Monday, January 15, 2024

LIBRARY OF MISTAKES SAMPLER

 To help avoid future financial mistakes, such as those in 1929 and 2008 that brought down the world’s economy, the Library of Mistakes was founded in Edinburgh, Scotland. It features a collection of more than two thousand books that can help educate the next generation of economists. And it serves as a perfect example of how, according to the library’s curators, “smart people keep doing stupid things.” The curators believe that the only way to build a strong economy is to learn from prior mistakes.



1.   BEAN COUNTERS - Richard Brooks

 The world's 'Big 4' accountancy firms - PwC, Deloitte, Ernst & Young, and KPMG - have become a gilded elite. Up in the high six figures, an average partner salary rivals that of a premier league footballer. But how has the seemingly humdrum profession of accountancy got to this level? And what is the price we pay for their triumph? Leading investigative journalist and former senior tax inspector Richard Brooks offers a ground-breaking exposé of the accountancy industry and its secret rise to vast global influence. Charting the profession's history from humble agrarian beginnings to its underappreciated role in the financial crash of 2008, Brooks explores how the industry hides behind its 'boring' image to ruthlessly exploit the financial system which depends on it.

2.   


CREATIVE ACCOUNTING -  Ian Griffiths 

This unexpurgated bible of the business world explodes the myth that profits are governed by a set of common principles and guidelines, showing how companies manipulate their reported results. Illustrated here with some of the most recent examples of corporate creativity are all the very latest schemes for tampering with taxation, flattering the fixed assets, pilfering the pension fund and many other ways of cooking the books, yet staying inside the law.

3.   


ALAN SHRUGGED - Jerome Tuccille 

Power . . . Personality . . . Paradox When Alan Greenspan talks, Wall Street listens-as do bankers, investors, politicians, and economists throughout the world. He is the number one arbiter of U.S. monetary policy-credited, as Chairman of the Federal Reserve, with having simultaneously held inflation down and kept the economy growing throughout the longest and largest economic expansion in U.S. history. Yet, this Atlas of number crunchers, who owned and operated a highly successful Wall Street consulting firm, never amassed a personal fortune, was a member of the cultlike inner circle surrounding one of America's most controversial authors, and began his career as a professional jazz musician. Clearly, there is even more to Alan Greenspan than meets the eye. In Alan Shrugged, you'll meet Greenspan the public figure and Alan the private man in the most detailed, revealing, and entertaining account of Greenspan's life and career ever published. Filled with surprises, amusing anecdotes from the likes of Henry Kissinger and Barbara Walters, and thoughtful insights from bestselling biographer Jerome Tuccille, Alan Shrugged offers an informative and engaging portrait of one of the most powerful, capable, and complex figures on the American political scene.

4.  


CARNEGIE – Peter Krass

 One of the major figures in American history, Andrew Carnegie was a ruthless businessman who made his fortune in the steel industry and ultimately gave most of it away. He used his wealth to ascend the world's political stage, influencing the presidencies of Grover Cleveland, William McKinley, and Theodore Roosevelt. In retirement, Carnegie became an avid promoter of world peace, only to be crushed emotionally by World War I. In this compelling biography, Peter Krass reconstructs the complicated life of this titan who came to power in America's Gilded Age. He transports the reader to Carnegie's Pittsburgh, where hundreds of smoking furnaces belched smoke into the sky and the air was filled with acrid fumes . . . and mill workers worked seven-day weeks while Carnegie spent months traveling across Europe. Carnegie explores the contradictions in the life of the man who rose from lowly bobbin boy to build the largest and most profitable steel company in the world. Krass examines how Carnegie became one of the greatest philanthropists ever known-and earned a notorious reputation that history has yet to fully reconcile with his remarkable accomplishments.

5. 


  KATHERINE GRAHAM: PERSONAL HISTORY 

The captivating, inside story of the woman who helmed the Washington Post during one of the most turbulent periods in the history of American media. Winner of the Pulitzer Prize for Biography In this bestselling and widely acclaimed memoir, Katharine Graham, the woman who piloted the Washington Post through the scandals of the Pentagon Papers and Watergate, tells her story--one that is extraordinary both for the events it encompasses and for the courage, candor, and dignity of its telling.   Here is the awkward child who grew up amid material wealth and emotional isolation; the young bride who watched her brilliant, charismatic husband--a confidant to John F. Kennedy and Lyndon Johnson--plunge into the mental illness that would culminate in his suicide. And here is the widow who shook off her grief and insecurity to take on a president and a pressman's union as she entered the profane boys' club of the newspaper business.   As timely now as ever, Personal History is an exemplary record of our history and of the woman who played such a shaping role within them, discovering her own strength and sense of self as she confronted--and mastered--the personal and professional crises of her fascinating life.

