Saturday, February 23, 2008

Lunar Eclipse February 20 2008



Photo by Alin Tolea, Baltimore MD, USA

On Wednesday night, February 20th there was a total lunar eclipse, viewable from ~8PM-midnight in the Eastern US. The moon was full and bright as viewed from Arlington MA, temperatures in the 20s (F), clear and cold. Thin wispy clouds veiled the spectacle for short periods, but for the most part the viewing conditions were superb. As shown in the sequence photos below, the shadow started on the lower left, and proceeded across until only a thin crescent of brightness remained. Although not shown in the photos, an interesting pattern of stars flanked the moon, especially visible near the peak of the eclipse. These stars made a kite-like pattern with the moon. I viewed from my house, but did venture out for periods to see it directly (no intervening window) and feel the night air. I bundled up and sat in an Adirondack chair on the front patio. The colors were truly remarkable, Alin Tolea's photo being quite close to what I experienced in Arlington, Massachusetts. Thanks to Alin, and to Herman Heyn, Baltimore's "Street Corner Astronomer" for sending me the stunning photo. This was the most dramatic celestial event visible to the naked eye that I have seen in a long time.


Photo by Jay Hagenbuch, Arlington, Massachusetts USA (Click to see larger image, this clip doesn't do justice to this gorgeous composite that Jay created).

Photo by Stan Honda, Titusville, Florida USA


Photo by AP, Stedman, North Carolina, USA

Pay a visit to MR ECLIPSE at http://www.mreclipse.com/ for more info on eclipses.
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Saturday, February 9, 2008

BSO at Symphony Hall






A delightful Boston Symphony Orchestra program at Symphony Hall on Saturday night (2/9/2008):

FRANK MARTIN (Swiss, 1890-1974): Petite symphonie concertante, for harp, piano, harpsichord, and double string orchestra (1946)

SERGE PROKOFIEV (Russian, 1891-1953): Violin Concerto No. 1 in D, Opus 19 (1923)

CAMILLE SAINT-SAËNS (French, 1835-1921): Symphony No. 3 in C minor, Opus 78, "Organ Symphony"

Charles Dutoit conductor

Ann Hobson Pilot harp
Randall Hodgkinson piano
Mark Kroll harpsichord

Viviane Hagner violin

James David Christie organ

The Martin piece opening the program was new to me - an exploration of what can be done with strings: plucked by a harpist, struck by a pianist, plucked by a harpsichordist, bowed by a solo violinist (or viola, cello, bass), or pizzacoto. Some familar lush sounds, but also some unusual interplays, rhythmic effects and tone colors. I would have been hard pressed to guess the year this piece was written - clearly modern in tonality, but at the same time more familiar. All created with strings alone - no woodwinds, percussion or horns.

The Prokofiev violin concerto was also unfamiliar to me, although the program notes tell of frequent BSO performances since the BSO gave the US premier in 1925 with soloist Richard Burgin, Serge Koussevitzky conducting. Gypsy-like at times, now the solo violin has its usual support from orchestral strings and woodwinds, brass, percussion and harp. Some passages where the soloist and harpist played together were reminiscent of the previous (Martin) piece.






Photo from Boston Globe (2/92008): Charles Dutoit conducts violinist Viviane Hagner, making her debut with the Boston Symphony Orchestra, in Prokofiev's Violin Concerto No. 1 at Symphony Hall last night. (Michael J. Lutch)

http://www.boston.com/ae/music/articles/2008/02/08/the_symphony_that_gives_a_hall_its_voice_back/

The Saint-Saens Symphony - what a great chance to hear the magnificent Aeolian-Skinner organ, in this unusual two-movement symphony. The organ enters stealthily in the first movement, with some tones so low you feel that you can count the vibrations/second on your fingers. You can certainly feel them come through the air and floor of the hall, even in the far corner of the 2nd balcony. The second movement especially brings some familiar themes. This time the organ has a dramatic entrance with a huge chord. Definately not an organ concerto, rather the organ is presented more like another instrument of the orchestra, although with a huge range of pitch and color.




