
Without thought, "know thyself" is impossible, and it is even quite doubtful that without thought you could come to have a self at all. . . Rousseau's original man has no ego about which to be egotistic. Who among us would want to trade places with that "man" and pay that price? [Clor, 100]
There is in this a bit of a challenge to the Rousseauian, Nietzschian, and post-modernist programs: if you want to live like that, go ahead, but you'll end up tempering it with something anyway.


Conclusion

On Moderation is a terrific and spirited read. It makes the task of living the good life, navigating its extremes, seem challenging, rewarding, and even noble. The text starts with simple examples using famous political figures like Franklin Roosevelt and Churchill and eases the reader into more complex discussions of Rousseau and Nietzsche. It is judiciously footnoted with a short suggested reading list of recommendations ranging from Jane Austen to George Will. Clor is so consistently even-handed and concerned with useful learning over proving, the book is as much a model for moderation as a discussion of it. One may tire of the many "what ifs" and "on the other hand" but such scrutiny and even-handedness, such work, well that's moderation.

Monday, July 18, 2011

Vivaldi's Women


The documentary "Vivaldi's Women" on BBC Four presented the story of an extraordinary creative partnership between one of history's great composers–Antonio Vivaldi–and an all-female orchestra and choir. In the early 18th century, Father Antonio Vivaldi was a violin teacher, musical director, musical instrument procurer and in-house composer for a Venetian institution called La Pietà, a home for children who had been abandoned at birth.

The institution had its own all-female orchestra and choir who provided sacred "entertainment" in the church for the visiting "Grand Tourists". The unique creative relationship that Vivaldi formed with these women resulted in what many believe to be one of the finest performing groups of all time.



Further Vivaldi reading:

Antonio Vivaldi and His Sacred Music, by William Peter Mahrt [PDF]
Vivaldi: Voice of the Baroque, by H. C. Robbins Landon [Amazon]

Sunday, July 17, 2011

Tovey, Cello Concerto in C, op. 40


Cello Concerto in C Major Op. 40 written in honour of Pau (Pablo) Casals by his friend, Donald Francis Tovey.

Rondo-Allegro giocoso
Pau Casals, Cello; BBC Symphony Orchestra; Sir Adrian Boult, conductor
Queen`s Hall. 1937.

D. F. Tovey

Sir Donald Francis Tovey (17 July 1875 – 10 July 1940)

Still over 135 years after his birth, few, if any, have written about music with as much love, sagacity, and good humor as Donald Francis Tovey. His modestly titled "Essays in Musical Analysis" is in fact a six-volume collection of his program notes for the concerts under his baton at the Reid Orchestra in Edinburgh. Since publication in the thirties they have become the model for concert notes aiming to do what they ought to: prepare as quickly as possible anyone who picks them up to appreciate the piece. With them Tovey aimed not to "vex with grammatical minutiae" but rather be "counsel for the defence," to tell you what a work is trying to do and suggest it is successful enough that you ought to keep your seat.

Their author suggested they don't make for good continuous reading and he's probably right, but they are fine preludes to any pieces Tovey deigned to comment on. I say deigned for these notes brim with his character. First, the reflections themselves bear out his taste, a taste moved by Schubertian songfulness as Bachian contrapuntal density. In his mind and character there was room for the Olympian and the urban and throughout these notes one sees as much love for a spiky chord of Beethoven as a chattery piece of Mozart. On the one hand we have sober appraisals like, "The vulgar popular author often does not know that literature and art contain higher thoughts than his own" and on the other, old world parables: "the centipede whose inspiration was paralyzed by a malicious snail, who asked him which leg he put down first."

Tovey's love and reverence for this music is today sometimes seen as uncritical. Arthur Hutchings, whose admiration and reverence for Tovey is clear from his own notes, hit the correct note when he said that to Tovey, to mention weakness in one of the classics was to be "perky."  What a compliment. Should you find a misplaced phrase, a clunky line, thin plots, cheats, or stock bits, do make note and, in the fashion of a good gentleman scholar, enjoy the rest. Must one comment on such trifles? What will doing so teach about, say, Mozart? Yet Tovey's softness is overstated. He can call a phrase trivial, point out (often contra common suppositions) who owes what to whom, and so forth. Yet there is a disposition rooted as much in classical education as humane perspicacity and cultivated by years of pruning away thorny habits from a genteel deportment, that yields a pious, and grateful, temperament. By all means criticize this phrase from Beethoven, or Shakespeare for that matter, but to remember their successes is to see how small the imperfections.

