A thank you

We sent Christmas cards this year for the first time in a couple of years. (When I say “we,” I mean “my Lovely First Wife,” of course.) Elizabeth Schuett’s came back as undeliverable. I went to the internet to track down her new address, and that’s when I found out that she died in 2007, a fact we would have learned had we kept up with sending cards.

Elizabeth was one of the people in my life who created me. I met her when I was in high school, after returning from GHP in 1970. My love for theatre had been reignited that summer, and so I joined the Newnan Playmakers upon my return. (Actually, I rejoined: I had been involved from sixth through eighth grades.)

Elizabeth was new-ish to town and was at the center of a small, hardcore group of creatives who had coalesced at that time and place. She was a self-described “tough old broad,” a drinker, a smoker, profane and funny. She was also one of the greatest ladies I’ve ever known, educated and kind and creative.

Over the next two years, Elizabeth took me under her wing and began to show me the possibilities in life. She owned a knit shop downtown, and it was the salon for what passed as intelligentsia in Newnan. We all hung out there in the back room, drinking coffee, make jokes, making plans, and talking, talking, talking.

It was Elizabeth who first made me aware of what “cosmopolitan” meant: she had lived other places, done other things, had other lives. She taught me that the horizon was not a wall but a goal. She showed me what it meant to go to a great restaurant, to attend the symphony, to explore ideas and their expression.

She showed me that not everyone would always think I was weird—or that my ideas and dreams were foolish—or that I would inevitably fail to find love or happiness if I didn’t learn to act like everyone else. She accepted me—and others—for not only who we were but who we needed to be.

I went off to UGA and returned to find that the gang had split off from the Playmakers (old school community theatre) to form the Newnan Repertory Company. They were frustrated with the old group’s hopelessly unimaginative approach to theatre, and it was their spirit that flowed on down to the Newnan Community Theatre Company. I picked the group up from them; if you ever benefited from NCTC, you have benefited from Elizabeth Schuett.

Eventually, she found the restrictions of Newnan too maddening, so she closed the shop and for reasons I never found very clear moved to her ex-husband Robert’s hometown, Gibsonburg, OH, where she taught high school and college, and wrote a syndicated column for years.

During those years we kept in touch sporadically. I would offer her a job in CommArts at GHP; citing the hellish heat, she would decline. We’d send her Christmas cards. She’d email. But we never communicated on a regular basis, so it is comforting to me that while the news of her death saddens me, I am happy that sometime in 2006 I wrote her a letter that told her everything that I have told you here. I thanked her over and over for making that pitiful, skinny Baptist kid into me.

Thank you again, Elizabeth Schuett.

Honey please

From the Huffington Post:

Newt Gingrich, who is currently mulling a presidential bid in 2012, said at a political event in South Carolina (12/16/10) that most of America’s problems can be blamed on the “leftist news media,” Hollywood, tenured academics, overpaid federal workers, and unemployed people.

As opposed to Bush’s two wars; unregulated, criminal financial shenanigans; GOP obstructionism in Congress; and feed-the-rich tax policies?

Or as opposed to a disgraced has-been who deliberately poisoned America’s political discourse with his vituperative buzzwords?

Putz.

Task avoidance

I went back and listened to my output for 2010 last night, and one piece stood out for its stubborn opacity. That would be, of course, the SATB a capella piece Phoenix, set to a stubbornly opaque text by Marc Honea. Of course.

Here it is in its piano version: Phoenix

There’s something to it, after all. I listened to it twice to make sure. I’m thinking I should arrange that for orchestra, just cut out the human voice altogether. It would certainly keep me from finishing the cello sonata. It would give me some practice in orchestration as well.

Variations on ‘Resignation’

After weeks of listening to it obsessively, and running it past at least one strings teacher of my acquaintance, I have tonight submitted Variations on ‘Resignation’ to my contact at the Ayrshire Fiddle Orchestra in Scotland.

My stomach hurts. I have no idea whether they’ll actually like it, or , more likely , they will find parts of it too challenging to play. If that’s the case, I just go back to the drawing board and take it down a notch. Somehow.

