Elliot Carter (December 11, 1908 - November 5, 2012)

"The Cello Sonata(1948) was extremely modern at that time... I could not get it published. And Bernard Greenhouse and his pianist played the first performance at Town Hall, and they were covered with sweat. It was so upsetting and so disturbing--we had hardly anybody in the audience. If they heard what I write now, they would run out of the hall screaming, I suppose."

Encouraged by the family's insurance salesman to pursue music, Elliot Carter was numbered among the many exceptional pupils of Nadia Boulanger. He was never completely satisfied with his work while studying with her and developed a deep interest in early vocal music and especially the music of Bach. He was a contemporary and colleague of Milton Babbitt. His style eventually developed towards atonal and rhythmically complex music, expanding the ideas of counterpoint to include different movements and ideas, rather than just lines.  He was awarded two Pulitzer Prizes in his lifetime for his music: String Quartet no. 2(1960) & 3(1973). He continued to compose prolifically into his old age; until he died at the age of 103 on November 5, 2012.

And so, today, after a century of ground-breaking and daring music, the world says goodbye to a true visionary and master of the craft, and a personal idol of mine, Elliot Carter.

Summer Reading 2012

Another eclectic list of my summer reading. My new goal is to read Pulitzer Prize winners so they will be sprinkled about the list.

Harding, Paul. Tinkers* (2009) - Read It.

Heim, Scott. Mysterious Skin (1996) - Skip It.

Kafka, Franz. A Little Fable (1923) - Read It.

Kafka, Franz. The Top (1923) - Read It.

Knope, Leslie. Pawnee: The Greatest Town in America (2011) - Skip It.

Shaffer, Peter. Equus (1973) - Read It.

Edson, Margaret. Wit* (1999) - Read It.

Clarke, Arthur C. 2001: A Space Odyssey (1968) - Read It.

Berry, Wendell. Given: New Poems (2005) - Skip It.

Chbosky, Stephen. The Perks of Being a Wallflower (1999) - Skip It.

Yates, Richard. Revolutionary Road (1961) - Read It.

Mamet, David. Glengarry Glen Ross* (1984) - Skip It.

Ryan, Terry. The Prize Winner of Defiance, Ohio (2002) - Read It.

Glover, Jane. Mozart's Women (2006) - Read It.

McCarthy, Cormac. The Road* (2006) - Read It.

Lovecraft, H.P. The Call of Cthulhu (1926) - Read It.

Heilemann, John and Mark Halperin. Game Change (2010) - Read It.

Gardner, John. Grendel (1971) - Read It.

*Pulitzer Prize Winner

I'm not asking much. Just a token, really, a trifle: Disney's 5 Best Voices Countdown!

The Walt Disney Corporation has brought us some incredibly memorable songs and performances.

Join me as I count down my five favorite singers in Disney movies!

5 - Judy Kuhn: Pocahontas (1995)

Pocahontas was a deeply flawed movie with few redeeming qualities (Meeko). Ms. Kuhn provided the singing voice for Pocahontas. An experienced singer (Cosette in the Les Miserables Dream Cast in Concert), Kuhn beautifully sings some of Disney's most well-written songs ("Just Around the River Bend," "Colors of the Wind").

4 - Julie Andrews: Mary Poppins (1964)

Yes, of course I could not leave Ms. Andrews off of this list! Iconically Disney, Andrews has a free, light, clear soprano who has so much personality. She's a fantastic singer in her own right.

3 - Lilias White: Calliope, the Muse of Epic Tales, Hercules (1997)

I am using Ms. White as a representation of the the 5 Muses, all excellent singers who include LaChanze, Roz Ryan, Vaneese Y. Thomas, and Cheryl Freeman. Their voices truly shine and bring to life the inspired gospel score of Hercules.

2 - Lea Salonga: Jasmine, Aladdin (1992) and Mulan(1998)

I chose the video of Ms. Salonga and Brad Kane recording "A Whole New World." She was my first real crush (and continues to be a crush!). I love watching her sing this song, she is so involved and has such a charming innocence about her. She knows what she is doing, technique and expression perfectly combined where it sounds effortless and literally perfect. She is amazing. I could spend an entire afternoon watching various videos of her on YouTube.

1 - Richard White: Gaston, Beauty and the Beast (1991)

Who is this guy!? I remember the moment he begins singing in the opening song "Belle." His voice is this clear and powerful operatic Baritone that eventually overpowers the entire ensemble. I understand Disney was interested in him returning for more films, but were worried his voice was too recognizable. What a voice! Make sure to watch the opening song and "Gaston/Reprise" as well.

Notable Mentions:

Donna Murphy(Tangled, 2010), Anika Noni Rose (The Princess and the Frog, 2009)

Note: I understand most of my picks come from the "Disney Renaissance" years, which I admit I know the best. I tried to separate the singers from the songs they sang but it can be a surprisingly blurry line. When considering what makes a good singer for Disney I tried to consider voice (resonance, clarity, color, all related to the style), and mostly expression. This is a living list and I'm open to commentary and suggestions to alter or change it. Let me know your opinions! 

Mirrors in Mirrors

Arvo Pärt: Spiegel im Spiegel

Mirrors in Mirrors.

A contemplation on eternity.

"Starts out sounding simply religious, but winds up transcendent." (Dilberto, "Pärt: Kanon Polajanen.")

You might be familiar with this piece. It has been used in several films and television. It is a prime example of tintinnabular style, characterized by an arpeggiated triad in one voice, and another voice moving stepwise in a diatonic fashion. Invented by the composer, this style usually has a slow, meditative quality about it. Minimalism, purity, serenity.

"Art presents a . . . complex situation . . . many art objects of the past appear to be more contemporary than our present art. How do we explain it? Art has to deal with eternal questions, not the sorting out the issues of today." -Arvo Pärt (quoted in Hiller: Arvo Pärt, 19)

The piece acts as a mirror of itself in several different cycles. The almost serialist way of composing creates a mystical chant-like sound that is both peaceful, contemplative, and deeply upsetting. Pärt's tintinnabuli style connects the centuries creating music that sounds like it belongs to no time period, yet somehow belongs to all time.

"We are, after all, gazing at, or rather listening to, a mirror within a mirror." (Cizmic, "Transcending the Icon," 68)

"Tintinnabulation is an area I sometimes wander into when I am searching for answers - in my life, my music, my work. In my dark hours, I have the certain feeling that everything outside this one thing has no meaning. The complex and many-faceted only confuses me, and I must search for unity. What is it, this one thing, and how do I find my way to it? Traces of this perfect thing appear in many guises - and everything that is unimportant falls away."

- Arvo Pärt

"And death shall be no more, death thou shalt die." - John Donne, Holy Sonnet X

"Pity" William Blake (1795)