We mentioned a "classical education" and seldom have the joys which spring from it and only it been on fuller display. What else would have permitted analogies between the 18th century Viennese music and Aristophanes, be it likening the croaking chorus of the Frogs to a phrase from Mozart or seeing in Haydn's treatment of a theme the debt-ridden, sleepless Strepsiades: I'm being bitten through the bed clothes by a b-b-b-b-b-bailiff.

Deficiency would mark this essay if we passed over Tovey's charming turns of phrase, turns Wikipedia impenetrably refers to as "Humpty-Dumptyish." Regardless, if saying that, "Haydn never produced a more exquisitely bred kitten" doesn't crack you a smile, then perhaps Papa H. isn't for you in the first place.

Humor aside, the essays brim with scholarship and for their variety demonstrate a surprising interconnectedness. Yes, Tovey can speak about the "Beethovenian sonata" because he has in fact been through every bar of every Beethoven sonata but it is not so much overt research and arguments that come through, or even his lively literary characterizations of the musical gestures but the, often rather oblique, discussions of style. This phrase or development is very Mozartian insofar as. . .  Such and such could never have written this. . . Whose style anticipates whose, who had whose procedures in mind, whose subject resembles whose, who perfected his use of the orchestral ritornello. . . Nearly every essay is littered with throwaway observations and comparisons. Observations and comparisons which could only be made by someone who spent a lifetime studying, playing, and loving music. Many such observations could be turned into volumes of their own and the dutiful student will be rewarded by pulling out scores and following Tovey's prompts to follow up a discussion. 

So cast aside the flashy irreverence of modern criticism and the gobbledygook of contemporary scholarship. Too cast aside Tovey's own modesty about these enlivening and invaluable volumes and seek them out. Born before the premier of Parsifal, Tovey was of the musical tradition he wrote about. For someone who heard Joachim himself play those famous cadenzas to the Beethoven Violin Concerto Tovey is more approachable, more near to us, than we could ever expect. He bridges the world between the living culture of classical music and today. We may only look back at, but he would be happy, delighted, to introduce you to the "elaborate mystifications" of Carnaval and the "eternal laughter of Mozart," though you'll make a few stops, and jokes, along the way.

Some Classic Tovey

On Mozart's Piano Concerto in B-flat, KV.450
The raillery is continued even more quizzically. But soon Mozart, though refusing to leave the tonic chord, plunges into the usual forte theme which comes to the usual half-close. Then, thinks the usual theorist, we have the usual second subject. But, as we have seen before, it is impossible to tell which, if any, of the themes of a Mozart tutti is going to belong to the second group. Another tutti theme, beginning with a conspirator's crescendo, leads to the cadence-figure of the whole ritornello. On the state this would imply a ribald gesture addressed to deluded husbands. See Figaro, Act IV, No. 26 'gia ognuno lo sa'.
On Verdi's Requiem
The language of the theater was Verdi's only musical idiom; and our musical culture, resting secure on its foundation on Bach and Beethoven, can derive nothing but good from realizing that to object to the theatricality of Verdi's Requiem is about as profane to point out that Beethoven lacked the advantages of a university education.
On Haydn's The Creation
Asbestos is not in common use as material for writing or printing, and so I cannot express my opinion of the cuts sanctioned by tradition in performances of Haydn's Creation.
 On Bach's Jesu, Meine Freude
The ninth movement, the fifth verse of the chorale, is oneo f Bach's great choral variations; not, this time, in the free declamatory style that so effectually disguises the structure of hte third verse, but in a stupendously complete and clea rform which only Bach has achieved, though his examples of it are so numerous that they are believed to be normal specimens of academic music. (The first chorus of the Matthew Passion is one.) The essence of this form is that, while one voice or part sings the chorale phrase by phrase, with pauses so long between each as to stretch the whole out to the length of a long movement, the other parts execute a complete design which may or may not have some connexion with the melody of a chorale, but which in any case would remain a perfectly solid whole if the chorale were taken away. . . we may confidently say that before Bach it was hardly known, and that it has never been attempted since. 

