I've had real trouble of late with the third finger of my left hand - the one that goes on the "s" on the keyboard. I suspect that the problem is just a pinched nerve somewhere but I left my physician's certificate somewhere so my diagnosis is worth no grain of salt.
A life long friend from LA messaged me the other day about musicology (that's music history to those who want to bail out now before boredom creeps in). Garby (my friend), has been one for half a century and was/is a superb pianist and musician among his many talents. When we were in high school or so, he was taking piano lessons in Detroit and his teacher had him working on a piece by Ravel for "left hand". Seems a pianist lost his right arm and long story short, went to various composers and effected musical works for his now altered physical condition. I remember Garby telling me that the purpose was to strengthen his left hand technique - the very hand that is now failing me. The piece has always been one of my favs so I put it down at the end of this entry....and since my left hand barely works right now, I'll live vicariously through someone else's abilities.
Schumann, the romantic era composer/pianist had what I have and tried, as the legend goes, some weird-ass operation to make things work better. He may have had better luck with a sorcerer. That was the most famous "hand" in music history and honest to God, some musicologist I know actually wrote a paper on the physiology of the operation and why it wouldn't work. I certainly should mention that musicologists are extremely strange.
In a moment of trivia, one of my public graduate lectures dealt with the cataract operations performed on the composers Bach and Handel (Bach of Schroeder/Peanuts fame and Handel with the Messiah oratorio to put them into perspective). They died several years apart in their late 60s and each developed a cataract that greatly hindered vision. If you can't see, it is hard to composed. Obviously. Long story short, Bach had his cataract removed in about 1748 by a method called "couching" where little more than a sharp stick was inserted in the eye and it pushed the offending cataract lens back and out of the way. Ouch. Handel, a few years later, had the new cataract removal treatment that we used up until perhaps 30 years ago. Had enough? Give up yet? Uncle???
There is an affinity between physical health and ailments and musicians. We are generally a healthy lot due to long hours of isolation in a practice room and the warning that goes along with our presence; like a sign that says "don't go near or feed weird artists". Mostly, it is that something as simple as a pinched nerve ends a career lickity-split. Boom. Something accidental is one thing. Body parts failing is another.
I don't make my living by pounding a piano keyboard; more the laptop variety and after years of doing this, I am feeling like our Mr. Schumann or the one armed pianist. I'm sure I'll get past this but for right now it is a royal (for those or us who remember typewriters) pain and actually a little scary as in what if this is what it is. Will it drive me crazy like it did (partly perhaps) Schumann?
What it does do, short term, is hinder little responses to messages like Garby sent me the other day. Sorry.
With my few remaining key strokes possible tonight, here is that wondrous piece by Ravel for "left hand"; the one Garby learned half a century ago and the one that of course was always out of my reach and tonight, bordering on fantasy. (by the way, this is Wittgenstein, the pianist obviously with one arm)
A life long friend from LA messaged me the other day about musicology (that's music history to those who want to bail out now before boredom creeps in). Garby (my friend), has been one for half a century and was/is a superb pianist and musician among his many talents. When we were in high school or so, he was taking piano lessons in Detroit and his teacher had him working on a piece by Ravel for "left hand". Seems a pianist lost his right arm and long story short, went to various composers and effected musical works for his now altered physical condition. I remember Garby telling me that the purpose was to strengthen his left hand technique - the very hand that is now failing me. The piece has always been one of my favs so I put it down at the end of this entry....and since my left hand barely works right now, I'll live vicariously through someone else's abilities.
Schumann, the romantic era composer/pianist had what I have and tried, as the legend goes, some weird-ass operation to make things work better. He may have had better luck with a sorcerer. That was the most famous "hand" in music history and honest to God, some musicologist I know actually wrote a paper on the physiology of the operation and why it wouldn't work. I certainly should mention that musicologists are extremely strange.
In a moment of trivia, one of my public graduate lectures dealt with the cataract operations performed on the composers Bach and Handel (Bach of Schroeder/Peanuts fame and Handel with the Messiah oratorio to put them into perspective). They died several years apart in their late 60s and each developed a cataract that greatly hindered vision. If you can't see, it is hard to composed. Obviously. Long story short, Bach had his cataract removed in about 1748 by a method called "couching" where little more than a sharp stick was inserted in the eye and it pushed the offending cataract lens back and out of the way. Ouch. Handel, a few years later, had the new cataract removal treatment that we used up until perhaps 30 years ago. Had enough? Give up yet? Uncle???