6.     

DON’T BLAME THE SHORTS – ROBERT SLOAN

 

Listed in Bloomberg''s TOP 50 BUSINESS BOOKS OF 2010 and shortlisted for Spear''s FINANCIAL HISTORY OF THE YEAR AWARD "Robert Sloan works in the hedge-fund industry. As he shows in this readable polemic, dislike of shorting has a long history. . . . Someone has to point out when the emperor has no clothes. The shorts were among the biggest skeptics of the subprime-mortgage boom and of the banks that financed it. And when they were proved right, their activities were banned. (Financial Times) "In this knowing book about the business of short-selling stocks, financier Robert Sloan gives a modern day lesson on why we shouldn''t shoot the messenger. . . Rather than blast short sellers, we should praise them for exposing management methane. . . .

This is just the latest bitter expression of the constant tension between a moneyed east coast financial elite, and the manufacturers, mom-and-pop shops and the scrappy entrepreneurs who bitterly resent the power of Wall Street--but don''t want the cash taps to be turned off." The Observer "Timely, concise, accessible to the lay reader and with a decorously polemical edge, it is both revealing and entertaining. No matter what the politicians do, the markets will find a way to challenge the finaglers and the optimists who sustain them. Like the poor, the shorts will always be with us." Spear''s "Post-crisis reading . . . best books on the financial crisis and its aftermath. . . .

While other authors point accusing fingers, in his book, Don''t Blame the Shorts, Robert Sloan leaps to the defense of short sellers who, as he describes, have been long scapegoated for market crashes and are once again in the wake of the recent crisis. Sloan reintroduces us to the likes of Ferdinand Pecora, the federal prosecutor whose investigations in the early 1930s revealed a wide range of abusive practices of banks, and led to the creation of vital legislation, including the Glass-Steagall Act. Don''t Blame the Shorts is an eye-opening account that overturns conventional wisdom about short selling, and the vital systemic (and symbolic) role it plays in making financial markets less opaque, more accountable, and, therefore, stronger.

7.   


TULIPMANIA – Mike Dash

In 1630s Holland thousands of people from the wealthiest merchants to the lowest street traders were caught up in a literal frenzy of buying and selling. The object of the speculation was not oil or gold, but the tulip, a delicate and exotic bloom which had just arrived from the east (where it had been the talisman of generations of Ottoman sultans). Over three years, rare tulip bulbs changed hands for sums that would have bought a house in Amsterdam: a single bulb sold for more than £300, 000 at today’s prices. Fortunes were made overnight, but then lost when, within a year, the market collapsed ¿ with disastrous consequences. Mike Dash recreates this bizarre episode in European history, separating myth from reality. He traces the hysterical boom and devastating bust, bringing to life a colorful cast of characters, and beautifully evoking Holland’s Golden Age. A highly readable blend of history, horticulture and economics.

8.    


DANGEROUS TASTES – Andrew Dalby

 Spices and aromatics--the powerful, pleasurable, sensual ingredients used in foods, drinks, scented oils, perfumes, cosmetics, and drugs--have long been some of the most sought-after substances in the course of human history. In various forms, spices have served as appetizers, digestives, antiseptics, therapeutics, tonics, and aphrodisiacs. Dangerous Tastes explores the captivating history of spices and aromatics: the fascination that they have aroused in us, and the roads and seaways by which trade in spices has gradually grown. Andrew Dalby, who has gathered information from sources in many languages, explores each spice, interweaving its general history with the story of its discovery and various uses. Dalby concentrates on traditional spices that are still part of world trade: cinnamon, cloves, ginger, pepper, saffron, and chili. He also discusses aromatics that are now little used in food but still belong to the spice trade and to traditional medicine: frankincense, myrrh, aloes-wood, balsam of Mecca.

