Guest Blogger "Charley in the Box" Unveils the "Island of Misfit Scores"
John Gibbons
A preliminary note from Mr. Gibbons: Recently, when reluctantly co-opted for a search for a runaway reindeer, an eccentric prospecter, and a renegade elf, I had the, let’s say, interesting experience of being marooned on a most quaint little island, to wit, the “island of misfit toys”…I didn’t have a chance to meet the big man on campus, some insufferably pompous flying lion gradiosely appelated “King Moonracer”, but I did while away considerable time jawing with the moody and sentimental sentry (not to put too fine a point on it), Mr. Charley-In-The-Box, hereafter referred to as Chasbo. (With his indulgent permission!)… Well, the upshot of the deal was that, given Chasbo’s deep knowledge of classical music, I invited him to do today’s column, his choices for works deserving to be marooned on their own “island of misfit scores”. These are his choices, not mine. I love to death all the works he derides. If you have a complaint, don’t come to Holdekunst! Send a letter to: “Sentry Charley-In-The-Box”, C/O King Moonracer, the Isle of the Misfit Toys, Vicinity of the North Pole”-I’m sure that’ll get there just fine. With no further ado, I yield the rest of the post to Chasbo, with the stipulation that the works he chooses have to be either important, popular, or at least substantial. It’s just too easy to send some symphony by Dittersdorf or some Vivaldi concerto to the island. I’ll see you at the end for a postscript.
We so-called “unwanted toys” may not delight boys and girls as we would like, but we solace ourselves by looking at the majestic lights of the North, the Aurora Borealis. But how many bores can you fit in Borealis? Boring works should go to the Island of Misfit Scores!
I hereby nominate Faure’s dud of a Requiem, Mendelssohn’s dud of a second symphony, and that pseudo-mystical dud of alltimes, Messiaen’s Quartet for the End of Time. There’s limits to the patience even of misfit toys!
We have our own “Moon” deal going here, in the August Person of our Beloved Comrade and Leader, the inestimable King Moonracer. We need no dissertations on the moon. To the Island of Misfit Scores with you, Pierrot Lunaire! (that doesn’t go for you, Dvorak’s Rusalka, you can come by, anytime… )
My friend, the “boomerang who doesn’t come back” (he merely plops and stays) begged me to include a piece that once heard, you want to banish forever, with no hope of its obnoxious notes ever returning to sender: Mr. Orff! Tear down this Carmina Piranha! And take it to the Island of Misfit Scores!
Sacrificing a maiden to death? Are you kidding? We don’t even consider doing that to the most misfitted of our misfit dollies. I had to close young Rudolph’s ears. Get thee hence, Sacre du Printemps!
“A scooter for Jimmy, a dolly for Sue, the kind that will even say, ‘how do you do’”… How Do You Do! Our misfit doll says it, and that’s respect, if you like, but there’s precious little respect in today’s world, we misfits have occasion to know this really personally! (editor’s note: Here Chasbo sobs uncontrollably. I told you he was sentimental! But I don’t know what impolite score he had in mind….Oh, now he’s composed himself)…Varese’s Ameriques! It’s just noise, how rude can you get? And Gershwin, Rhapsody in Blue! It’s rude to insult our intelligence with such potboiling potpourris! To the Island of Misfit Scores, if you’d be so polite as to acommodate us in this regard, Sir, we would certainly greatly appreciate it, if it’s not too much trouble.
Herme wants to be a dentist, and that’s cool with us misfits, but for the island of misfit scores, he needs a dentist that has gone bad. I can only think of one, in Willaim Bolcom’s McTeague. This may not seem fair, but life isn’t fair; who knows this better than us? Welcome to the Island of Misfit Scores!
Did you know there was a great pianist who was a misfit like us? Yep, Glenn Gould. And he said, and I quote, “Beethoven’s Violin Concerto gets by on guts and one good tune.” In a gesture of solidarity with a fellow misfit, to the Island of Misfit Scores! (and you’re too long, anyway.)
Well, that’s ten misfit scores, a conventional number for lists such as this. Now I’m going to close the lid of my box and dream of being rescued and placed in the hands of a loving child. Merry Christmas!
Guest Editor’s note: This is Burl Ives, the Talking Snowman. Mr. Gibbons says he’s “indisposed” so I’m nominated to do the postscript. I think I have a pretty good idea why our friend is indisposed- I don’t think he liked ol’ Charlie’s list. Fact of the matter is, I heard him grumble something about “Charlie’s been in that box too long”…Our friend Yukon complained that Herme got dentist score and he didn’t get a prospecter score. I can only think of one score with prospecters, however, “La Faniciulla del West” maybe we’ll run that by our tempermental friend!