When I lived near Philadelphia, I remember seeing Charles Dutoit conduct summer concerts at the outdoor "Mann Center" which overlooked the Philly skyline. Some nights were very hot, and he labored in the heat. I always felt he had an exceptionally clear beat, and would be a conductor that musicians would like playing under - clear but poetic and exciting.

Saturday, July 14, 2007

Gerald Finzi - English Composer

As long as I've been listening to classical music, I'm delighted that I can still hear something new (to me) that hits like a breath of fresh air. At 7AM on weekend mornings, Boston's "NPR Arts and Culture" radio station WGBH plays a nature soundtrack. The nature sounds then fade out as a musical selection, usually gentle and blooming fades in. Today the music was a piece by Gerald Finzi, his Romance for Strings, Op. 11, performed by William Boughton and the English String Orchestra. Finzi has been described as a "pastoralist" style composer.

There is so much newness and richness around us. Today, I may have been more receptive because I'm considering myself "on vacation". Oh, summer is sweet.

Brian McCreath is the Producer and Host of the "Classical Weekend". His musical selections for the program are inspired. He hosts the show in a friendly and informative yet unobtrusive style, putting the music first. I often wish I could just sit and listen to the program start to finish - occasionally I do! He also responded personally to my email inquiry about the exact title of this Finzi piece, which I appreciate.


Gerald Finzi, English Composer



Born: 14 July 1901, London (England)
Died: 27 September 1956, Oxford (England)

The works of the English composer Gerald Finzi do not add up to any great number. So why is it that his compositions demand such attention? The main reason is the sheer quality of the music. His settings of Hardy and Shakespeare have never yet been equalled in their tunefulness, colour and skill of word-setting. His anthems guide the listener along an epic spiritual journey, for example, the moving ‘Lo the Full, Final Sacrifice’ which shows Finzi at his most intensely, profound, leading to surely the most beautiful ‘Amen’ coda in all music. His instrumental compositions are lyrical and at times have a distinctly English melancholy, as seen in his vast Cello Concerto (the last work he wrote) which takes the listener through the whole gamut of emotions which a composer, with his life literally hanging in the balance (from leukaemia), experienced. He was deeply influenced by the composers and other artists working around him, notable examples including Ralph Vaughan Williams, Herbert Howells, Edmund Blunden, Gustav Holst, and his wife, the artist Joy Finzi (nee Black). Other than music, he was also an experienced apple farmer, and saved many English apples from obscurity in his orchard at Ashmansworth, Hampshire. An extremely well-read man, his knowledge of English literature was perhaps one of the deepest at the time, as seen by his extensive library now housed at Reading University. Perhaps it was through this living ‘in’ the poetry of his homeland that his music naturally pervades each text, breathing life into it and sounding completely at one with the words. As an introduction to Finzi’s skill as a songwriter look no further than his masterpiece of the Shakespeare setting, ‘Let us Garlands Bring.' Gerald Finzi may have left us few works, but they are have such polish and complete mastery, that one wonders why they are not more popular.

Above paragraph from: http://www.classical-composers.org/comp/finzi

Of course, see also: http://en.wikipedia.org/wiki/Gerald_Finzi

Sunday, May 20, 2007

Beringer Winetasting at Prudential Observatory, Boston Back Bay



Wow what luck I had this past Friday evening.

I poked around online to see what was going on, and I came across a notice for a Meals on Wheels benefit winetasting at the top of the Prudential tower in Boston's Back Bay, hosted by Beringer at 6:30. Requested donation, $5.

This just sounded too good to be true but I thought I'd go over. I fully expected to either not get in or find out that some deep pocket $$ commitment was required, or ???. The Meals on Wheels people couldn't have been nicer. I paid my $5 for entry. Despite the rainy cloudy conditions the view was stunning, looking over the Esplanade, bridges, Cambridge at twilight. There was cheese and crackers and an "intro" glass of Sauvignon Blanc. Delicious.