Saturday, July 9, 2011

Around the Web


Long-Overdue Edition

1) Celebrating the Art of Italy: A show in Turin reflects on 2,000 years of cultural heritage

2) This is Your Brain on Art

3) Interview: Frank Gehry

4) Interview: David McCullough

5) A 40 Megapixel 360 Degree Panorama of The Strahov Philosophical Library

6) But Is It Art?

7) My Uncle, Oscar Hammerstein

8) Off With Their Coattails: Investigating the mysterious origins of the tuxedo

9) Hayek versus Habermas

10) Rango: A Libertarian Spiritual Epic

11) On The Leopard, A Lyric, Elegiac Lament for a Lost World

12) The Philosophy of Insomnia

13) Jacket (Not) Required

14) The Tyranny of Science

15) The Fine Art of Living

16) Out of the Miasma of Bardolatry, a Masterpiece

17) Exposing Shallowness: On Margo DeMello's Bodies of Inscription

18) Harold Bloom by the Numbers

19) The Corrupted Treasures of This World: On the Selected Poems of Anthony Hecht

20) Clientelism on the Defensive

21) Why the Art World is a Disaster

22) The Unintended Consequences Of The Welfare State

23) Jane Jacobs: Libertarian Outsider

24) Why Catholic Schools Matter

25) Can Conservatives Be Libertarians?

26) Religious Alternatives to the Public Sector

27) Are Artists Liars?

28) The Handwriting Is On the Wall

29) Middle Earth in LEGOs

30) A Lego Bedroom
Music

31) A Magical 'Flute' Without the Fanfare

32) Sounds Unfamiliar: Concert halls should take a chance on lesser-known composers

33) Reentering Opera’s Lost World

Economics

34) WWII Did Not End the Depression

35) Is Inflation Harmless or Even Good?

36) Our Unaccountable Fed

37) The Moral Issues of Money

Book Reviews

38) The Use and Abuse of Literature by Marjorie Garber

39) No Regrets: The Life of Edith Piaf by Carolyn Burke

40) Great Soul: Mahatma Gandhi And His Struggle With India by Joseph Lelyveld

41) Hero: The Life and Legend of Lawrence of Arabia by Michael Korda

42) The Long Goodbye by Meghan O' Rourke & A Grief Observed by C. S. Lewis

43) Quantum Man: Richard Feynman's Life in Science by Lawrence M. Krauss

44) Modigliani: A Life by Meryle Secrest

45) Tolkien and Beowulf

46) Brothers, Rivals, Victors by Jonathan W. Jordan 

47) Bismarck: A Life by Jonathan Steinberg 

48) The Invention of Murder by Judith Flanders

49) Moral Combat: Good and Evil in World War II by Michael Burleigh 

50) The 125th Anniversary of the Death of King Ludwig II

51) The Quantum Story by Jim Baggott

52) James Levine: 40 Years At the Metropolitan Opera

53) The Enchanter: Nabokov and Happiness by Lila Azam Zanganeh

54) The Bourgeois Virtues: Ethics for an Age of Commerce by Deirdre N. McCloskey

55) The Enigma of Capital and the Crises of Capitalism by David Harvey

56) How to Write a Sentence and How to Read One by Stanley Fish

57) Sacred Trash by Adina Hoffman and Peter Cole

58) The Tribal Imagination: Civilization and the Savage Mind by Robin Fox

59) Chasing Aphrodite by Jason Felch and Ralph Frammolino

60) Montaigne and Being in Touch with Life by Saul Frampton

61) The Secret Knowledge: On the Dismantling of American Culture by David Mamet

62)  When the World Spoke French by Marc Fumaroli

Thursday, July 7, 2011

Fin ch'han dal vino Sing-off


Nine great Don Giovannis sing the famous Champagne aria. Only one will emerge victorious. . .

A fun treat, enjoying as we do comparisons amongst versions of a piece. (Always interesting to see what they do what that rising bassoon phrase, amongst other features.)

