Re: [sic]

>of understanding and attentive misunderstand�

Should have read: of understanding and attentive 'misunderstanding'�

Sometimes you get your typos right where you deserve them!

Dan

-----Original Message-----
From: D. Stearns <stearns@capecod.net>
To: tuning@onelist.com <tuning@onelist.com>
Date: Tuesday, February 09, 1999 11:23 PM
Subject: [tuning] A possible unauthorized performance...

>From: "D. Stearns" <stearns@capecod.net>
>
>TO THE EDGE OF TIME
>> Actually, the LaMonte Young piece was scrapped from the program because
he
>didn't respond to over 6 months of attempts at communication. Southwest
also
>tried to substitute any other work of his choice on the program, but again
>got no response. So, we are instead doing an Ives group: several of the
>songs, plus the 4th violin sonata (no alternate tunings there; no
>lawyers...!)
>
>
>[U�tu guno�men] . . . would I were
>In Grantchester, in Grantchester! -- -
>Some, it may be, can get in touch
>With Nature there, or Earth, or such.
>And clever modern men have seen
>A Faun a-peeping through the green,
>And felt the Classics were not dead,
>To glimpse a Naiad's reedy head,
>Or hear the Goat-foot piping low: . . .
>But these are things I do not know.
>I only know that you may lie
>Day long and watch the Cambridge sky,
>And, flower-lulled in sleepy grass,
>Hear the cool lapse of hours pass,
>Until the centuries blend and blur
>In Grantchester, in Grantchester. . . .
>
>
>When I first heard Ives recasting of these words so many years ago, I felt
a
>familiar wrench at the pit of my stomach� And though I had little doubt
then
>(nor do I now) that arts often non-linear �detachments from the physically
>exact� hinge on a threadbare kinship of conjunct interpretation (subject to
>all the myriad anthropocentric contrarieties and vagaries of the general
>matter-of-course�), that Ives could so clearly _hear_ HIS music in this
very
>particular excerpt from Rupert Brooke�s (curious) poem* spoke volumes to me
>as a young man about the confident navigation of certain fundamental
>antilogies of intellect and creativity; of understanding and attentive
>misunderstand� For the most part I stopped listening to much music (apart
>from that which I am personally in the process of working on) some time
>ago - and yet I often find myself returning to Ives� For his music has
>remained with me as a consistent _and remarkably flexible_ source of
>inspiration.** The great SOBERING jolts I'd known since I was a very young
>boy sitting on the fence in his backyard under nothing more than the
>palliating athwart of an altostratus sky hung over Proctor School early one
>summer Sunday evening after dinner have seldom found a more confident
>reinforcement than the type I would glean from the 'Grantchester coda.�***
>
>
>THE PEACE OF GOD IN FIVE FLATS
>In the original context of Rupert Brooke's curious poem,
>
>"hear the cool lapse of hours pass,
>until the centuries blend and blur�"
>
>unquestionably 'jumps of the page�� Yet it is through the unique prism of
>Ives genius, that the equilibrium is altogether recast. And like another of
>Ives songs, Autumn (while plenty inspiriting enough in its straightforward
>interwoven historical testimony of two persons love and indelible
>understanding�), the great sobering close brings more than the linear sum
of
>its quantifiable components [i.e., more than "the peace of God�" in five
>flats!]� Charlie and Harmony's Autumn---Gods Autumn---Natures
>Autumn------TIMES Autumn.
>
>
>IN SOME DEEP CURRENT OF THE SUNLIT BROWN
>When I look into the darkness of the dense trees I may only see the shadows
>and de-articulating blur of trunks and branches... But I feel something
>else. Focus and openness are in often antagonistic denial of each other.
(To
>the extent that taking a forceful position for one so often seems to
obviate
>the salient attributes of the other, and more often than not leads to some
>oddly inattentive extremity of strident pedantic arrogance or numinous
>_dogmatic_ unbosoming�). Confident reinforcement of the sort I would glean
>from the music of Charles Ives certainly helped me... And the more I look
>back on it -- the more grateful I am.
>
>"Contented river!
>And yet over-shy
>To mask thy beauty from the eager eye;
>Hast thou a thought to hide from field and town?
>In some deep current of the sunlit brown��" [Robert Underwood Johnson]
>
>
>Respectfully,
>Dan
>
>*The Old Vicarage, Grantchester
>
>**Pieces such as The (orchestral) Housatonic and the fourth symphony finale
>unquestionably lead me directly towards a more decisive and thoroughgoing
>commitment to �microtonality.�
>
>***From "I only know that��"
>
>
>
>
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