What does water sound like?

“Water” is a big word with many meanings. It encompasses everything from a single molecule to vast oceans. We quench our thirst with it, clean ourselves with it (physically and spiritually), cry it when we are overjoyed or sad. If we have too little water, we die of thirst; too much, we drown. Civilization sprung up around sources of water, and was (still is?) the primary method of travel and trade. I could go on and on …

It’s no wonder that composers have put their sweat (water again) into creating music that somehow captures water. Rather than blab on and on, I’ll let the music speak for itself.

This post is a longer listen, so be prepared to sit a while, or feel free to go through in multiple sittings, whatever suits you.

La Mer (The Sea) – Claude Debussy: This impressionist work gives you a sense of rolling waves in an dark, infinite ocean through its gentle rhythms, rich orchestral colors, and expansive harmony.

Overture to Das Rheingold – Richard Wagner: The first notes of Wagner’s magnum opus transports the listener from a chair in an opera house to the bottom of Germany’s most famous river, the Rhine. Unlike many other opera overtures, there’s not much to it – just 4 minutes of Eb major, slowly unfolding; a musical equivalent to the slow rising of a curtain in a theater.

A Sea Symphony – Ralph Vaughan Williams: Longest. Symphony. Ever. And also, RVW’s first symphony, written at the same time as Debussy’s La Mer, and as quintessentially English as La Mer is quintessentially French.

Four Sea Interludes from Peter Grimes – Benjamin Britten: For Britten, the sea was always a part of his life, having been born, raised, lived, and died in a seaside town. In his operas, the ocean is practically a character unto itself. The Imperial Royal Navy heard in Vaughan-Williams is no longer present – instead, we get an ominous, expansive agent of life and death.

(Another) Sea Symphony – Howard Hanson: Across the pond, us Yankees have crafted our own Sea Symphony with chorus; but unlike Vaughan-Williams endless composition, this one is much shorter, and musically is closer to Britten.

 Obviously this list is far from complete. Any suggestions? (and no, Handel’s Water Music doesn’t count!)

Last year I wrote a jollier post for Presidents’ Day, likening the political battlefield to a gladiators’ arena. This year, I’m feeling the need for something a little deeper than a Sousa march, though. Aaron Copland‘s Lincoln Portrait should do the trick.

The 1942 work is one of Copland’s Americana compositions, like Appalachian Spring, Billy the Kid, or Rodeo. But unlike those ballets, the Lincoln Portrait is similar to a tone poem, but accompanied by spoken text from Abraham Lincoln’s speeches. And not surprisingly, the combination of Copland’s music and Lincoln’s words are powerful (and with James Earl Jones as the narrator, like in this video, how can you go wrong?)

Fellow citizens, we cannot escape history. We of this congress and this administration will be remembered in spite of ourselves. No personal significance or insignificance can spare one or another of us. The fiery trial through which we pass will light us down in honor or dishonor to the latest generation. We, even we here, hold the power and bear the responsibility. The dogmas of the quiet past are inadequate to the stormy present. The occasion is piled high with difficulty and we must rise with the occasion. As our case is new, so we must think anew and act anew. We must disenthrall ourselves and then we shall save our country. It is the eternal struggle between two principles, right and wrong, throughout the world. It is the same spirit that says ‘you toil and work and earn bread, and I’ll eat it.’ No matter in what shape it comes, whether from the mouth of a king who seeks to bestride the people of his own nation, and live by the fruit of their labor, or from one race of men as an apology for enslaving another race, it is the same tyrannical principle. As I would not be a slave, so I would not be a master. This expresses my idea of democracy. Whatever differs from this, to the extent of the difference, is no democracy. That from these honored dead we take increased devotion to that cause for which they gave the last full measure of devotion. That we here highly resolve that these dead shall not have died in vain. That this nation under God shall have a new birth of freedom and that government of the people, by the people, and for the people shall not perish from the earth.

Of all the musical tasks I’ve had to do, conducting is by far the weirdest. On one hand, the conductor is of supreme importance as the leader of the troops. On the other hand, the conductor makes no sound, and is therefore essentially useless. I’ve worked with ensembles who want every nuance clearly defined by subtle hand gestures coupled with eyebrow lifts, and I’ve worked with ensembles that want a downbeat and nothing more. I’ve messed up conducting pieces I had studied for ages and perfectly conducted pieces that I had never seen before. A great conductor with a bad ensemble will probably make a bad performance because the musicians won’t bother to look at the conductor, while a bad conductor with a great ensemble will probably perform well because the musicians will just ignore the conductor anyway. And yet, even though the performers claim to “never watch the conductor”, when something goes wrong, guess who gets the blame? The Sword of Damocles constantly hangs over the conductor’s head.

So what makes a great conductor? Here are some totally legitimate conducting moves that will up your conducting game. In no particular order:

1. The CLAW. This is legendary conductor James Levine’s signature left-hand move. It was first unveiled in 1990 at the Metropolitan Opera’s production of Wagner‘s Siegfried. Note how at first, you see The Claw slowly taking shape, but at 1:50 it completely takes control of his body – nothing can stop the awesome power of The Claw once you allow it into your conducting.

2. The MINIMALIST. When you’ve been asked to lead the best classical orchestra in the world, why bother doing anything at all? What could you possible do to make the best musicians any better? Even Leonard Bernstein, one of the world’s greatest conductors (and a composer), knew better than to try to mess with perfection. So he stood there, listened, and sort of smiled.

3. The MOMENT OF REALIZATION. This is a move created by Simon Rattle. After giving a handful of very specific cues, begin conducting as the Minimalist (see above), except with a stunned, euphoric face as if God has just revealed the secrets of the universe to you. That’s what happened in the video below – well, either that, or he just realized that he forgot to comb his hair for an entire decade.

Speaking of combing …
4. The HAIR. Some conductors like to use a baton to exaggerate gestures and make it easier for large ensembles to stay together. Some conductors prefer the expressiveness of the empty hand. The best conductors, though, conduct primarily through their hairdo.

https://www.youtube.com/watch?v=22wEhOdfAfA

5. The WHATEVER. If the performers know the music backwards-and-forwards, the conductor doesn’t have to worry about technical things like cues or keeping the group together. If you find yourself in this lucky position, just wiggle your fingers or make little goofy motions to ensure you don’t get fired for being redundant. Here are some expert examples:

6. The SPARKLY SEXY SHINY SHIRT. A tuxedo might be the standard conducting attire, but if you need a boost to your skillset, a Gold Shirt +1 will increase your CHA and your dancing abilities.

7. The COMPLETE IDIOT. If these masterful conducting moves are too difficult for you, don’t give up. Anyone can be a conductor, given the right circumstances.

If you know of any similar videos of masterful conducting, please post them in the comments!