Fin ch'han dal vino calda la testa. . .


Taste, Character

One of the many throw-away jewels in T. S. Eliot's 1961 essay To Criticize the Critic is a distinguishing between fashion and taste. The point is worth developing particularly because of the trope that "taste varies." Let us begin as Eliot does, distinguishes between fashion, "the love of change for its own sake" and taste, which "springs from a deeper source." The former seems a sensible definition since fashion varies according to life's many vicissitudes. Fashion trends and without any regard for anything. To be fashionable one must simply change from something to something else. Before tackling taste I would posit another category, style. Style rather simply is some particular convention, but in particular it exists without any special regard for the reason behind the convention. It is simply a protocol, of greater or lesser specificity. Thus with this definition one does not have style per se but rather uses a particular style. This may seem an arbitrarily limited usage of the term but it leaves a some necessary room for defining taste.

Indeed taste springs from a deeper source, but more importantly I would suggest taste is unique insofar as it springs from any source at all, because in contrast to fashion and style as we have defined them, taste is a personal attribute. Taste is the reason for some style or blend of styles. Taste requires the active choosing and rejecting of certain styles according to some principles. Whereas style may be principled, accidental, or incidental, taste is always chosen. Taste is always cultivated, that is, taste requires character. To have a particular taste requires an awareness of possibilities and a preference for one way of thinking, of doing, of being. It is unique to the curious blend of influences upon a particular person and the way in which the individual synthesizes them. One might, for example, write in the style of, say Bach or Shakespeare, but one cannot in fact write actual Bach or Shakespeare. Taste then is in fact a component of character, themselves both essentially creative acts though admitting certain variables, namely that does not have control over what he is exposed to.

One is, as we have mentioned before, by nature, of a certain place and time and passing through. By our definition of taste then, to possess taste requires a sense of time and place, of one's tradition, of combining influences in the present, and all towards some future state of being.

To possess taste then is no small feat, requiring as it does a sense of self and other, of principled preference, and of tradition.

Wednesday, July 6, 2011

Mini-Review: Looking for Richard

Directed by Al Pacino. 1996.

Al Pacino walking around Manhattan asking people what they think about Shakespeare was not such a bad idea. It could have been played as a cheap trick setting up some point about how no one today appreciates Shakespeare or how we need to pedestrianize the Bard to make him "more accessible." These strolls through the city, though, avoid such tempting alternatives and instead simply ask people what they know and what they find difficult. Some people think Shakespeare is boring, others complicated. Some people have not heard of him, others can quote a phrase. They all, though, admit to a certain distance, a divide some of the actors we meet later admit to remembering from their first experience with Shakespeare. A ways through trying to explain the plot Pacino himself admits, "I'm confused just saying it to you. So I can imagine how you must feel hearing me talk." This frankness and the admission that the film is as much about the actors trying to find Richard as it is to help the audience is an effective, if not entirely necessary, hook to bring the audience into the endeavor of experiencing Shakespeare.

The film's structure of cutting among discussions of the film with actors and staged scenes is effective. Wisely both types of scene are always cut off before one gets to settled into seeing a film or watching a roundtable. The ability to intersperse actual scenes from Shakespeare, with full costume and music, with discussions, and even overlay them, is a great tool Pacino uses effectively to broaden the scenes, explaining who is doing what without getting caught up in a cycle of explication followed by the scene, followed by explication. . . The highlight of the film, though, is the actors and listening them discuss the film. For those beginning their experience of Shakespeare it is a wonderful resource to see a scene played a few different ways because it demonstrates both how much you have to understand the character to perform him consistently through a play and how there can be different meanings and subtexts to a given word, line, or scene.

Sometimes, though, you'll have a scene of discussion in which nothing is resolved and in which the actors do not seem to have gotten to the heart of the scene followed by a fine performance. One can't help but wonder, how did they get here? Other time's they are really just explaining the plot.
Too some of the scholarly justifications for getting down to the essence of Shakespeare don't quite work. One scholar mentions how it's more important to get to the bottom of every scene than "getting obsessed with the British way of regarding a text." Well what do you do with the text? A scholarly discussion would have been welcome here. Sometimes they merely point at the issue. Similarly, they do not so much explain how the meter works in Shakespeare as they just define what iambic pentameter is. (Because it's a big scary Greek word they even reveal it slowly on the screen.)


