Bartok's Quartets; Chesterton and Leisure

One of the composers on that disk of miscellaneous, indeed wildly heterogenous, classical music that I mentioned last week is Bartok. All six of his string quartets are there, and, as I also mentioned, the way the MP3 files are named means that the movements of the quartets are scattered among other pieces of music. The effect can be startling. The first two movements of the first quartet are immediately followed by the first movement of a sinfonia by J.A. Hasse. A more disconcerting sequence would have to involve, say, a bit of Berg's Wozzeck. I had never heard of Hasse before (yes, even though I own the album, Concertos for Two Flutes, on the Tuxedo label)--he was an 18th century composer, one of those well-known in his time but less so afterwards.

The little sinfonia (and I do mean little--it has five movements which all together occupy only a little over twelve minutes) is delightful, simple and very tuneful. Frankly, it was welcome after Bartok. 

I don't really know what to make of Bartok. He's one of those composers whom I think I should like, but have not really warmed to. Back in my college days I acquired this LP of his Piano Concerto #2 and the Sonata for Two Pianos and Percussion:

I don't remember, but I feel pretty safe in saying that the cover image was at least half-responsible for my buying the disk; surely that's a Marc Chagall painting. The other half was probably a general impression that Bartok was weird and modern and probably something I would like. But though I'm sure I listened to it at least half a dozen times back then, I never warmed up to it. And that's about all I can say about it now, as I don't think I've heard it since. And really: two pianos and percussion? Is that not in itself a description of an unpleasant experience? 

I also recall hearing the Music for Strings, Percussion and Celesta back then, and liking it, but as far as I remember have not heard it since. And I also remember a middle-aged customer in the record shop where I worked at the time telling me that it gave her children nightmares. 

The thing about the quartets, heard in the hodge-podge context of other music, which includes, at the other end of the scale, Schoenberg's twelve-tone Variations for Orchestra, is that they don't sound completely atonal and recklessly dissonant. At times (and remember this is based on hearing them while driving) they catch hold, so to speak, with me. And then they lose me again. I do want to pick one and listen to it attentively. Looking around for information on them, I ran across one person who ranks them with Beethoven's quartets. That's pretty intriguing. I'd be interested in hearing the opinions of others. 

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I ran across some remarks from Chesterton the other day in which he responded to a correspondent who advocated communal kitchens:

Would not our women be spared the drudgery of cooking and all its attendant worries, leaving them free for the higher culture?

The Chesterton piece says some things with which any Chesterton reader is familiar, especially the fallacy of supposing that freeing a woman from the drudgery of home so that she can engage in drudgery elsewhere. But what struck me most was the business about freeing her, or anyone, for "higher culture." This is an idea that has long had a great appeal for people who see history as a pretty steady advance in a pretty shallow concept of progress. I don't mean political progressives in particular in the sense of any particular set of political goals, but the utilitarian mindset which sees the advance of technology and personal freedom as good in themselves (which to a large degree they are), but has no concept, indeed actively avoids the question, of what these things are for. 

I have a vague impression of having encountered those ideas in my youth, probably through science fiction, which in my youth was still dominated, at least as far as I encountered it, by the optimistic Progress Through Science and Reason school. I absorbed a vague picture of masses of people, maybe even all of humanity, freed from drudgery of all sorts, engaged in painting and music and poetry and philosophy, drifting around in a sort of  haze of wise benevolence. (Something like that vision is portrayed in the absurd quasi-hippies of the TV show Moonhaven.)

Well, here we are. In science fiction, dystopia was just around the corner. And in real life the leisure obtained by the reduction of physical labor has given us a toxic sea of anti-culture: pornography, "reality" television, a crazy cult of spectator sports, an inarguable decline in standards of education and culture in general.

It's not all bad by any means, but what is the proportion of good or even not-bad to bad? What is the proportion of people who, having the freedom to do so, have chosen the enlightened life, as pictured in the old dream, over the pursuit of mere entertainment and pleasure? One out of ten? That seems too high. One out of fifty? 

And: communal kitchens, presumably mandated and controlled by the government? I don't see why that would appeal to anyone. Except of course the people who just like mandates and control.

Mostly About Music

I'm not tough enough or self-denying enough to give up listening to music during Lent. But I do usually limit myself to classical music, and within that tend to favor works that are either explicitly religious (like Bach's liturgical music) or at least of a contemplative and reflective cast. 

To that end I swapped the CD of miscellaneous pop music MP3s in my car player for one containing only classical music. All these CDs (dozens of them) were made ten-to-twenty years ago when hard drives were much smaller and I couldn't keep all the MP3 music I was acquiring on my computer, and so had to archive some of them to CD. The music is completely unorganized except that some disks are all popular music and some are all classical. The only thing the music on any one disk has in common is that one broad classification; it's just whatever needed to be archived at the moment.