I arrived a bit late and most folks were seated at round tables covered with white tablecloths, with five wineglasses at each setting. Doug Frost hosted the tasting, taking us through the B Chardonnay and Private Reserve Chardonnay, the Pinot, and the Knights Valley and Private Reserve Cabernet. Doug was lively, funny and knowledgeable. He is a real wine professional, one distinction being that he is one of three poeple in the world to be both a Master Sommolier and Master of Wine. http://www.dougfrost.com/
Doug showed slides of the CA Napa Valley Wine Country, the history of Beringer, the famous Beringer Rhein House.


I enjoyed all the wines. The chardonnays reminded me how much I've liked both of these bottlings from Beringer over the years. The reserve was full of so much flavor, unusually multi-dimensional for a white wine. The Pinot was made in a lighter style but elegant and balanced. The cabs showed that you can get a tasty structured cab with balanced fruit for less than $20 (Knights Valley), and also why the Beringer Private Reserve Cabernet at $100+ is such a popular collectible.

The setting was really beautiful. While sipping the wines and listening to the presentation, I was drawn to the view out the window.

The tasting was about half full. A young couple sitting next to me were visiting the area from Texas. They chanced on the winetasting when they were going to the Prudential Skywalk Observatory. After the tasting I pulled them over to the window and pointed out some local landmarks. After the semi-formal part of the tasting we were offered another glass of wine along with cheese crackers and more of the great views. I stopped at the Meals on Wheels table on the way out, thanked them profusely and made an additional donation to their worthy cause. I had rushed out and forgotten my camera, so I borrow this image from someone in the www community (thanks):

Wednesday, April 25, 2007

Baltimore's Street Corner Astronomer

I met Herman M. Heyn, Baltimore's "Street Corner Astronomer" on April 3 2007 at Harborplace. Appropriately, that is the USS "Constellation" behind him.

I was traveling on business and had stopped to stroll around Harborplace for old time's sake (having lived in Bawlmer in the early 80's). Herman invited me, and all other passersby to view Saturn through his excellent telescope. The first time I saw Saturn's rings and its largest moon Titan through a telescope, in Santa Barbara CA in 1988 I was thrilled. Seeing it again, was thrilling again. What a stunning (and perplexing) observation those rings must have been to early astronomers - Galileo in 1610, who thought that Saturn might consist of three closely clustered spheres like "ears", and then Christiaan Huygens who in 1655 saw a ring, using a much improved telescope. In 1675, Giovanni Domenico Cassini realized that Saturn's ring was actually composed of multiple smaller rings with gaps between them; the largest of these gaps was later named the Cassini Division. There's a reason I like the nice toys.

Herman shared with me by email the photo he took below of the "northern lights". He took the photo at ~2AM on November 5 2001 on a farm ~20 miles north of Baltimore. (Photo specs.: 50mm lens, f/1.7, Kodak Gold 200, ~15-sec.exposure). Wow. "What IS" is more varied, vast and beautiful than we can possibly imagine. What we can do is open our senses (eyes, ears, nose, taste, touch, mind), be still and feel our connectedness to it all.

Thank you Herman, for your generous spirit, curiosity and fascination for What Is.

"In celebration of the 17th anniversary of the launch and deployment of NASA's Hubble Space Telescope, this, one of the largest panoramic images ever taken with Hubble's cameras, is being released. It is a 50-light-year-wide view of the central region of the Carina Nebula where a maelstrom of star birth - and death - is taking place. "

http://www.nasa.gov/multimedia/imagegallery/image_feature_810.html

Image credit: NASA, ESA, N. Smith (University of California, Berkeley), and The Hubble Heritage Team (STScI/AURA)

Thank you Nathan, UC, Hubble Heritage Team, NASA, American Taxpayers, and all other who made this image possible and have contributed to our understanding of it. Here is Nathan's bio and a bit more about the Nebula:

http://heritage.stsci.edu/2007/16/bio/bio_primary.html



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Tuesday, April 10, 2007

Spring Flowers in Arlington


I thought I had better get this up on the blog before the snow predicted later this week.


Snowdrops in my front yard, as they appeared on March 23, 2007, 8AM.


Crocuses, in great abundance, on April 7, 2007


Red maple flowers, in garden between Robbins Library and Arlington Town Hall, on April 7, 2007.