For a documentary, or "docu-drama type thing" as Pacino calls it, Looking for Richard is quite light on the critics, historians, and scholars. In one scene Pacino's collaborator Frederic Kimball grows quite adamant about the this point, insisting that the scholars should not get the special privilege of looking into the camera for their scenes if the director's point is to demonstrate that it is the actors who are the true possessors of the material. This seems plausible enough, yet we constantly see the actors scurrying about and quarreling trying simply to comprehend the play. The point Pacino seems to demonstrate is rather in fact that the actor has to become the scholar. Likewise the film's premise that Shakespeare is for everyone is not quite so perfectly true. On the one hand the film does demonstrate the beauty and truthfulness of Shakespeare by doing such a fine job of the acting. Surely the content is for everyone. On the other hand, despite how entertaining the film is, it also does a lot of teaching and explaining. Well if all of this teaching is necessary, then there is an inherent barrier isn't there? The actors need scholars, or to be scholars, the actors need the audience, the audience needs the actors, and so forth. There seems to be more truth in that line of thinking, that there are discrete but overlapping roles, than the egalitarian "we're all in this together" schtick. Such a discussion, however, would have necessitated another about culture, which surely would have bored the audience Looking for Richard was aiming at.

One senses that the director would consider Looking for Richard a success if someone who didn't like Shakespeare enjoyed this film. Yet for that person it took an entire other film, two hours of scholarship dressed up as entertainment, and leaving out the majority of the actual play, to get him into Richard III. I would consider Looking for Richard more of a success if it got someone into reading, studying, seeing, and enjoying the full play.

I enjoyed Looking for Richard very much while watching it, but seemed a tad more shallow after further consideration. That said, it is probably a good introduction for people living only in the 21st century. For people who already enjoy Shakespeare, the discussions are lively, enthusiastic, and frank, and the acting is fine. It was quite a treat hearing Estelle Parsons as Margaret delivering,
O but remember this another day:
When he shall split thy very heart with sorrow:
And say (poore Margaret) was a Prophetesse:
even though what made it to film was a composite and truncated version of Margaret's lines. 

Sunday, July 3, 2011

Movie Review: John Adams

Directed by Tom Hooper. 2008.

There is a great deal to admire in HBO's John Adams. Foremost perhaps is how well the screenplay fits the story to the medium. I often watch a program and conclude that the movie might have been better suited as a miniseries, or vice versa. Many television shows are not more than films stretched out unnecessarily, and usually inelegantly, to many times their proper length. John Adams overcomes this hurdle and takes advantage of the liberty that premiering on HBO provided. The series falls into seven parts of unequal length, avoiding the pitfall of having the story get chopped and stuffed into neat 50 minute segments. Too it accommodates details, spends more time in certain parts of the narrative than others, and skips over several periods, all of which would be hard to accept in a feature film. Indeed this is a fine screenplay and fine material for a miniseries.

John Adams' main theme is a rollicking martial tune orchestrated and its soundtrack is wholly appropriate, with selections influenced by Barry Lyndon and Master and Commander. The camerawork is a balance between plain television and elaborate cinematic styles, the former which would have grown dull and the latter which would have grown tiresome over the course of seven parts. The small simple interiors of the colonial houses really do make for a splendid contrast to the vast and ornate Parisian chambers.

Yet all of these technical details never distract and merely serve the story, which I am glad to say is a great success. It is not quite so much about the American Revolution though of course its events play a prominent part, but rather, and appropriately, about Mr. John Adams. I say "Mr. Adams" because it seems impossible for one not to develop an affection and admiration for Mr. after watching this series. Affection for this dutiful husband, father, and friend. Admiration for the citizen, lawyer, and political philosopher. Gratitude for the delegate, ambassador, vice president, and president.