In addition, Dalby considers spices that were once important but that now are almost forgotten: long pepper, cubebs, grains of Paradise. Dangerous Tastes relates how the Aztecs, who enjoyed drinking hot chocolate flavored with chili and vanilla, sometimes added annatto (a red dye) to the drink. This not only contributed to the flavor but colored the drinker's mouth red, a reminder that drinking cacao was, in Aztec thought, parallel with drinking blood. In the section on ambergris, Dalby tells how different cultures explained the origin of this substance: Arabs and Persians variously thought of it as solidified sea spray, a resin that sprung from the depths of the sea, or a fungus that grows on the sea bed as truffles grow on the roots of trees. Some Chinese believed it was the spittle of sleeping dragons. Dalby has assembled a wealth of absorbing information into a fertile human history that spreads outward with the expansion of human knowledge of spices worldwide.

9.   


FIASCO – James Robert Parish

 A longtime industry insider and acclaimed Hollywood historian goes behind the scenes to tell the stories of 15 of the most spectacular movie megaflops of the past 50 years, such as Cleopatra, The Cotton Club, and Waterworld. He recounts, in every gory detail, how enormous hubris, unbridled ambition, artistic hauteur, and bad business sense on the parts of Tinsel Town wheeler-dealers and superstars such as Elizabeth Taylor, Clint Eastwood, and Francis Ford Coppola, conspired to engender some of the worst films ever.

10.   


FAMILY BUSINESS

 This text addresses, from a clinical perspective, the particular problems and situations which arise in family businesses. It aims to provide a body of knowledge that will contribute to a better understanding of the psychodynamics of the family firm.


11.   


 THE WALMART EFFECT – Charles Fishman

 Wal-Mart is not just the world's largest company--it is the largest company in the history of the world. It is estimated that the company's low prices save American consumers $10 billion a year--but the #1 employer in 37 states has never let a union in the door. Though 70% of Americans now live within a 15-minute drive of a Wal-Mart, we have not even begun to understand the true power of the company. We know about the lawsuits and the labour protests, but what we don't know is how profoundly the "Wal-Mart effect" is changing our America's economy, our workforce, our communities, and our environment. Journalist Fishman takes us on a behind-the-scenes investigative expedition, interviewing 25 high-level ex-executives and a host of Wal-Mart's suppliers, and journeying to the ports and factories where Wal-Mart's power is warping the very structure of the world's market.--From publisher description. Includes information on Chile, China, economic effects, factory workers, food production, global factories, global outsourcing, lawn mowers, price/pricing, quality of products, salmon farming, shopping, Snapper, supplier/Wal-Mart relationship, Target, Sam Walton, etc.

12.   


 THE POVERTY OF NATIONS – David S. Landes

 "David S. Landes tells the long, fascinating story of wealth and power throughout the world: the creation of wealth, the paths of winners and losers, the rise and fall of nations. He studies history as a process, attempting to understand how the world's cultures lead to - or retard - economic and military success and material achievement." "Countries of the West, Landes asserts, prospered early through the interplay of a vital, open society focused on work and knowledge, which led to increased productivity, the creation of new technologies, and the pursuit of change. Europe's key advantage lay in invention and know-how, as applied in war, transportation, generation of power, and skill in metalwork. Even such now banal inventions as eyeglasses and the clock were, in their day, powerful levers that tipped the balance of world economic power. Today's new economic winners are following much the same roads to power, while the laggards have somehow failed to duplicate this crucial formula for success." "The key to relieving much of the world's poverty lies in understanding the lessons history has to teach us - lessons uniquely imparted in this towering work of history."

 


 

 

Wednesday, March 13, 2019

Be Careful


It is a curious fact that there is such a thing as being proud of grace. A man says, "I have great faith--I shall not fall; poor little faith may, but I never shall." "I have fervent love," says another. "I can stand; there is no danger of my going astray." He who boasts of grace has little grace to boast of. Some who do this imagine that their graces can keep them, knowing not that the stream must flow constantly from the fountainhead or else the stream will soon be dry. If a continuous supply of oil does not come to the lamp, even though it may burn brightly today, it will smoke tomorrow, and noxious will be its scent.