One of the classical disks is in my car now, and the music on it is a real hodge-podge, including everything from baroque flute concertos to Schoenberg. Moreover, the files are not named in any consistent way (such as album name / track number), so, as the CD player reads them, a movement from a Hummel concerto may be followed by one of Schoenberg's Four Orchestral Songs. It can be startling. 

The biggest surprise was a piece of Indian classical music. In the '60s, as we all know, there was something of a fad for Ravi Shankar's sitar music--he played at the Monterey Pop Festival. I have two or three of his LPs from that time, and I genuinely liked the music and continued to listen to it now and then long after the fashion had faded.  

What came, unexpectedly, out of my car speakers the other day was recognizably the same basic sort of music as those albums, but with the noticeable difference that it included much lower notes than I had ever heard from the sitar. When I got home and looked up the album, I discovered that the instrument was not a sitar at all, but something called the surbahar, which I will very naively say might be to the sitar something like what the cello is to the violin. 

I was immediately captivated. If you've ever listened to any of this kind of music you know that it involves a lot of what guitar players call "bending" notes: varying the pitch of a struck string by pushing or pulling the string sideways, raising its pitch in a sort of slide--I guess "glissando" is the technical term--while the note is sounding. It may be just a sort of twist of the basic note, or a vibrato. Or it may be full notes. Half-step bends are fairly easy, whole-step bends are harder, and a combination of light string and strong hand can even do a step and a half.  (You can also do "pre-bends"--bending the string before it's plucked, so that the note slides down rather than up after it's initially sounded. This is harder because you have to know by sight or feel or habit exactly where to position the string--a difficulty which is the normal playing technique for the violin family, which is why you can't just pick up the violin and play tolerably, as you can with the guitar.) It's a powerful expressive device, pretty much essential for blues playing.

These plucked Indian instruments do the same thing but with immense precision, which I think includes formally defined microtones, and notes sustained for longer than I would have thought possible on a purely acoustic instrument. I've always liked it, but hearing it done on the lower tones of the surbahar makes it, to me at least, even more expressive, with long moaning voice-like glissandos that really tugged at the apparently sympathetic strings of my heart. 

I had no memory of even owning this music, and made the lazy assumption that the album was some cheaply produced thing from the '50s or '60s, licensed by some low-rent American company from an Indian original, re-issued on LP back then with minimal care and documentation, and probably with even less care converted to MP3. Totally wrong. What I was hearing was the first of the two pieces on this album:

Far from being an old and poor-quality recording carelessly thrown into the electronic market, it was recorded in this century and originally released as a CD by a company, Arbiter Records, which has a very serious commitment to the music. You can read some detailed commentary on it here. And hear the whole album on YouTube.

I admit that by something over halfway through the 36-minute piece I was no longer paying very close attention. That's a long time for a single instrument and a piece which doesn't vary much harmonically or rhythmically. Also, it doesn't speed up to a climax in the way that I recall Shankar's music doing, which may have to do with the bigger instrument being less agile. This eventually made for a certain monotony, but I'll listen to it again soon. 

And I see there are a number YouTube videos providing an overview of Indian musical techniques. I may be about to go down an Indian music rabbit hole. 

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I had planned to listen to Bruckner's symphonies again during Lent, justifying it partly by his being a Catholic whose music has definite spiritual intentions. So  far I've only gotten through the First. I listened to them all some years ago (ten? not more than fifteen I think?) and didn't immediately recognize this one. But then I got to the third movement, which I very much did recognize. It's intense and loud: heavy. And I thought "that's really metal." 

Afterwards, I wondered about that use of "metal" as an adjective. I was not surprised to learn that it's common enough that it may, if its use continues, get a place in dictionaries. It means, of course, loud, heavy, and intense, but more fundamentally, and not necessarily with respect to music alone, passion,  toughness, honesty, courage, and refusal to surrender. It's almost a warrior sort of mentality. Maybe not even almost.

*

This is not metal:

I loved my husband and was happy with the life we built. But I had to end our marriage when I realized I'm a lesbian

You can read more if you want to, but it's not really worth the bother. I suppose it might get a metal point or two for the attempt to be authentic. But there's no passion in it.  It's more like being bored with chamomile tea and deciding to switch to rose hip for a while. What it says about contemporary ideas of marriage among a certain class of people pretty much goes without saying.

Tristan und Isolde is metal. 

 

Breaking the Outrage Porn Habit

It was only fairly recently that I became aware of the term "outrage porn," but I just learned from Wikipedia that it's been around since 2009, when a New York Times writer said:

It sometimes seems as if most of the news consists of outrage porn, selected specifically to pander to our impulses to judge and punish and get us all riled up with righteous indignation.

The Wikipedia article reveals that the phenomenon has been the object of study and analysis, mainly on the question of why and how journalists use it to attract and keep the attention of readers and/or viewers. 