The husband and father who spent time, years, away from his family. The lawyer who defended the British soldiers of the Boston Massacre. The author who wrote the  Massachusetts constitution between assignments to Europe. The delegate who, with the other members of the Continental Congress, risked his life to meet as a member of that body. (A body whose work was not to sign and flash about one glorious document, but to sit on endless committees and boards, to travel to and fro, and endlessly to debate the proper course of action.) The president who steered between British and French interests and immense pressure to declare war. Yet it is not quite so much that one comes away from John Adams impressed with the man's accomplishments so much as with his character. His character which he worked tirelessly to improve over his life, whose deficiencies (vanity, stubbornness, querulousness) he acknowledged and tried to remedy not for himself, but so he may carry out his duties to his family and country. He made a life's work of being a good man and one never doubts he lived the advice he gave his children, "Be good and do good."

Not just a life's work, but a life's effort. We mentioned some of his sacrifices, chiefly risking his life on a number of occasions and being parted from his family, which he undertook with heavy heart. He would, like any sensible man, have preferred to stay home with his books, farm, and family. Yet he went out far from his country of Massachusetts because he was asked and again we feel he lived the advice he gave to his children, that if offices will not be held by honest men, they will be held by others. He realized that some tasks require much. The life of a scholar requires many hours of lonely work. Scholarly success can be achieved no other way, as he told his sons. Again, while courting the help of the French for the Revolution, he defends his business and lack of knowledge of music thusly:

I must study politics and war, so that my sons will have the liberty to study mathematics and philosophy. My sons must study navigation, commerce, and agriculture, so that their sons will have the right to study painting and poetry and music.
In this seemingly simple statement lies an important observation about life, or at least Adams' own political philosophy: a man cannot avoid being born in a place and time and that he is both coming and going. Certain times ask certain things and surely Adams would have preferred to do much else, but he was bound by duty to certain endeavors. If he and his children were to be free, then he need to know of war and politics. It was for another generation to make use of his sacrifice and study music and poetry. The scene in which he explains the above to a room of French aristocrats is a fine contrast. Adams, from his own sacrifice, knows what he lacks and sees the cause: that he is bound to do other things. The French, not bound and free to do as they please, see only the freedom of status quo in which they bask. The political trajectories of the French and American nations add a poignancy to the scene, as do the frequent cuts back to Abigail maintaining the household in John's absence.

It would be impossible not to mention Mr. Adams without his wife for their relationship is one of the central threads of the series. Their lifelong friendship is inspiring and, in fact, reassuring. A decisive woman, she pushed against his stubbornness when he most needed the shove, she told him when he put to much in his speeches, and she told him when he just needed to shut up. She raised the children and ran the farm. Their witty quarreling is great fun to watch, both in their youth and old age. Of the rest of the cast we must mention two who steal more than a few scenes: Tom Wilkinson brings Benjamin Franklin's jocular sagacity to vivid life, and the philosophical remove of Stephen Dillane's Jefferson draws us into his scenes in the hope he'll reveal something to us.

Adams' reconciliation with Jefferson is a fitting conclusion for the film and their correspondence, potentially awkward to dramatize, is deftly handled. The correspondence of the "north and south poles of the revolution" is most enriching. The conclusions therein are not the designs of untested youths or thinkers at remove from the consequences of their prescriptions, but thought tempered by action, and hope tempered by sacrifice.

Saturday, July 2, 2011

Sacred Music Resources


Here is a brief round up of the sacred music texts I use, two of which were just released this past week and which have already and thoroughly impressed me. This is obviously not a comprehensive list but simply one of what I use and like. Two are wonderful introductions, one a good for transition away from certain tendencies and practices, two are good companions, and the last is a timeless treasure. Of course feel free to add your own thoughts and recommendations!

I. Psallite Sapienter
http://www.amazon.com/Psallite-Sapienter-Musicians-Practical-Missal/dp/B001U4I0O8/ref=sr_1_1?ie=UTF8&s=books&qid=1309626675&sr=8-1

This slender paperback is an excellent introduction to the Tridentine Mass. It consists of 189 points ranging from one sentence to one paragraph per point. The points are grouped into a few categories: 1) Basics, 2) The Music of the Missa Solemnis and Missa Cantata, 3) Special Days and Seasons, and 4) Occasions and Miscellany. This volume could not be clearer, often simply saying, "Do this and not this." Indexed and with a short bibliography pointing the reader toward more explanatory sources.