Pay attention that you do not glory in your graces, but let all your glorying and confidence be in Christ and His strength, for only in this way can you be kept from falling. Be much more diligent in prayer. Spend longer time in holy adoration. Read the Scriptures more earnestly and constantly. Watch your lives more carefully. Live nearer to God. Take the best examples for your pattern. Let your conversation be full of heaven. Let your hearts be perfumed with affection for men's souls. Live in such a way that men may recognize that you have been with Jesus and have learned of Him; and when that happy day shall come, when He whom you love shall say, "Come up higher," may it be your happiness to hear Him say, "You have fought the good fight, you have finished the race, and henceforth there is laid up for you the crown of righteousness that doesn't fade."

Keep on, Christian, with care and caution! Go on, with holy fear and trembling! On, with faith and confidence in Jesus alone, and let your constant petition be, "Uphold me according to Your promise."(Psalm 119:116) He alone is able "to keep you from stumbling and to present you blameless before the presence of his glory with great joy."(Jude 1:24)


Saturday, October 27, 2018

BUT WHO IS HAROLD?

- From The Choir  Herald, November 1989

Children are wonderful. They hear what we say, and they say what they hear. That goes for singing, too. 

Everyone has heard about that mysterious character called "Round John Virgin", who appears each Christmas in the ever popular "Silent Night". For years, I thought he was part of the Nativity Scene!

Perhaps you have heard about the child who learned the Pledge of Allegiance, proudly stating, "... one nation, and a vegetable, under God." That poor kid probably didn't eat his green beans either!

Another popular individual that appears at the beginning of ball games is Jose, the one to whom the question is asked, "Jose, can you see?"

The Lord's Prayer has suffered many interpolations as well. My favorites are "Give us this day our jelly bread." and "Lead us not into Penn Station."

That's not as violent as "There is a bomb in Gilead." Heaven forbid!

The problem is universal, of course, and our friends in England are often hearing their children proclaim, "God shave the Queen!". How embarrassing!

"Gladly, the Cross-eyed Bear!" shows up from time to time, as does Harold. Who is Harold? Don't know, but he is part of the Lord's Prayer and a regular Christmas guest: "Our Father Who art in heaven, Harold be thy name." and "Hark the Harold Angels Sing." Must be a new choir in town.

In case you wondered, we have evidence that the shepherds were not just watching their sheep that night, for it has been clearly sung over and over "While shepherds washed their socks by night." Well, why not?

Yes, children are wonderful. And this is the season for our children to recall once again the ageless story of that first Christmas. May the message be clear, may the joy be real, and may Harold bless you, everyone.

Sunday, September 9, 2018

SCORES TO SETTLE 0217


STICKING WITH IT 


 At the age of twelve, Daniel Barenboim was a poised, accomplished pianist with three years of major concerts to his credit. In the summer of 1955, he was taking a conducting class at the Salzburg Mozarteum. The school had brought a series of guest teachers, conductors who were working at the Salzburg Festival, each of whom would instruct the class for a day. 

 Among the guest teachers was the formidable George Szell, long-time conductor of the Cleveland Orchestra, who had been given credit for building it into what one critic called “the world’s keenest symphonic instrument”.  Young Barenboim had met Szell a year earlier, auditioning successfully for him as a pianist. But now the boy was on the spot. On the day that the stern and strict Szell was to teach to the class, it was Barenboim’s turn to conduct. 

 Szell was known to enjoy putting musicians into difficult situations to see how they would cope. 

 He was sceptical when he saw the young pianist. “What are you going to conduct?” he asked. 

“Well,” Barenboim said, “I have prepared Beethoven’s Fourth Symphony.” It was one of the works the class had been assigned. 

 Szell tightened the screws. “I want to see what you will do with the Fifth Symphony,” he said. 

 Even at the age of twelve, Barenboim knew that keeping the orchestra together for the beginning of the Fifth Symphony was a terror for most conductors.

 Bravely, he began to lead the orchestra. Very quickly, the whole performance fell apart. With pointed words, Szell advised Barenboim to stick with the piano and become a serious musician.

But Barenboim stuck with conducting, and thirteen years later, as he was to lead the London Symphony in Carnegie Hall, he was told that Szell was in the audience. The strict lesson for a twelve-year-old paid off. Szell, who was now its Music Adviser, invited Barenboim to become the ongoing conductor of the New York Philharmonic.


