David Daniels on one’s “other voice” (1998)

For writers and translators struggling to find the right mode of expression, the example of the singer David Daniels holds penetrating promise:

Upset that he couldn’t control the higher tenor-range tones — “I couldn’t sing in the top part of my voice,” he says, “everything would flip and crack, flip up into the falsetto” — he sought the help of a therapist who’d worked with singers with stage anxieties.

“I told her about my other voice,” said the affable Daniels, 31, chatting at the Opera House recently, “how it felt so natural, how I could do anything I wanted to do with it: sing high and low, soft and loud, and never worry about making an ugly, horrible sound. She didn’t understand what I meant by ‘other voice,’ as if it were separate from me, (when) it’s not, it’s part of me, who I am.”

Daniels decided to “make the switch” to countertenor after consulting with his teacher, George Shirley, who wasn’t entirely surprised: Earlier, Daniels had brought him a tape of himself singing a Verdi aria but told him it was a female friend. Shirley loved the sound and after a few minutes realized who it was.

“Everything about me changed,” says Daniels, who grew up in a musical family in South Carolina and sang professionally as a boy soprano. “I had a complete air of confidence and security.” Switching to countertenor, he says, freed him to do “everything I felt dramatically, musically, technically and emotionally that I couldn’t get out as a tenor. I can let myself concentrate on things that are really important — portraying a character and communicating emotion to an audience.”

Jesse Hamlin, “Countertenor of His Times: David Daniels puts muscle into high-voiced roles” San Francisco Chronicle, Sunday, May 31, 1998, p. PK-35. On line at http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/1998/05/31/PK54634.DTL&ao=all (accessed 20120520).

There are some NPR interviews posted of Daniels discussing this, for instance https://www.npr.org/templates/dmg/dmg.php?prgCode=ATC&showDate=22-Nov-2002&segNum=15&NPRMediaPref=RM

Keith Whalen records scales and patterns from the Slonimsky Thesaurus

The Twentieth Century saw many astonishing developments in music. To me, one of the most brilliant is the contact that took place between European serialism and African-American jazz. The linchpin of the contact was the book by Nicolas Slonimsky (1894–1995), A Thesaurus of Scales and Melodic Patterns (1947), which introduced large numbers of scales and other patterns built of intervals in non-traditional combinations. Slonimsky described the beginnings of his project in his memoir, Perfect Pitch:

Parallel to my exploration of musical exotica, an idea began to form in my restless mind whether an entirely new taxonomy of scales and melodic patterns could not be formed outside major and minor modalities. … I viewed the entire evolution of musical composition before the present as a constricting course limited to the arbitrary compass of seven diatonic degrees, with occasional chromatics growing inside and outside a given mode. The antiphonal strength of modulatory processes and fugal imitation had its source in the unequal division of the octave into two parts, from the tonic to the dominant and from the dominant to the tonic, leading to non-symmetric procedures. Oxford University Press, 1988, Chapter 16, “Interpolation: Grossmutterakkord”, p. 172

Keith Whalen, a Montréal guitarist, has recorded a number of the scales that are suited to the guitar, as part of his wider study of scales and tonalities. It is useful to have this material in recorded form, and I am very grateful to Whalen. Here are a couple of examples:

There are other recordings of related material around, too, but Whalen’s is fairly extensive.

The Thesaurus is apparently the property of the Macmillan Publishing Company and is currently available in a paperback edition from Amsco Publications, a New York company that issues school materials and some sheet music.

Hamish Milne on transcriptions of Bach (2005)

The pianist Hamish Milne writes:

Perhaps, in our information-besotted age, we know too much. It is universally accepted that knowledge of itself brings neither wisdom nor understanding. Rules quickly beget formulas — ‘traditions’ likewise — and nothing spells more certain death to a truly living, recreative performance. Artur Schnabel once said: ‘All the information is in the score.’ This, rather than any fearful sense of propriety, was certainly what governed the approach of the composers of these transcriptions. If we too can put aside contentious opinions about style and substance, medium and message, we can enjoy a privileged glimpse not only of the indestructible majesty of J. S. Bach’s music but equally of the personal responses of these fine musicians who fell under its spell and succumbed to the temptation to express it in their own voice.

“Russian Bach Piano Transcriptions.” Notes to Hyperion CDA67506, “Bach Piano Transcriptions — 5 — Goedicke, Kabalevsky, Catoire, Siloti”. London: Hyperion Records Ltd., 2005.

