Terry Teachout pays tribute to Artur Schnabel (April 17, 1882 – August 15, 1951) in Commentary.

“You will never be a pianist,” Theodor Leschetizky (sic), Schnabel’s teacher, told him. “You are a musician.” Schnabel modestly claimed not to have known what that meant, but of course he knew perfectly well, repeating the bon mot on numerous occasions. (Nobody ever accused him of insufficient self-regard.) From childhood on, his musical instincts had led him away from the splashy virtuosity of late-19th-century composers. He played Chopin and Liszt early in his career—very well, too, by most accounts—but by the 20’s he had stopped programming their works. Instead, he played Mozart’s piano music at a time when it was generally thought to be suitable only for young children, and Schubert’s sonatas at a time when they were unknown to most pianists. As he later explained:

I am attracted only to music which I consider to be better than it can be performed. . . . Chopin’s studies are lovely pieces, perfect pieces, but I simply can’t spend time on them; I believe I know these pieces; but playing a Mozart sonata, I am not so sure that I do know it, inside and out. Therefore I can spend endless time on it.

…

The quality most immediately striking about Schnabel’s style—and the one recognized at once by his most perceptive contemporaries —is its rhythmic vitality. Leon Fleisher, his best-known pupil, described it as follows:

There would be this schwung, an irresistible swing to what he did, as though he were twirling you around in a dance. . . . The emphasis was that beats were never downward events, they were not like fence posts or the hammering of coffin nails—beats were upward springs that would spring you on to the next beat.

The impulsive forward momentum of Schnabel’s playing—it was so pronounced that he had a lifelong tendency to rush—helped ameliorate its other key feature. Like most Austro-German musicians of his generation, Schnabel used changes in tempo to delineate the structural features of the pieces he played, and his rhythmic flexibility was so pronounced that some musicians, Toscanini among them, felt that he slipped on occasion into outright exaggeration.

This latter quality is what Virgil Thomson had particularly in mind when he referred to the “late-19th-century romanticism” in Schnabel’s style.

Schnabel was the first to record Beethoven’s complete piano sonatas, a historic watershed for sound recordings. Later performances by other musicians are sometimes more perfectly polished, but Schnabel’s interpretations remain unsurpassed in warmth and musicality.

No performances of the Schubert piano sonatas come even close to Schnabel’s.

Hat tip to Bird Dog.

The Yoshida Kyōdai (aka the Yoshido Brothers) perform Kodo on the shamisen, used by Nintendo as the theme music for its Wii game console.

Their style of music is called Tsugaru-jamisen, a shamisen style originating in Aomori prefecture in the northern end of the island of Honshū.　

3:46 video

The instrument was built by Steve Ward, an Electrical Engineering student at the University of Illinois Urbana-Champaign.

tesla coil

2:41 video

Hat tip to Seneca the Younger.

What was the #1 song on …

– the day you were born?

– the day you graduated from high school?

– the day you were married?

– the day your child was born?

– the approximate date you were conceived?

web-site link

Hat tip to David L. Larkin.

Hillary Clinton’s campaign site is asking readers to help pick her campaign song, suggesting as possibilities:

City of Blinding Lights – U2

Suddenly I See – KT Tunstall

I’m a Believer – Smash Mouth

Get Ready – The Temptations

Ready to Run – Dixie Chicks

Rock This Country! – Shania Twain

Beautiful Day – U2

Right Here, Right Now – Jesus Jones

I’ll Take You There – The Staple Singers

Skippy offers a few alternatives here.

The Wall Street Journal’s Washington Wire blog reports:

Washington Wire came up with several suggestions this afternoon for songs that could be used as Clinton’s campaign song. Sadly, we weren’t allowed to print them, as the editors deemed them “inappropriate” and it was “unseemly” of us to suggest them.

There are some more suggestions in this Shakesville posting’s comments.

My own suggestion would be the song performed on this 2:28 video.

Michael S. Malone explains in the Wall Street Journal.

Napster, founded in 1999, was a pioneer in what would be called peer-to-peer file sharing. What made the company so popular with users was that it specialized in the new MP3 music files, it had an appealing user interface, and best of all, the music was free.