Friday, August 26, 2016

Amy wrote, “My nerves fluttering, I waited for the phone to ring and the radio interview to start. I wondered what questions the host would ask and how I would respond. ‘Lord, I’m much better on paper,’ I prayed. But I suppose it’s the same as Moses—I need to trust that you will give me the words to speak.” Of course we are not comparing ourselves with Moses, the leader of God’s people who helped them escape slavery in Egypt to life in the Promised Land. A reluctant leader, Moses needed the Lord to reassure him that the Israelites would listen to him. The Lord revealed several signs to him, such as turning his shepherd’s staff into a snake (Ex. 4:3), but Moses hesitated to accept the mantle of leadership, saying he was slow of speech (v. 10). So God reminded him that He is the Lord and that He would help him speak. He would “be with his mouth” (as the original language translates, according to biblical scholars). We know that since the coming of the Holy Spirit at Pentecost, God’s Spirit lives within His children and that however inadequate we may feel, He will enable us to carry out the assignments He gives to us. The Lord will “be with our mouths.” Lord Jesus, You dwell with me. May my words today build up someone for Your glory.

Friday, May 29, 2015

HOW TO REMOVE VOC FROM INDOOR AIR

I'm posting this blog by Elizabeth Palermo, Staff Writer of livescience.com,   July 29, 2013 07:46pm ET

Do Indoor Plants Really Clean the Air?

Sure, that potted fern is pretty, but can it really spruce up the air quality in your home? Studies by scientists at NASA, Pennsylvania State University, the University of Georgia and other respected institutions suggest that it can.

Plants are notoriously adept at absorbing gases through pores on the surface of their leaves. It's this skill that facilitates photosynthesis, the process by which plants convert light energy and carbon dioxide into chemical energy to fuel growth.

But scientists studying the air-purification capacities of indoor plants have found that plants can absorb many other gases in addition to carbon dioxide, including a long list of volatile organic compounds (VOCs). Benzene (found in some plastics, fabrics, pesticides and cigarette smoke) and formaldehyde (found in some cosmetics, dish detergent, fabric softener and carpet cleaner)  are examples of common indoor VOCs that plants help eliminate.

These VOCs and other indoor air pollutants (such as ozone) have been linked to numerous acute conditions, including asthma and nausea, as well as chronic diseases such as cancer and respiratory illnesses.

An indoor plant's ability to remove these harmful compounds from the air is an example of phytoremediation, which is the use of any plant — indoors or out — to mitigate pollution in air, soil or water.
Indoor plants remove pollutants from the air by absorbing these gases through their leaves and roots. The microorganisms that live in the soil of potted plants also play an instrumental role in neutralizing VOCs and other pollutants.

While most leafy plants are adept at purifying indoor air, some of the plants that scientists have found most useful in removing VOCs include Japanese royal ferns, spider plants, Boston ferns, purple waffle plants, English ivy, areca palms, golden pothos, aloe vera, snake plants and peace lilies.

Japanese Royal Ferns          
                                        

Spider plants                               
                                   

Boston Ferns                              
                                   

Purple waffle plants                                       


English Ivy                                     
   

Areca Palms                      


Golden Pothos                            
    
Aloe Vera                                   
      

Snake Plants                               
     

Peace Lilies                       





Friday, March 20, 2015

SCORES TO SETTLE

FIRST, THE MONEY      0921

In memoirs he wrote in 1896, conductor Luigi Arditi recalls a situation in which a stubborn baritone named Novara pursued his demand for money all the way into a performance.

Novara had agreed to sing the part of Rocco for three performances of Beethoven’s opera Fidelio with the understanding that, like everyone else in the company, he would be paid in advance.

His payment for the first performance went well enough, but on the second night he had to go to a lot of trouble to get paid, and so Novara made it clear that he would not sing the third performance until he had his money in hand.

He arrived at the theater, put on his costume, and asked the impresario’s agent for his money, only to be told that impresario James Henry Mapleson was dining out and had forgotten to sign a check for him,

Novara told the agent, Levelly by name, that he wasn’t going to sing until he was paid. Find Mapleson and get the money, he demanded.

“I don’t know where he is,” Levelly said, all too aware that curtain time was approaching. “Here, take my watch as a guarantee, Novara, and for God’s sake, get into your clothes.”