I’m supposed (I think) to write a second piece for them, and that will be Rondo Mobile, the sketch of which you can hear here. I’m thinking I want to make it a rowdy, PDQ-Bach-esque piece, musicologically-speaking-wise. In the sketch, you can already hear the theme falling apart and restarting. I want to make more of that idea, with the sections getting crankier as things go wrong, lots of finger-pointing, ending up with a full-scale riot which the conductor has to silence with a coach’s whistle.

I have been remiss in my blogging for the last month. I promise to make it up to you. I have several posts in the works even as we speak, and after tomorrow , school’s out! , I will have time to churn these out to the delectation of readers everywhere.

I have a post on my Lichtenbergian goals, both a look back at this past year and a look forward; a rant on school funding and running schools “like a business”; a rant on why I oppose the legalization of alcohol; a serious rant about U.S. drug policy; and a strange little meditation on better living through sound effects.

See you then!

Hm.

It has occurred to me that I need to be deciding on what my Lichtenbergian goals for 2011 are going to be, since the Annual Meeting is a week away. Some of them will be easy: they’re the ones I didn’t accomplish this year. Others will be easy as well: think cello sonata.

The new goals, though… Hm.

Done!

If only it were for a ducat…

It is finished, my first piece for the Ayrshire Fiddle Orchestra. Again, it’s called—for the moment—Resignation, and it’s based on the hymn tune commonly known as “My Shepherd Will Supply My Need” in most hymnals.

It’s short; I could probably swing one more variation, probably a triplet thing, if I had to.

What you hear in the mp3 is pretty much the way it’s supposed to sound, although the first phrase is played by a solo violin instead of the whole section. Otherwise, there’s not a lot to say about it. I think it’s very pretty.

Resignation: score [pdf, letter] [pdf, A4] | mp3 [3:39]

Back to the cello sonata. ::sigh::

Surprise! Progress!

Off in the mountains, and I decided to ignore the cello sonata for the week. Instead, I thought I’d take a peek at the Ayrshire Fiddle Orchestra piece, which in fact is due in three months, two days, and 21 hours. More or less.

Of the five sketches I sent them, they picked the arrangement of the hymn tune Resignation, an early American tune best known as “My Shepherd Will Supply My Need.” I haven’t really looked at it since then, mid-June. The Preludes (No Fugues) and the cello sonata have taken my time since then.

Anyway, I pulled it up this morning and have doubled its length today. Very nice, although it’s a piece of cake to write. I joked that if they were paying me, I’d be stealing.

Here it is so far. I think probably I’m going to break up the melody and do a little development thing, then do a final triumphal statement. It’s supposed to be short.

Wouldn’t it be nice to finish this by the Lichtenbergian Annual Meeting?

Resignation: mp3

The continuing saga

I submitted the orchestral version of “Blake Leads a Walk on the Milky Way” to a competition in Austria, the Mahler Composition-Competition. The winner was a Swiss composer, with a 1975 piece called Wendepunkt (Turning Point).

For those keeping score, I’m zero for whatever. 🙂

Cello sonata, take 10

I’ve been working on the development section of the Moderato and have actually been making real progress. You may recall that I set aside several sessions to generate crap in a separate “ideas” file. Remind me that this is a very effective strategy: I have been able to use about a third of the material I generated.

However, there are still some issues with what I have so far. First of all, it seems repetitive and not organic. This may be due to the fact that I’ve lifted material from the ideas file and stitched it together, and my ear can’t not hear the seams. I keep listening for ways to modify those transitions, and I’ve made some changes, but on the whole it still sounds clunky to me.

The other problem is that the further I venture, the less good the recapitulation I’ve already written sounds. It finally dawned on me why that is. There’s nothing wrong with the recap. The problem is that the majority of the material I generated for the ideas file is in the same general key as the opening of the piece. The whole point of the development section is to lead the listener far afield so that when we hit the recap, it sounds like coming home again. How can we come home if we never left?

So my next session is going to explore moving some of the current development into other keys. You will probably hear the weeping, the wailing and the gnashing of teeth, not to mention the tearing of the sackcloth, from your house.