It was the last that drove established music artists and record companies nearly insane. It began with the lawsuit by Metallica, followed soon after by Dr. Dre, then Madonna, and culminated in 2001 when A&M Records was granted a preliminary injunction stopping Napster from allowing downloads of any of its artists.

By then, Napster officially had more than 26 million users, but may in fact have had twice that many. Just as important, Napster — and those imitators that tried to copy its success by working the corners of the law — had set off a social revolution. By the time the music industry began to contain the damage, tens of millions of songs had already been downloaded, and a generation of college and high-school kids had come to expect the free exchange of free music.

What the music industry did next was a case study in bad strategy, bad marketing and bad public relations. Not only did the industry crush Napster and any other company that followed in its path, but it also criminalized its own customers. We all got to watch as federal agents arrested college kids, music lovers and even a poor little girl living in the ghetto.

Needless to say, this program of applied troglodytics only managed to drive music downloading further underground, turn America’s children into small-time crooks, and make popular musicians and their record companies — those famous celebrants of maverick and transgressive behavior — look like the worst kind of freedom-crushing rich plutocrats. …

For the next two years, until 2003, the music industry pursued the single dumbest strategy possible in the digital age: It tried to stop the progress of technology and deny users access to a new and more powerful industry standard. Instead, the major record labels dithered, unable to settle upon a single download standard, distribution system or pricing scheme. Instead, they devoted their energy to attempting to undermine each other. …

Then in rode Steve Jobs to the rescue.

When Apple Computer first introduced the iPod in 2001 it had given tacit approval to illegal downloading with its notorious “Rip, Mix, Burn” advertising campaign. But as the iPod quickly became one of the most successful consumer electronics products in history — 100 million units sold as of Sunday — it became obvious that the company couldn’t depend on content either from the underground or from a fractious, delusional music industry.

Thus, the Apple iTunes Music Store, which opened online four years ago this month. Only a technologist with the Hollywood cachet of Steve Jobs could have ever gotten the major players of the music industry together and, better yet, convinced them to agree to a single download and pricing standard. In doing so, Mr. Jobs very likely saved the music industry, which was on the brink of seeing its entire revenue model destroyed by the black market. Instead, at 99 cents per song, iTunes gave music lovers a means to escape illegality at a reasonable price.

Needless to say, it has worked brilliantly. With more than 2.5 billion songs sold by iTunes, Apple, with 80% of all music download revenues as well as nearly 75% of the devices sold to play those tunes, has deservedly been a huge beneficiary of this agreement. But the music industry, by being forced to actually accept a new industry standard and an attendant pricing structure, has arguably benefited even more.

But to get the music moguls around the table Steve Jobs had to make a Faustian bargain. The paranoid record execs, fearful of illegal copies, demanded that every iTune sold had to be freighted with Digital Rights Management (DRM) anti-piracy software. In practice, this meant that iTunes music could only be played on Apple iPods.

The need for absolute proprietary control over both hardware and software has always been Mr. Jobs’s Achilles heel. Twenty years ago that philosophy cost Apple Computer a similar dominance in personal computers against an army of competitors working under a common, “open” system. So one can imagine Apple’s CEO readily accepting the music industry’s demand for DRM, knowing that it would give Apple instant ownership of the online music business. …

By all appearances, the Big Four, which control 70% of the world’s music, were unmoved by Mr. Jobs’s appeal. And then, last week, a breakthrough: Apple announced that it had reached agreement with Britain’s EMI to sell the latter’s music archives (which includes the Beatles) without DRM. Thirty cents more, but twice the sound quality — the first mass-market improvement in music fidelity since the death of the LP. A fair exchange. Good for EMI.

Is this a turning point in the story of digital music? Will the other Big Three follow suit? One can only hope so. The music moguls trusted Steve Jobs once and he saved them. It’s time for them to trust him again.

A must-see 2:48 video

web-site

Hat tip to David Larkin.

In an earlier posting, we noted that a Montreal policeman had gotten into big trouble for writing a humorous song urging Third World immigrants to make some effort to assimilate or go home.