The baritone stood his ground. “I don’t require your watch, man. I want my money, and unless I get it before the curtain rises, I shall take off this damned wig, and the stage carpenter can sing the role of Rocco.”

Levelly ran from the theater and hailed a cab for parts unknown in search of Mapleson.


When the curtain rose and Rocco sang his first aria offstage, conductor Arditi was startled to hear a voice that sounded strangely like that of the stage manager. About then, Levelly ran back into the theater, dripping with sweat, having come up with the necessary cash from nowhere. He stuffed it into Novaro’s hand, and the stubborn baritone rushed onto the stage just in time to save the performance.

Tuesday, March 3, 2015

SCORES TO SETTLE 0304

The Right Season 1230

“I think they’re very interesting. You should learn them.” So said Alfredo Antonini to violinist Louis Kaufman in the autumn of 1947. The Columbia Broadcastin System’s music director had just said much the same thing in the hope that Kaufman would perform the distinctive 200-year-old Vivaldi concertos in an upcoming concert. Kaufman was reluctant. He had never heard of the four concertos known collectively as The Four Seasons

Two days later Kaufman got a call from Samuel Josefowitz, the co-owner of Concert Hall Records,  wondering if Kaufman could record some concertos for solo instrument and small orchestra during a visit to New York. Kaufman mentioned the Vivaldi concertos and Josefowitz snapped up the idea because Vivaldi was all but unknown to performers and concert goers.

Josefowitz had another reason to be eager. The President of the American Federation of Musicians had banned all recordings after December 31, 1947, unless record companies accepted his terms requiring the payment of domestic royalties to the Federation rather than to the musicians. The big companies – RCA, Columbia and Decca – had big stockpiles of unreleased discs that they could use to skirt the ultimatum. Smaller companies like Concert Hall Records were working hard to stockpile recordings before the deadline.

Josefowitz hired string players from the New York Philharmonic and conductor Henry Swoboda and rented Carnegie Hall for the last four nights of the year, with the sessions in the tightly-booked hall to begin at midnight. Kaufman received the Vivaldi scores from CBS the day before he boarded the train from Los Angeles. He studied them en route and found them enchanting.

The musicians were charmed too. Despite the late hour and their fatigue from being overbooked, they worked with enthusiasm and completed the very first recording of The Four Seasons just hours before the deadline, at four o’clock in the morning of December 31, 1947.


Saturday, September 13, 2014

SCORES TO SETTLE 0912

AWKWARD ENCOUNTERS  1009

In the summer of 1907 Spanish pianist and composer Manuel de Falla piled up his meager savings and went to Paris in the hope of breaking into the international music scene. He was in for some setbacks.

The jobs he had arranged fell through, and after playing piano with a traveling pantomime company, he scraped by in Paris by teaching piano and harmony students. “I’m more and more glad that I decided to leave Madrid,” he wrote a friend. “There was no future for me there.”

He set about introducing himself to the city’s major musical figures, but summer was a bad time for it because many of them were out of town, although Frenchman Paul Dukas went out of his way to be helpful and introduced him to the influential Spanish composer Isaac Albeniz.

Getting to know the celebrated Claude Debussy would not go so smoothly.

Fall finally met him in October, played the piano score of his opera “La vida breve” for him, and found the Frenchman’s sarcasm a little intimidating.

A little later, Falla’s shyness made for an even more awkward encounter.

Falla came to visit Debussy, was told that he was out, and was ushered by a servant to a dark alcove off the dining room, a storage space filled with grotesque Chinese masks. After a while Falla heard Debussy, his wife Emma, and composer Erik Satie come into the dining room and begin lunch. Falla was too timid to enter the dining room unannounced and sat there in the dark alcove, faint from hunger, staring at the weird and ghoulish faces of the masks.

When the chatting and clatter of lunch seemed loud enough to cover his retreat, he slipped into a dim hallway and hastened toward the egress, only to bump headfirst into Debussy’s wife, who screamed.


Even though everybody encouraged Falla to join them for lunch, he was so rattled by the encounter that he made his apologies and departed.

VERSATILE ENOUGH                    

The string quartet is a curiosity, a series of short dances for three violins and cello to be played on open strings. It’s attributed to Benjamin Franklin and since he was so versatile, it’s tempting to assume that Franklin would also turn his attention to composing music.
Franklin played the harp, the guitar and something called the glass dulcimer, but his best known contribution to music was his improvement of the so-called musical glasses. The instrument had become popular in Europe by 1746, when Christoph Willibald Gluck performed in London a “concerto on 26 drinking glasses tuned with spring water”, accompanied by an entire orchestra.