But I didn't need anyone's analysis to recognize the phenomenon as soon as I encountered the term. I recognized it because it obviously referred to a tendency which I long ago noticed in myself: a perverse pleasure in being outraged, normally by someone else's misdeeds. Never mind the whole question of deliberate manipulation; I don't need to be manipulated into it, because I do it to myself. 

I first noticed it many years ago in reading the Catholic press. For as long as I've been a Christian the struggle between orthodox and progressive theology has been a highly visible fact of life in the Christian world. (I'm using "progressive" as a convenient way of referring to the tendency to reduce the faith to a matter of literature and psychology.) Given two items in a Catholic publication, one offering a meditation on some aspect of the faith and the other exposing some cleric or theologian's manifest heresy, it was the latter that I wanted urgently to read. The justification for the impulse--that it was important to know about these malign influences--was pretty thin. How much of my reaction was a genuine desire or need to know, and how much of it was the pleasure of thinking Isn't that awful? Aren't the people doing it terrible? I must read more, so that I can better understand how awful and terrible it all is.

Self-righteousness is certainly part of it, but it's much more than the normal "Lord, I thank thee that I am not as this sinner." It also includes personal anger provoked by a sense of being attacked; the sinner is not just doing something wrong which you, in your righteousness, are not doing, but engaged in something which damages you, or something or someone you love.

I did recognize it as an unhealthy tendency, but I don't know that I resisted it very hard. And that was before the internet, which, as we all know, has given that unhealthy impulse an injection of some kind of growth hormone. Thinking about it now, I see that I've sometimes, or often, forgotten even to recognize that it's unhealthy, or to be restrained by that recognition.

Culturally speaking, it has become a monster. We live in an angry and unhappy culture now, and the impulse that makes us propagate and enjoy--yes, that is the word--outrage porn is making us even more angry and unhappy than we would otherwise be.

This is on my mind because Rod Dreher's blog at The American Conservative has ended, and I'm trying to decide whether or not to follow him to his Substack site, Rod Dreher's Diary, which requires a paid subscription ($5/month or $50/year) for much or most of what he posts there. Dreher has a lot of worthwhile things to say, but he also, as I think he admits, has a tendency to revel in outrage porn. And I know that's the reason why a new post from him has always been the first thing I read at TAC. I can afford the subscription, but should I? Shouldn't I perhaps just try to break myself of the outrage porn habit, or at least make a continual effort to suppress it?

Here are two current Dreher stories:

The ‘Idyllically Sex-Positive World’
Crackpot therapist showcased by BBC calls for self-drugging women for fetish freaks

Stanford Law Students Are The Enemy
By humiliating federal judge, ruling class shows contempt for liberal democracy

The second article is available to non-subscribers, so you can read it if you want to. You may have read about the incident he's referring to: the usual shout-down of an unwelcome speaker by our version of the Red Guards. It's alarming and infuriating. Dreher says:

I cannot bear these people, these Stanford Law students and their grotesque Dean Steinbach. These people are the Enemy. I will vote for anybody who will stop them. They are destroying our liberal democracy. Every one of those students are going to go into the ruling class, and will spend their careers in the law trying to oppress the people they have decided don’t have a right to be free, or respected, or anything but crushed as wrongthinkers and Bad People.

And I agree with him, all too vigorously. But is any purpose served by my reading about this? It's not as if I can do anything about it. Is it not better that I tend my own garden, reading good books, listening to music, participating in the world as it presents itself directly to me, in general pursuing the good in the ways that are available to me? Obviously one can do both: tend one's garden and stay informed about what's happening in the world. And if one's culture is collapsing one ought to be aware of it. But where is the right balance? As things are going now, it's more or less impossible to be aware of current events and not be disturbed.

I still haven't made up my mind about Dreher's Substack, but thinking about it has made me realize that I need to resist more strongly the somewhat sick impulse to seek out things that anger and offend me. 

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I think I would be correct in saying that for most of my adult life Christians have more often than not been the villains in popular culture. I don't have any hard data for that, of course. And it's not uniform; I think immediately of the reasonable and not unsympathetic treatment of the clergyman in Broadchurch. But I watch a lot of (too many) British crime dramas, and generally when an identifiably Christian character appears he or she is probably going to be somewhere between obnoxious and wicked. This may well be worse in American film and television.

Well, okay, as I say it's been that way for decades. Still, I was unprepared for something I ran across the other day. I have a mild taste for certain video games, and was reading this article about indie games (more likely than the big names to interest me) when I encountered a description of a game called The Binding of Isaac Rebirth:

The game follows Isaac through an unknown world, as he makes a quick escape into a trap door hidden in his bedroom to flee his devout Christian mother hellbent on sacrificing him.

That opens a vista of ignorance and malice beyond anything I had imagined.

More and more it seems that a great many people, especially young people, have somehow absorbed a great hostility to Christianity without having any clear idea of what it is.