There is an affinity between physical health and ailments and musicians. We are generally a healthy lot due to long hours of isolation in a practice room and the warning that goes along with our presence; like a sign that says "don't go near or feed weird artists". Mostly, it is that something as simple as a pinched nerve ends a career lickity-split. Boom. Something accidental is one thing. Body parts failing is another.
I don't make my living by pounding a piano keyboard; more the laptop variety and after years of doing this, I am feeling like our Mr. Schumann or the one armed pianist. I'm sure I'll get past this but for right now it is a royal (for those or us who remember typewriters) pain and actually a little scary as in what if this is what it is. Will it drive me crazy like it did (partly perhaps) Schumann?
What it does do, short term, is hinder little responses to messages like Garby sent me the other day. Sorry.
With my few remaining key strokes possible tonight, here is that wondrous piece by Ravel for "left hand"; the one Garby learned half a century ago and the one that of course was always out of my reach and tonight, bordering on fantasy. (by the way, this is Wittgenstein, the pianist obviously with one arm)
Hi Harold - thanks for your kind remarks .. the Ravel is a great piece, powerful and emotional, very Spanish actually (Ravel's mother, a Basque, grew up in Madrid) and it's so cleverly conceived for the left hand that trying to play it with two hands just becomes clumsy & gets in the way.
ReplyDeleteI learned the piece when I was 17 but never performed it with an orchestra - still, it was amazing to practice because the one-movement structure is bookended by two gigantic cadenzas (solo of course), that contain the biggest moments in the piece for the pianist. The last cadenza in particular is a tour de force, pages long that lifts the music to a phenomenal climax, drawing the orchestra back in only for the final bars in one of the greatest moments that Ravel's music achieved - then hitting the jazzy 6/8 tempo in the final bar to end the piece with a kick. Whew!
Detroit symphony flautist and composer Albert Tipton - whose wife Mary Norris was my piano teacher in Detroit as you mentioned, the two a glamorous duo who had met when they were students at the elite Curtis institute - remarked that he thought Ravel had been deeply moved by the plight of the one-armed pianist Paul Wittgenstein, which makes sense, though I'd add that perhaps he was further moved by the enormous tragedy of the Great War itself, as WWI was called then.
The first cadenza which resembles a giant sarabande (a very slow Spanish dance) also has the character of a procession. Surely one of Ravel's greatest masterpieces, and also one of his last - his composing slowed down in the 30's to a crawl as the cumulative effects of a head injury took him further and further from being able to communicate with the outside world, though his mind remained clear until his death in 1937, a strange and tragic fate for the visionary French genius.
The Ravel Concerto pour le Main Gauche isn't played often, but it ranks with the greatest piano concerti of the 20th century, a short list that includes the Rachmaninoff 3rd, Prokofiev 2nd and 3rd, Rhapsody in Blue and the Gershwin Concerto in F. Ironically all these composers knew each other and gathered for the premieres of the Gershwin works in New York and later in Paris in the 1920's.
It was quite a time.
PS - Good luck with your finger - hand injuries can be very serious & this deserves attention - acupuncture, even chiropractic shouldn't be ruled out, as keeping skeletal mobility is the Great War of our fast-approaching seniority - as I write, my cane is nearby to help walk during an excruciating few days of sciatica after I too-enthusiastically hefted our Christmas tree last Sunday. The tree looks beautiful though, and my kid, my wife and the cats are all very happy it's here - cheers gfl
Hi Garby,
ReplyDeleteRest always seems to help and have my fingers for a bit anyway.
Interesting about your observation about WWI. http://opusonemedia.blogspot.com/2011/11/111111111111.html
I always thought the piece kinda jazzy the the Concerto in G, figuring he must have had coffee with Gershwin at one point, and both coming after his time in Paris.
Anyway, thanks for writing. Cold,wet morning here...nothing more grey than 35 and rain/mist. Be well.
Looking forward as ever to your communications.