In 1762, during a sojourn in London, Franklin described in a letter his improvement of the musical glasses by fitting glass bowls concentrically on a horizontal rod, which was turned by a crank attached to a pedal. The turning of the bowls kept them moist by passing them through water, and enabled the performer to stroke their rims with a minimum of motions. Franklin’s new instrument, which he called the armonica, was fairly popular in America, but quite the rage in Europe.

A few years later, in a letter to a friend in Edinburgh, Franklin wrote a short treatise on music theory, setting down his ideas about the nature of melody and harmony, and in a letter to his brother Peter he favored clarity and simplicity in vocal music and took issue with the relatively intricate arias of recent operas and oratorios in the Italian style.


The intriguing string quartet attributed to Franklin probably says a lot less about his musical tastes. The manuscript, with Franklin’s name on it, was discovered in Paris in the 1940s, but since then, copies have turned up in Prague, Vienna, and elsewhere, each attributed to a different prominent composer of the time. It’s quite possible that the scientist, statesman, and inventor was simply too busy to write music.

Friday, August 8, 2014

SCORES TO SETTLE 0511

YOU ARE PLAYING THAT WRONG

Pianist Harold Bauer had never heard of the young woman dancing at the home of an acquaintance and took no notice of her name. But he watched with fascination as she gestured and posed to the sound of familiar classical music. He had never seen a performance quite like it. Her gestures seemed to illustrate the dynamics of the music, and he hit upon the idea of letting his gestures at the piano bring forth corresponding dynamics in the music.

His first efforts to bring tone out of gesture were ridiculous, but he persisted and eventually used the approach whenever he played. 

Thirty years later, after he had given a recital in Los Angeles, his friend, violinist and composer Eugene Ysaye greeted him in the artists’ room by introducing a companion. “Of course you know Isadora”, he said. 

“Isadora who?” Bauer asked.

Isadora Duncan,” said Ysaye.

When Bauer realized that she was the dancer from all those years ago, he told her how greatly she had influenced his method of performing, and before long, the two of them planned to give a concert together.
It was to be entirely pieces by Chopin, and while rehearsing the Etude in A-flat, Opus 25 No. 1, they had a falling out.

“You are playing that wrong,” Isadora said. She explained that the crescendo had to continue to the very end of the phrase and be softened later.

With some annoyance, Bauer said that he was playing the piece the way it was printed on the page.

Isadora didn’t care. She said that the music had to build to a climax at the end of the phrase or else she’d have nothing to with her arms. “Anyway,” she insisted, “you are quite mistaken.”

After a long discussion, Bauer gave in for the sake of allowing her the indispensable dramatic gesture.


Afterward, when he had a look at Chopin’s original manuscript of the piece, he found that it had the precise dynamics the dancer had instinctively required, and he played it that way ever after.

Monday, August 4, 2014

SCORES TO SETTLE 0805

SWEET REWARD

Twenty-first century neurologists have determined that the pleasure a musician derives from playing the climax of a composition compares with the enjoyment of eating chocolate. If they’re right, Karl Ditters von Dittersdorf had a double reason to remember a reward he received as a young violinist.

In 1761 Dittersdorf was accompanying the famous composer Christoph Willibald Gluck to Bologna, one of the music capitals of Europe. Years later, when Dittersdorf dictated his autobiography, he recalled an occasion when his playing brought him a particularly sweet return.

A distinguished musician of the day, Giovanni Battista Martini asked the young violinist to play a concerto in his church during an upcoming service. He asked if Dittersdorf would be satisfied with the usual fee of twelve double ducats. Dittersdorf replied that he would play only on condition that he was not paid.

“What I prized beyond money,” he said, “was the honor of being chosen to play by the Father of Music.”

During the three-day festival Dittersdorf and Gluck went to church to hear Vespers, which featured music by Martini. Dittersdorf thought it was magnificent. In one Psalm Martini had written the Amen in the form of an eight-part fugue- all the more glorious since the orchestra consisted of 160 people  and the chorus was 80 strong.