Reader Comments (22)
John,
By letting "Chasbo" write a potpourri column, the percentage of correct opinions on holdekunst has skyrocketed to 90% ! The only bad choice is the Messiaen Quartet (I seem to recall that you -purely coincidentally - share Chasbo's opinion about that quartet). Showing the proper holiday spirit, in its place I'd send Handel's Messiah.
Good ol' Chasbo! He must be smarter than me. Great to hear from you, it's been awhile. The Messiaen? I have the score and a few recordings. I'll give it another chance, given the time, I have heaps of things to plow through. I'll take it up with our ornery friend, if I reappraise the work! Handel's Messiah? After "Comfort ye my people" the show's over. "Move on, move on, nothing to see here" the cop says.
John,
How you could dismiss the Messiaen is beyond me. Have you heard it live? Have you played it? Then you don't really know it and should leave it alone.
I've heard it live and it was one of the most moving performances I have ever heard.
I've performed it and it was one of the greatest experiences of my life.
You can't look at a score and listen to a recording and really get a sense of it. How anyone can like Shosty 11 and not like the Messiaen is laughable.
Hey, Blame Chasbo! This post was supposed to be fun! Who cares if a jack-in-the-box or even a jack-ass-in-the-blogoshere doesn't like this or that piece. Big deal!
But if you'd like to make the point that my point of view is laughable, better would be something like this: "The Messiaen Quartet has proven itself over time to be a deeply meaningful spiritual work to a wide and diverse array of musicians and audiences. The combination of intricate (sometimes quasi-serial) rythmical patterns, coupled with post-romantic harmonic sensuousness and an astounding variety of textural nuance from just four players, places it in a class of its own in twentieth century chamber music. Not for everybody is the ardently mystical ambience of (obviously deeply sincere) French Catholicism, but IT WOULD BE LAUGHABLE to deny the work's potency."
It is indeed fair game to label points of view one disagrees with as "laughable"; the alternative is boring PC groupthink; but you ought to devise a verbal scenario where you can get your outrage out there in a wider (i.e. less personal) context. And I've heard the piece live many times, and performed the cello and piano movement many times-the piece is ideal for conservatory and university new-music ensembles, as the physical requirements are so modest. It was played more than once in at U of C and Peabody. I did not have an epiphany! But I'll go upstairs right now and hear it on cd, with score, I have the time, and considering that I now have such a spirited defense of the piece. By the way, in an article about blogs Alex Ross quotes a moving comment from a pianist who could hadly make it through his own performance of the piece, he was so moved. It's in the New Yorker. I greet you with "Merry Christmas", but Chasbo is sulking, he closed his box! (I think you offended him!)
. . . more like a jack-ass in a box. He's wrong about Stravinsky and Gershwin of course. Tell him to go back to making tainted food--didn't his restaurant chain get into big trouble for tainted food some years back? I think they're still around on the West Coast.
Messiaen has 2 votes, Strav. and Gersh now each have 1. Hopefully there is something on Chas's list to jerk everybody's chain, at least once. My dinner companion tonight is a big fan of McTeague! Tainted food? Wasn't there a restaurant chain called Jack in the Box? But you see, that's just it. He's CHARLEY in the box; and being a misfit, his choices are compromised. Prowlin' Panthers! As for Chasbo's perspective, I think he's pretty selective; for instance, you could praise Le Sacre for its orchestration and Gershwin for his jaunty melodies and savoir-faire...but Chas can't see the Trees for the Forest. No, I don't have that backwards! Chasbo told me he put the Strav on the list 'cause he's tired of being forced to acknowledge the piece's "seminal" value, and Gersh is on the list 'cause he doesn't like sappy airline commercials. Hey, Mike, you have kids...don't suppose they would provide a loving home for any misfit toys? Promised box-man I'd ask!
P.S. to Ry: I re-heard the Messiaen carefully, with score. I'm still on the outside looking in. I just don't get it. the fast movements, especially the one for the seven trumpets of the Apocalypse, were fine...I can't help it, but the slow movements for cello and piano and violin and piano (praise for the eternity and immortality of Jesus) sounded like a tasteful cross between Satie (static added sixth chords in the piano) and Massanet's "Meditation" in the solo strings; at least to me, and maybe only to me. But naturally it is probable that I'm missing something, because so many people are sincerely moved by this music. And the fervent and extreme religious content completely turns me off...Isn't that at least understandable in this day and age, where extreme and exceedingly doctrinaire confessional points of view dominate so much political and social discourse?
As for the piece's origin, M was a prisoner in a stalag in Goerlitz, wasn't it? If we make accommodations for the circumstances of a piece's composition, isn't that ultimately unfair to the piece, which if a masterpiece, ought to transcend the conditions of its genesis? I realize you didn't bring that up, but it is an interesting question. On a related topic, Gleen Gould once postulated the absurd situation of a run of the mill haydn sonata being discovered; if it were thought to antedate Haydn, It'd be a significant work, if by Haydn, de rigeur, and if post-dating Haydn would be uninteresting, or backwards. Something like that, I'm not gonna prowl through my Gould books. A fun game would be to reassign works to other composers and, let's say, years, and consider what that might do to their reputation.