Efrem Podgaits’s New York Mass (2001)

I heard Efrem Podgaits’s “New York Mass” for the first time tonight at Riverside Church, performed by Russian Chamber Chorus of New York and the Riverside Choir under Nikolai Kachanov. In several of the six movements I found the melodies hard to relate to the Latin text, but the Sanctus and especially the Agnus Dei were utterly majestic. It was a memorable conception and performance, and I hope this substantial piece gets more and wider hearings. It is a little disturbing to see the wealth of music Podgaits has composed (his biography is currently at http://podgaits.info/spisoksochineny_.htm on his own site) and then realize that the English-language Wikipedia subsite has no entry for him at all; the Russian-language subsite also seems to lack one.

Kachanov and his Chorus have been performing Russian choral music, secular and sacred and of all periods, for over a quarter century. Recently he has concentrated on music of the past century, little of which is heard in performance by other groups in New York. I have never been disappointed at their concerts; the calendar is maintained at http://rccny.org/ConcertSchedule.html.

Perception of time and suspension of finality (studying math)

What experiences well known to me involve an altered perception of time?

One of them is improving a piece of my own prose. After laboring to bring ideas into being as words and then to cantilever those words themselves until everything balances like a Calder mobile, I may raise my head – feeling that a very long time has passed – to find that not even an hour has gone by on the clock. There follows the relief of realizing that less time has elapsed in the material world than in my experience of it — relief since so often it is the other way around, and when it is the other way around I feel a little cheated and frustrated.

Another case is the enlivening of words by music. Sometimes the result is what known as “opera time”, in which the events of a musical drama are out of step with the tempo of the same events in real life. I mentioned this effect in passing in recent posts about Donna Elvira and the cantus firmus in some of the Bach choruses. Because altered perception of narrative time is related to the visceral appreciation of music, I think of this effect as having something in common with kinesthesia, the subjective sensation of body movement and position, an idea and feeling of keen interest to me in my daily life and study habits. Of course, not all music produces this effect to the same extent and I know different listeners react differently, too.


Since taking the first steps toward making my peace with mathematics almost two years ago, I have struggled with a third form of altered time-perception: a special feeling that comes about in trying to read and understand a mathematical idea, to fully follow or compose a proof, to formulate and solve a problem. There has been nothing in my life up to now as a humanist — linguistic fieldworker and student of the Chinese script and medieval prosody — that has prepared me for this experience. Part of the sensation is that my mind is being forced into a lower gear-ratio: suddenly, my engine has to make many more revolutions to get the wheels to turn just once.

The low-gear feeling reminds me of a half-hour spent some years ago in a tiny café in Longyan 龍巖, a small Chinese city where a market for coffee developed around 2004. In order to serve my companion and me two cups of coffee, perhaps 8 ounces in all, the café owner ground beans in a hand-operated burr mill for ten minutes, cranking rapidly the whole time. Long before he was done I felt embarrassed at the exertion he had taken on himself to make a good impression on me. He had few customers but I was the first foreigner his shop had ever had, so it was a matter of some moment for him. He had paid a lot of money to have an expert come up from Xiamen 廈門 to teach him how to make and serve coffee the “right way”, exactly the right way. His coffee was thin — but after all it was pretty good, better than you would get today in one of the big-name coffee chains here in New York.

In studying Classical Chinese, or reading collections of philological notes on an ancient dictionary manuscript, or collating piles of handwritten dialect data, you learn not to crave instantaneous satisfaction and even to distrust any result arrived at quickly. But by comparison with mathematics, all of those feel like short-term activities whose conceptual finiteness is easy to demonstrate. The reason for the difference must be that the kind of thinking we do in solving humanistic problems does not require such continual recasting of hypothesis and mindset, or for most of us (I hope I am not shocking anyone) as much rigor, either.

Unlike the other two examples I have cited — polishing my own writing, listening to thoughtfully constructed vocal music — the bending of time by mathematics is unpleasant, except in retrospect after I have succeeded in reaching a solution of some sort. I hope more practice will bring me more facility — that is a prescription that certainly works in studying Chinese, and it is what divides the good students from the mediochre ones. Sometimes mediochre students are vastly more brilliant than good ones, but Chinese requires more than brilliance for its mastery; it also requires the investment of time in what may appear to be drudgery. It requires, in short, commitment to some partial vision of the future along with a willingness to ignore the clock. As for math, impatience is certainly my chief obstacle, and impatience is one of what Epictetus calls “things that are up to us”. I have tried techniques to increase my stamina and concentration, and to recover more quickly from periodic cognitive exhaustion. And to suppress the arrogant expectation that I can cut through the difficulties quickly. Nothing I have tried helps in a way that I could call striking — I mean that nothing lives up to my arrogant expectation that I can continue to indulge in arrogant expectation — and most of it does not help at all, except to distract me and waste enough time to make me feel a little cheated and frustrated again.

