Sunday Linkage Clearing House!

Some links that have been gathering dust in my bookmarks!

:: “Why would you waste cream and sugar on anything that you don’t like?” Nifty little video on one restaurant’s tradition of celebrating departing crewmembers with a pie in the face.

:: Universes that blur the line between SF and fantasy. The genre lines are not sharp borders….

:: Found: Map of Middle-earth, annotated by JRR Tolkien himself.

:: Behold the most complicated watch in the world. This thing is amazing.

:: The tangled cultural roots of Dungeons and Dragons.

:: Unopened mail…from 400 years ago.

:: Making a Dagwood sandwich…and, if you’re so inclined, making the original Dagwood sandwich.

:: How the ballpoint pen killed cursive. I’ve never been able to make up my mind about cursive and whether or not it should still be taught. I’ve never really understood the logic of learning to write twice, but I don’t get the idea that it hurts anything to learn, so…I dunno.

:: They’ve found a new earliest use of the F-word! (And by the way, if you’re one of those who thinks the F-word is an acronym, please stop. You’re wrong.)

:: Making The Warriors. I never saw that movie, but I’ve sure heard of it.

:: How Richard Scarry updated Best Word Book Ever to reflect a newer world.

Finally, on a much more serious note, two pieces that pretty much encapsulate my thinking on the horror that’s been unfolding in the world the last few days: The Price of Civilization by Jim Wright, and Paris by John Scalzi. I honestly don’t have any great prescriptions for making our world better, although I do cling to my faith that we (as a species) are getting better, albeit so very slowly that sometimes it doesn’t seem like we’re getting better at all. I do hope that we don’t completely give in (and by ‘we’, I mean the Western powers and not just the United States) to the eternally-seductive notion that if we just let slip enough of the dogs of war, for a long enough time, we’ll eventually kill all the bad guys and let the credits roll on a victory. History just doesn’t work like that; it never has, and I see little reason to expect it to work that way this time.

With that, I go back to writing. Excelsior, and live well, people!

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Symphony Saturday

Belgian composer Cesar Franck wrote only one symphony in his life, but it’s a mainstay of the symphonic repertoire for reasons that become obvious upon hearing: it’s a powerful work, lyrical and brooding and, in the end, optimistic. Franck’d reputation is mainly established by works he wrote toward the end of his life, and the Symphony in D minor is one of those. There was not much of a French symphonic tradition to speak of in the 19th century, which partly explains why the work was apparently poorly received at first, but like many great works, its reputation grew over the years where now it is considered, rightfully, a masterpiece.

Of particular interest is Franck’s use of cyclic form, in which melodic material from earlier movements is used in later ones. I’ve always loved cyclic works, which partly explains my own fierce devotion to Tchaikovsky’s Fifth and Rachmaninov’s Second Symphonies.

Here is Cesar Franck’s Symphony in D minor.

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Bad Joke Friday!

A panda walks into a bar and says, “I’ll have a rum…

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…and coke, please.”

The bartender says, “OK, but why the big pause?”

The panda holds up his hands. “I was born with them.”

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Something for Thursday

Even despite the movie’s gaping historical inaccuracies and Kevin Costner’s less-than-robust attempt at a British accent, I still like the movie Robin Hood: Prince of Thieves. I especially love its sweeping score by Michael Kamen, who is to my mind one of the more underrated film composers of the last few decades. His death — eleven years ago, and the same year as Jerry Goldsmith’s and Elmer Bernstein’s passings — was especially cruel, because he should have had a few decades’ worth of music left inside him. I’ll always wonder what we might have heard.

Anyway, some kind soul uploaded the entire score album to Robin Hood: Prince of Thieves to YouTube (minus the wildly overplayed Bryan Adams song), so here it is. Enjoy!

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Symphony Saturday (the Return!)

I’ve been meaning to dust off this once-regular feature of mine, in which I take time each Saturday to explore the world of that grandest of classical music forms, the symphony — and what better time than right now?

During the 19th century, Italy did not have a great symphonic tradition as did other nations in Europe. In Italy, opera was by far the most popular form of musical composition, and practically zero symphonies by Italian composers of the Romantic era have entered the standard symphonic repertoire. This is not to say that there were no Italian symphonists during that era, however.

Giovanni Sgambati achieved some renown for his piano music, but he also wrote two symphonies, the first of which is the subject of this post. Listening to the work, it is easy to hear the heavy Germanic influence that Sgambati felt. He was an eager champion of German and Austrian music in Rome, and this symphony, with its decidedly Teutonic feel and sound, definitely shows that. It is clear that Sgambati felt more attuned to the line from Beethoven to Brahms than that from Cherubini to Verdi. The work does not feature the kind of lyricism one might expect from an Italian, but it is full of the kind of Germanic writing that is notable in many a symphony from the north.

Sgambati’s Symphony No. 1, like many an obscure work, deserves to be heard more than it is. Enjoy!

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The official site of Kelly Sedinger: Reader, writer, photographer, and dreamer

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