Imaginary

Fictional Narratives

Poetry

Music: Composers, artists, and major works

Annie Fischer was a classical pianist whose playing was characterized by several aspects of vitality: passion, expressiveness, technical brilliance, and a strong interpretive sense. “Grove's Encyclopedia of Music and Musicians describes pianist Annie Fischer's style as 'marked by intense spiritual concentration and interior feeling altogether free from showmanship.'” She “played with an intensity of concentration and focus that seemed at odds with the poetry and impetuousness of her interpretive style.” “. . . her performances had a larger- than-life vitality and a prismatic sense of color that was often thrilling.” Here is a link to her playlists.

Jean Sibelius’ intent for his Symphony No. 7 in C major, Op. 105 (1924) (approx. 20-26’), was to compose a work expressing the “Joy of life and vitality”. “Cast in one movement, it eschews the traditional four-movement structure used in most symphonies since the late 18th century. Despite its unique structure, it grows organically from the first few measures to become one of the most original and profound symphonic works in the repertoire.” “The music commentator Donald Francis Tovey compared the experience of listening to Sibelius’s Seventh to the sensation of flying in an aircraft. 'An aeronaut carried with the wind . . . has no sense of movement at all. . . . He moves in the air and can change his pace without breaking his movement.'” “It’s tribute to the huge emotional power of Sibelius’s music that it produces . . . wildly divergent interpretations . . .” Top recorded performances were conducted by Beecham in 1942, Mravinsky in 1965, Karajan in 1968, Rattle in 1985, Bernstein in 1988, Berglund in 1997, Järvi in 2005, Davis in 2016, Vänskä in 2016, and Mäkelä in 2021. Here are links to live performances conducted by Bernstein and Elder.

Antonio Vivaldi composed several series of violin concerti, including his La Stravaganza (The Extravagance), Op. 4 (1716) (approx. 94-113’), is an “enormously varied set of concertos, some fiery and propulsive, others notable for their ethereal slow movements or stark nobility.” “The title of La Stravaganza presents more problems now than it would have done in the early 18th century, when both composers and performers could be commended for their stravaganze, their skill at containing the unexpected and bizarre within an established etiquette.” Excellent recordings feature Huggett (Hogwood) in 1987, Standage (Pinnock) in 1991, Podger in 2002, and Biondi in 2017.

Other compositions:

• Samuel Barber, Symphony No. 1 in One Movement, Op. 9 (1936) (approx. 19-21’), is modeled on Sibelius’ Symphony No. 7. “The opening of Samuel Barber’s First Symphony tells us everything we need to know about the piece that lies ahead. It hits us immediately with an almost overwhelming sense of bigness, as if a force of titanic strength has suddenly been released.”
• Joly Braga Santos, Symphonic Variations on a Popular Song from the Alentejo, Op. 18, (1951) (approx. 14-15’)
• Raga Natbhairav (Nat Bhairav), a Hindustani classical early morning raag. It “reflects the mood of slight pathos with heroic exuberance.” Performances are by Jitendra Abhisheki, Veena Sahasrabuddhe and Nikhil Banerjee.

Albums:

• In Tokyo on April 16, 1979, jazz pianist Keith Jarrett, saxophonist/flautist Jan Garbarek, double-bassist Palle Danielsson and drummer Jon Christensen performed an exceptionally vibrant set, now available as “Sleeper” (107’).
• Alexander von Schilppenbach, “Berlin Contemporary Jazz Orchestra” (1990) (50’) “accentuates the breezy rhythm section and keeps the brass well separated. The band blows free and easy and tries its best to keep us out of the compositional rut with some freer gesticulations.”
• Reggie Quinerly, “New York Nowhere” (2020), on the vitality of New York city, and the leader-drummer’s experiences in it; he explains and interviews on the work.
• Johnathan Blake, “Trion” (2017) (113’): “Though Blake is the leader, the album has a strong collective vibe. Composing rights are equally spread, solos are long, and each musician showcases their virtuosity in full.”
• Barry Altschul’s 3Dom Factor, “Long Tall Sunshine” (2021) (46’) is “a record that easily swings between freer moments and straighter swing . . . The tunes all have a loose structure, but are easily broken open by improvisation.”
• Lauren Sevian, “Blueprint” (2008’) (66’) “opens with the band in deep swinging flow before Sevian’s throaty bari twists through a sinewy minor blues, making clear she has bags of energy and lots to say.” (Review is on page 60.)
• Trio Casals, “Moto Quarto” (2019) (60’): “. . . zestfully interpreting nine new American compositions – virtually all of them either tailor-made or arranged for the ensemble.”
• Dave Stryker Trio, “Prime” (2023) (58’): “. . . Stryker shows that, at age 65, he is as sharp and nimble- fingered as ever, skipping handily through the lightning-swift changes and setting the stage for vigorous statements by Gold and Hunter.”

Music: songs and other short pieces

• Van Halen, "Jump" (lyrics)
• Kenny Loggins, "Footloose" (lyrics)
• Bruce Springsteen, "Born to Run" (lyrics)

Visual Arts

• Marc Chagall, The Circus (1964)
• Georgia O'Keeffe, Oriental Poppies II
• Wassily Kandinsky, Colourful Ensemble, (1938)
• Francis Picabia, Autumn Effect (1905)

Film and Stage

• Much Ado About Nothing (Branagh): a lively rendition of Shakespeare’s romantic comedy, of which the Bard surely would approve, heartily