John,
Didn't mean to ruffle your feathers but I fear I did.
Anyways,
The slow, solo movements for Cello and then Violin are not really anything special to talk about when taken out of the context of the piece as a whole. But when the piece is heard in its entirety, it's hard for me to not find hope in these movements. Hope for what? I'm not sure. Hope that beauty and humanity still exists in this world that becomes more synical and full of judegment and hate by the minute. Hope for some type of salvation. Hope for a better place then life here. If thats Heaven like it was to Messiaen then fine. If it's reincarnation or some type of transfer or continuation of our individual life force then that works for me as well.
I find the movements very moving after the dread in the first and second movement. The way time seems to stand still in the clarinet solo third only to be interuptd by bird calls as they hover over head. The music is very moving to me, the solo movements for cello and violin have the power to take me away form this world even if it's only for 7 or 8 minutes.
I don't think one has to believe in God or an afterlife to be moved by the hope and power that are in these movements. It's there if you are willing to open up and let it affect you.
Maybe some people don't get much from the piece because they are just to hardend or "smart" for it. I know I'm dumb and so the piece gets me where it counts and I am happy to let it in.
Everyone is entitled to their opinion and yours is much more informed than mine but I will continue to strongly disagree with your feelings about this work. It's not Mozart and I doubt many people drive around listening to it, but there is power in it. It's unique and historically significant and full of drama and the darkness of the war. It's incredibly challenging to perform well for even the very best musicians around. Many people have played it but few have played it really well.
I don't think that I'm 'smart' and you, or anyone else who disagrees with me is "dumb"...not only would such a view be rude, it'd be pointless; and it isn't my view, in any case. I appreciate that you take the time to write in...you are right about the content in the Messiaen, indeed those movements are about hope, and time does "stand still" in the clarinet mvt. Content, per se, means relatively little to me compared to style. Love and hope, fear and death, the promise of paradise aren't exactly uncommon topics, I assure you-almost any requiem addresses all those topics.
There are two things that (very slightly, I assure you) annoy me; the assumption that being analytical closes one off to potentially moving musical experiences (I think it opens one up). Also, I meant the original post just to be fun and christmassy, it's a frivolous article. "Chasbo" just pulled pieces out of a hat, it is not as if he meditated profoundly on the merits of his judgements. By the way, I am not persuaded that the Messiaen transcends its religious conceits; I think Messiaen would have been annoyed with a listener who didn't meditate on Jesus and Christian eschatology as he heard the piece...
"By the way, I am not persuaded that the Messiaen transcends its religious conceits; I think Messiaen would have been annoyed with a listener who didn't meditate on Jesus and Christian eschatology as he heard the piece..."
Could this be one of the reasons that you don't like it?
"There are two things that (very slightly, I assure you) annoy me; the assumption that being analytical closes one off to potentially moving musical experiences (I think it opens one up)"
I completely diagree with this statement. You can't tell me people who go to concerts or people who love classical music only love it or are only open to it because they have a working knowledge of Western music harmony and history. I don't buy that people who know about music are more open to it then the next guy. If music communicates to people on a human, organic level then great. How sad to judge other listeners. If this were the case then there would be maybe 2 or 3 professional Symphony orchestras in the whole country because everyone would dislike classical music or be closed to it because they got a degree in biology and not music history.
Furthermore, I actually think it closes people off to music. I marvel at how a well made watch works but if I could make one or take it apart and put it back together, I would find it interesting in a pedestrian sort of way. The wonder and marvel would be gone. I'm not trying to say musically educated people don't love good music but I am saying that a very strong bias comes along with that knowledge. Maybe you (you being the educated or informed...not you the individual) only love Germanic orcheastras or operas so you dismiss a superb performance by the London Phil. Maybe you had a teacher that said Debussy stinks and so you carry that opinion around with you and miss out on a lot of beautiful music. Maybe a teacher you had says minimalisim is parlor tricks and not real music and so you never open up to it.
The more informed the opinion of the listener, the more biased and judgemental the listener is. Isn't that part of the reason for this blog? To debate and discuss various music topics? I'm sorry I used the word laughable in my previous post (them are fightin' words), and hopefully you wont come back to the school next week with a hatchet in your hand. I understand your post was meant in good fun but you and I both know you wrote it and that there is no chasbo. You can't pick a fight with a guy in a bar and then say just kidding or my imaginary friend started it.
Listening critically doesn't mean analyzing chords. And anyone can learn something about music history if he takes the time. And I accept Debussy's greatness and have even taught a course on him. And people (and most of my readers fall into that category,alas) who read my blog want something more than the simple pleasure afforded by listening naiviely to classical music. And I'm fresh out of hatchets. Happy New Year!
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