The next morning Gluck and Dittersdorf went to see Martini, who invited them to drink chocolate with him.

“I think it likely,” Martini said, “that yesterday’s Vespers and today’s High Mass will be my Swan Song, because I am already aware that my powers, physical and mental, are beginning to fail.”

After Dittersdorf had played his concerto, he and Gluck went home and sat down to dinner, after which the landlord came in and said, “Padre Martini sends you both a few pounds of chocolate.”

In a shaky hand, the old priest had written on the packet: “12 pounds for my dear friend Cavalier Gluck and 12 pounds for my dear son Signor Carl Ditters.”



Saturday, August 2, 2014

SCORES TO SETTLE 0802

TENUOUS ENCOUNTERS

The two composers would be major forces in late nineteenth-century music and great friends, but not before some preliminary missteps.

In 1857 Camille Saint-Saens began seeing small notices announcing Paris performances by an unknown Russian named Anton Rubinstein. Rubinstein was unknown in Paris for a very good reason – he avoided press coverage. His Paris debut took place in an elegant hall – without a single paying listener in attendance.

With power and artistry, Rubinstein wowed his first audience, and for his next performance the hall was, as Saint-Saens put it, “crammed to suffocation”. In his memoirs, Saint-Saens gushed, “I was bowled over, chained to the chariot of the conqueror!”

Despite his admiration, Saint-Saens avoided meeting the great pianist. The twenty-two-year-old was terrified at the prospect, despite Rubinstein’s reputation for kindness and gentility. For a year, mutual friends continued to invite Saint-Saens to meet Rubinstein, but Saint-Saens turned them down. The following year, though, during Rubinstein’s next visit to Paris, Saint-Saens finally got up his courage for an introduction and the two hit it off at once.

They got together often to play flamboyant piano duets. Saint-Saens was taken not only with Rubinstein’s artistry, but also with his lack of jealousy when it came to his fellow musicians. Rubinstein planned to solo in performances of some of his works for piano and orchestra and invited Saint-Saens to conduct. Again reluctant, Saint-Saens eventually agreed, and found the experience to be his primary education as a conductor.

It was a baptism by fire because Rubinstein paid no attention to the orchestra and sometimes drowned them out, forcing Saint-Saens to follow him by watching his hands. And Rubinstein provided scores that were marked up beyond comprehension because he found it amusing to see Saint-Saens conduct his way into and out of trouble.

During later Paris visits, the bold, broad-shouldered Anton Rubinstein and the shy, delicate Camille Saint-Saens became almost inseperable friends.

ENTANGLING ALLIANCES       0801

Richard Strauss admired the music of Richard Wagner, and so he felt honored in 1839 when he received an invitation from Wagner’s widow Cosima to conduct during the consummate Wagnerian event, the Bayreuth Festival.

But the honor would come with strings attached.

Part of Cosima’s motive for the invitation came from the formation of a rival festival in nearby Munich. The director of the Munich festival put it into direct competition with Bayreuth by announcing a new production of Wagner’s Lohengrin, the same opera Bayreuth had presented on its season’s opening night.
The Munich director also invited Strauss to conduct two of their operas.

His willingness to work with the competition put Strauss at odds with Cosima’s increasingly resentful son Siegfried, a composer who also did some conducting. Strauss was not reluctant to voice his criticisms of Cosima and her family. He and Siegfried had a quarrel about artistic control that prompted Strauss to break off his associations with the Wagners. Cosima asked that Strauss not return to Bayreuth as a conductor.

In August 1896 he did return – as an audience member – to hear Siegfriend conduct Wagner’s Ring Cycle for the first time, and he found the Wagners amiable, although he thought that Siegfried’s conducting was awful.

Siegfried rekindled the animosity by publishing a letter in which he stated that the ultimate authority in the theater at Bayreuth was the stage director, who got to give orders to the director. Strauss took the letter as a personal insult.


But despite his break with the Wagners and his condemnation of Bayreuth as “the ultimate pigsty”, Strauss remained steadfast in his admiration of Wagner’s music and saw the festival as its greatest safeguard, in fact, the consummate safeguard of all German art. And in 1933, after the deaths of Siegfried and Cosima, when the invitation came to conduct again at Bayreuth, neither the needs of his own music nor the grim Nazi politics of the times kept him from accepting it.