At that time we were only able to find a video of the song. We could not find the text anywhere on the Net, and our own modest abilities were insufficient to enable us to produce an accurate transcription.

One of our readers was kind enough to send us a link to a site which did publish the text.

On pense que ça commence à faire lÃ
On pense qu’on a assez ri de nous autres lÃ
Pis pour ceux qui n’seraient pas contents
Crissez-moi votre camp

On veut bien accepter les ethnies
Mais non pas à n’importe quel prix
Si tu veux te joindre à notre beau pays
Tu devras faire certains compromis

Lorsque accueilli dans une place
Il faut se fondre à la masse
Parce qu’on peut dire qu’ici tu es bien
Plus que d’où tu d’viens!

On peut maintenant porter le kirpan
Parce que nous autres on est tolérant
Changer les règles du YMCA
Pis un coup parti du CLSC

Nous sommes-nous fracturé la raison?
Pour les caprices de chaque religion
Vos accommodements raisonnables
On est pu capable!

Y’est maintenant temps qu’on soit entendu
Quand notre culture se fait cracher dessus
Si tu n’es pas content de ton sort
Y’existe un endroit qu’est l’aéroport

Toi ma minorité ethnique
Arrête un peu ta musique
Sinon dans ce cas-là tu devras
Retourner chez toi
Retourner chez toi

(roughly translated by JDZ)

We think that enough is enough;
We’ve had enough of being ridiculed by strangers.
Too bad for the malcontents;
Do us a favor, and decamp.

We are happy to accept ethnic immigrants,
But not at absolutely any price.
If you want to be part of our beautiful country
You ought to compromise a bit.

When you are welcomed to a place,
You ought to try to fit in.
Because, after all, you’re better off here
Than you were where you came from.

You can now carry your kirpan
Because we’re tolerant of others,
Change the rules of the YMCA,
Stage a coup against the CLSC.

Have we lost our reason?
Over the whims of each Religion,
Of your reasonable accomodations
We are now less capable.

Now is the time for us to be heard,
When our culture has been spat upon,
If you are not content with your lot,
You can try the option of the airport.

All you ethnic minorities
Should stop playing your own tune for a bit,
And, if you won’t, you will have to
Go back where you came from.
Go back where you came from.

Special thanks to Nelle Chan and Dominique R. Poirier, and thanks to Dominique R. Poirier again for some corrections.

The Houston Chronicle reports that Joseph Nagyvary, a biochemist at Texas A&M University, thinks he has.

A starter violin costs about $200. A finely crafted modern instrument can run as much as $20,000. But even that’s loose change when compared with a violin made three centuries ago by Antonio Stradivari.

His 600 or so surviving violins can cost upward of $3.5 million.

For more than a century, artists, craftsmen and scientists have sought the secret to the prized instruments’ distinct sound. Dozens have claimed to have solved the mystery, but none has been proved right.

Now, a Texas biochemist, Joseph Nagyvary, says he has scientific proof the long-sought secret is chemistry, not craftsmanship. Specifically, he says, Stradivari treated his violins with chemicals to protect them from wood-eating worms common in northern Italy. Unknowingly, Nagyvary says, the master craftsman gave his violins a chemical noise filter that provided a unique, pleasing sound.

Deck the Halls

1:28 video

It started in Birmingham.

The Birmingham Complaints Choir invited people to collect complaints and to sing them out loud together with fellow complainers. The lyrics were written by the Choir. The music was composed by Mike Hurley.

8:53 video

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The Finns must have more to complain about. Their choir is larger and noticeably more talented.

Helsinki:

Finnish artists Tellervo Kalleinen and Oliver Kochta-Kalleinen collected the pet peeves concerning the human condition of people in Helsinki and then composed this choral work around the list of complaints. Music composed by Esko Grundström.

At least, we don’t have all those sauna problems.

8:28 video

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Apparently, similar complaint choirs performed in Hamburg & St. Petersburg, but videos do not seem to be available on the web.

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Hat tip to Neil Gaiman.

Praise for Times Past with Rock & Roll

video