In the end, I think what will really matter is my own willingness to suspend impatience and all expectation of achieving finality, to refuse to feel them. I do not find it hard to attain this suspension on some occasions — when I listen to Beethoven’s late music — but in doing math you are not listening; it is as though you are actually composing the music, yourself.

Suddenly perceiving the cantus firmus in a Bach chorus

In the choruses that open many of the Bach cantatas, the basic orchestral and choral setting is Baroque and flowery, but sometimes the whole movement has been built around a cantus firmus or ‘fixed song’, a simple melody that would have been old in Bach’s time — occasionally reaching back to the epoch of plainsong. Many such cantus firmi appear in cantata’s concluding chorales, but I find their setting within opening choruses more striking.

Hearing the ancient melody emerge from within the larger setting, if I am paying attention to the words and music, has the power to overwhelm me because it forces me to recalibrate my mind away from the tempo and organization of the rest of the setting. An ancient text of a few lines, sung in an ancient melody in long notes, seems to seize control of the rest of the choir and orchestra. It is like suddenly hearing a stern voice from the past in the midst of more frivolous chatter around you.

Striking examples include works at the edge of popular classical music, such as BWV 140 ‘Wachet auf, ruft uns die Stimme’, as well as the German Magnificat (BWV 10 ‘Meine Seel erhebt den Herren’), BWV 78 ‘Jesu, der du meine Seele’, BWV 26 ‘Ach wie flüchtig, ach wie nichtig’, and the somber BWV 4 ‘Christ lag in Todes Banden’.

Albert Schweitzer left a fine essay (posted in a century-old translation on Aryeh Oron’s magnificent Bach site, bach-cantatas.com)

After Bach, the bonds between the chorale and the sacred song are completely broken. The melodies that Emmanuel Bach, Johann Joachim Quantz, Johann Adam Hiller and Beethoven wrote, in artistic rivalry, to Gellert’s poems only show what a distance separated them all from the chorale.

In the epoch of Rationalism, it is true, the melodies were not diluted to the same extent as the text; but there was still a hard struggle until the old melodies were again rehabilitated everywhere, and were no longer jostled in the chorale books by the characterless tunes of the later epoch. Now that this has been achieved, the dispute today is as to whether we shall retain the old chorales with the uniform note-values in which we have received them from the eighteenth century, or whether we should restore to them their original rhythmic variety. A definite decision, indeed, is hardly possible. Each “pro” that can be adduced from historical, artistic, or practical considerations is at once opposed by a “contra” of equal force in its way. Bach is concerned in this controversy to the extent that those who advocate the uniform polished form of chorales can plead that, although the opposite tradition had a powerful following all round him, he felt no artistic compulsion to revert to the old rhythmic form of the chorale, and so there is no cogent objection, from the purely musical point of view, against the chorale as we have received it from his hands. Against the enthusiasts for the rhythmic melodies the old master can plead as St. Paul once did against the Corinthians who knew all things much better, that he too thinks he is possessed by the spirit.

Neither flüchtig nor nichtig, in this case.

Two of Elvira’s arias from Don Giovanni

Ah, fuggi il traditor!
Oh, flee the traitor,
Non lo lasciar più dir!
and let him say no more!
Il labbro è mentitor,
His lips are liars;
fallace il ciglio.
his eyes tell falsehoods.

Da’ miei tormenti impara
From my sufferings be warned
A creder a quel cor,
about putting your trust in that heart.
E nasca il tuo timor
And may fear be born in you
Dal mio periglio.
from my peril.


Mi tradì quell’alma ingrata,
He has betrayed me, that ungrateful soul —
Infelice, o Dio!, mi fa.
how unhappy — O God — has he made me!
Ma tradita e abbandonata,
But, betrayed and abandoned though I am,
Provo ancor per lui pietà.
I still know pity for him.

Quando sento il mio tormento,
When I am aware of my suffering,
Di vendetta il cor favella;
of vengeance my heart speaks;
Ma, se guardo il suo cimento,
But when I see the predicament he is in,
Palpitando il cor mi va.
throbbing goes my heart.


Poor Elvira! But I would feel much less sorrow, and therefore less bittersweet pleasure, if she did not prolong and repeat her lines. In the end it is always heartbreaking to hear her final “…ancor per lui pietà,” even though I know it is coming. But the words look foolish, even embarrassing, when I see them flat on the page, and I do not need to see them acted at all. Only the music gives them life and time of their own.