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January 05, 2025
The Gaggle Music Club

This week's selection for The Gaggle Music Club is Béla Bartók’s Concerto for Orchestra. Composed in 1943, during Bartók’s years of exile in the United States, the piece was commissioned by conductor of the Boston Symphony Orchestra, Serge Koussevitzky, to celebrate the 25th anniversary of the orchestra.

Bartók had emigrated to the United States in 1940. He struggled with poor health, including an undiagnosed case of leukemia. He also had to endure considerable financial difficulties as his music had limited appeal in the United States. Thanks to the generous fee Bartók received, he was able to return to composing.

Bartók called it a "concerto" rather than a symphony because the work spotlighted various instruments or groups of instruments within the orchestra, treating them almost as if the players playing them were soloists.

The Concerto for Orchestra consists of five movements, each contributing a unique character and showcasing Bartók’s mastery of orchestral color. The piece incidentally includes a parody of Shostakovich’s Leningrad Symphony, juxtaposed with Hungarian folk idioms. The finale is a tour de force of rhythmic energy and thematic development. Folk-dance elements dominate and culminate in a jubilant ending.

In the work, Bartók applies complex contrapuntal techniques and modernist tonal language to folk music. Bartók’s lifelong interest in ethnomusicology permeates the work. He incorporates folk-inspired melodies and rhythms into the work’s themes. Throughout Bartók demonstrates a profound mastery of Western contrapuntal techniques, such as fugue and canon.

The Concerto for Orchestra premiered on Dec. 1, 1944, with the Boston Symphony Orchestra performing and Koussevitzky conducting. The work was well received and helped to revive Bartók’s reputation. It has become one of his most performed compositions, and is celebrated as a masterpiece of the modernist repertoire, appealing both to audiences and to musicians on account of its innovative structure and vivid orchestration.

The orchestration is indeed remarkable and dazzling, allowing every section to shine; the result is a rich tapestry of colors and textures. Combining humor, pathos and technical virtuosity, the work demonstrates extraordinary ingenuity and depth. It reflects Bartók's personal and professional resilience and offers a message of hope and renewal through the energy and inspiration of the music.

In this live recording from 1992 at the Alte Oper Frankfurt, Seiji Ozawa conducts the Boston Symphony Orchestra.

00:38:19
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Monday Night At The Movies: "Salvador" (1986)

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The Putin-Clinton Conversations

Vladimir Putin and Bill Clinton discussed removing Slobodan Milošević from power 20 years ago. This is a sad read. Putin did as little to help Milošević (the man who withstood 11 weeks of NATO bombing) as he did 14 years later Viktor Yanukovych.

https://amp.meduza.io/en/feature/2020/10/08/the-regime-changers

11 hours ago
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19 hours ago

Joe Kent still has integrity
Joe Kent
@joekent16jan19
After much reflection, I have decided to resign from my position as Director of the National Counterterrorism Center, effective today.

I cannot in good conscience support the ongoing war in Iran. Iran posed no imminent threat to our nation, and it is clear that we started this war due to pressure from Israel and its powerful American lobby.

It has been an honor serving under @POTUS
and @DNIGabbard
and leading the professionals at NCTC.

May God bless America.

January 21, 2023
More Leftie Than Thou
"Jacobin" Magazine Celebrates A Strike Against Ol' Blue Eyes

Here at "The Gaggle" we have very little time for the "more Leftie than thou" school of thought--that's the approach to life according to which the only thing that matters is whether you take the right position on every issue under the sun from Abortion to Zelensky. No one in the world meets the exacting standards of this school of thought; any Leftie leader anywhere is always selling out to the bankers and the capitalists. The perfect exemplar of this is the unreadable Jacobin magazine. 

The other day I came across this article from 2021. It's a celebration of trade union power. And not simply trade union power, but the use of trade union power to secure political goals. Of course (and this is always the case with the "more Leftie than thou" crowd), this glorious, never-to-be-forgotten moment on the history of organized labor took place many years ago--in the summer of 1974 to be exact. Yes, almost half a century has gone by since that thrilling moment when the working-class movement of Australia mobilized and prepared to seize the means of production, distribution and exchange. 

Well, not quite. Organized labor went into action against...Ol' Blue Eyes, the Chairman of the Board, the Voice; yes, Frank Sinatra. Why? What had Sinatra done? Sinatra was certainly very rich, and he owned a variety of properties and businesses. But if the Australian trade union movement were, understandably, searching for the bright, incandescent spark that would finally awaken the working class from its slumber there were surely richer, greedier, more dishonest, more decadent, above all more Australian individuals it could have discovered. Australia was never short of them. Rupert Murdoch immediately springs to mind. Why Sinatra?

 

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