II. The Parish Book of Chant
http://musicasacra.com/pbc/

Of the six books we are discussing here, this is probably my favorite, due in no small part to its elegance. Though it is only about 200 pages, the volume is hard cover and because of this combination of slender size and hard cover it feels particularly sturdy. It's not something your sweaty palms are going to wear away down after a few months of singing. Too the pages are bright white and the layout of the whole volume is pleasing and easy on the eyes. At about 6in wide by 9in high, it is just the right size for singing from, stacking, and carrying around.

This volume includes select: chants for the ordinary of the mass, general hymns and chants, and seasonal chants. The ten page guide to reading and singing chant and the two-page guide to liturgical Latin pronunciation are among the most lucid you'll find. English translations are provided throughout.Worth buying even if you have the last item on this list.


III. Simple Choral Graduale

http://www.amazon.com/Simple-Choral-Gradual-Richard-Rice/dp/1607437252/music0db-20/

Of the six volumes here Richard Rice's Simple Choral Graduale is the most approachable. Without any Latin and with modern music notation, someone who has grown up singing the Responsorial Psalms in English can sing this music. Too the page layout is similar to the usual Responsorial settings. Also, from the foreword, "the melodies are written in step-wise motion, seldom exceeding a range of a fight or rising higher than middle-c. The melodies generally employ one or two repeated phrases (three for the longest texts.) Harmonies are simple and rarely chromatic, enabling choirs of modest forces to master the choral texture with minimal effort. This volume is a wonderful book to start with to bring these entrance, offertory, and communion antiphons into Mass alongside the accompanying psalm verses. It's also a subtle wedge, I mean opportunity, for breaking out of the four-hymn syndrome.


IV. The Catholic Choirbook
http://www.frogmusic.com/thecatholicchoirbook/index.html

This is a thoughtfully edited compilation of some of the best Catholic music, all appropriate in both text and style. From Fogliano and Byrd to Stainer and Elgar this is not simply a collection for medieval music aficionados but of the most beautiful and appropriate music for the Catholic Mass. Included are famous settings by Byrd, Palestrina, and Mozart but also wondrous pieces by lesser-known composers like Remondi and Lotti. The volume contains indices by composer, piece, and part (SATB, SSA, et cetera.) English translations of all texts precede the piece. The spine and layout allow for the easy making of copies, which is handy because copying and sharing of the music is permitted under Creative Commons license 3.0.


V. Simple English Propers
http://musicasacra.com/simple-propers-of-the-mass-ordinary-form/

Another beautiful hardcover from the CMAA, about the same dimensions as the Parish Book of Chant but longer. This volume is a great gift to the Catholic community and an opportunity to return the mass propers to their place at mass. To quote the 1969 Vatican Consilium, "What must be sung is the Mass, its Ordinary and Proper, not 'something,' no matter how consistent, that is imposed on the mass."

The settings employ not just the chant modes (instead of modern scales) but preserve the mode in which the Latin chants in the Graduale Romanum were composed. The whole volume is in English, with translations from the Gregorian Missal (as published by Solesmes) and Revised Grail Psalter. In addition to the English and introduction to chant, throughout the book words/syllables on the termination are italicized and words/syllables on the final note are boldfaced.


VI. Graduale Romanum/Graduale Triplex
http://www.amazon.com/Graduale-Triplex-Latin-SOLEMES/dp/285274094X

There is only Latin in this book! That includes the introduction, indices, and all titles. (Alright, the two page foreword discussing the manuscripts is in English, French, and German.) Still, without a knowledge of Latin, the ecclesiastical vocabulary for the liturgical year, and an understanding of the liturgical year, you might be hard pressed to get the most from this volume. It includes no helpful guides like the above volumes, but you get with one beautiful volume (semi-hard cover with place ribbon) the book of the Roman Rite. The antiphons for the propers and the settings for the ordinary, they're all here. Everything on this list is essential reading. This collection is priceless.

Read Jeffrey Tucker on The Real Catholic Songbook.


N.B. While we have discussed only paper books, it would be foolish to look over the wonderful resources at MusicaSacra.com, where you can also find free, legal, editions of much of the above. Lastly, check out MusicFortheLiturgy.org and of course ChantCafé.