View of more of red maple tree, Arlington Town Hall tower in back.

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Friday, March 30, 2007

James Carroll's Op-Ed on America in the World

I am reluctant to repost copyrighted material but the following Op-Ed essay by James Carroll is too good to let pass. I saw it in the Boston Globe.

Americans Face a Moral Reckoning
By James Carroll March 26, 2007

YOU HAVE been reading "The Sorrow of War" by Bao Ninh, the classic account of what in Vietnam is called the American war. The title of Bao Ninh's novel captures the feeling of grief and loss that always comes in the wake of violent conflict. Allowing room for fear, grief, and loss must define the dominant experience in Iraq today, where the suffering caused by this American war mounts inexorably.

But sorrow has also emerged as a note of life in the Unites States lately. Many comparisons are drawn between this nation's misadventures in Iraq and Vietnam, but what you are most aware of is the return of a clenched feeling in your chest, a knot of distressed sadness that is tied to your country's reiteration of the tragic error. After the chaotic end of the Vietnam War in 1975, you were like many Americans in thinking with relief that the nation would never know -- or cause -- such sorrow again.

The sorrow is back. Everywhere you go, friends greet one another with a choked acknowledgment of a nearly unspeakable frustration at what unfolds in Iraq. This seems true whether people oppose the war absolutely, or only on pragmatic terms; whether they want US troops out at once, or over time. Even about those distinctions, little remains to be said. Bush's contemptuous carelessness, his inner circle's corrupt enabling, the Pentagon's dependable launching of folly after folly, the Democrats' ineffectual kibitzing, even your heartfelt concern for the troops -- these subjects have exhausted themselves. The "surge" of the January escalation was preceded by the surge of public anguish that resulted in Republican losses in November. That election was a stirring rejection of the administration's purposes in Iraq, a rejection promptly seconded by the Iraq Study Group. But so what? Bush's purposes hold steady, and their poison tide now laps at Iran.

Why should you not be demoralized and depressed? But the sorrow of war goes deeper than the mistaken policies of a stubborn president. Next to Bao Ninh's book on your shelf stands "The Sorrows of Empire" by Chalmers Johnson. That title suggests how far into the bone of your nation the pins of this problem are sunk. In effect, the disastrous American war in Iraq is the text, while America's militarized way of being in the world is the context. Armed power at the service of US economic sway has made a putative enemy of a vast population around the globe, and that enemy's vanguard are the terrorists. Violent opposition to the American agenda increases with each surge from Washington, whatever its character. Both text and context reveal that every dream of empire brings sorrow, obviously so to the victims of imperial violence, but also to the imperial dreamers, whether or not they consciously associate with what is being done in their name.

But the word sorrow implies more than grief and loss. The palpable sadness of a people reluctantly at war can push toward a fuller moral reckoning with the condition of a nation that has made its own economic supremacy an absolute value. To take on the question of an economy advanced with little regard for its sustainability, much less for its justice, implies a move away from the focus on Bush's venality to a broader responsibility. How do the sorrows of war and empire implicate you?

The simplest truth is that the economic system that so benefits you is steadily eroding democracy by transferring the power to shape the future, both within states and among them, to ever smaller elites. At the same time, wealth multiplies and concentrates itself, while impoverishing more and more human beings. Everything from US oil consumption, to global trade structures, to the iron law of cheap labor, to immigration policies, to the psychology of the gated community, to the gated idea of national sovereignty, to the distractions of celebrity culture -- all of this supports what is called the American way of life. Yours. If finally seen to be the source of multiple sorrows at home and abroad, can this way of life prompt a deeper confrontation with its true costs and consequences? You need not reduce social ills to personal morality -- or let Bush off the hook for his wholly owned war -- to acknowledge the complicity attached to mere citizenship in a war-making, imperial nation. In that case, can you measure your sorrow against the word's other meaning, which is contrition?

James Carroll's column appears regularly in the Boston Globe.

© Copyright 2007 The New York Times Company

Biography of James Carroll at link below. In May 2005, he published House of War: The Pentagon and the Disastrous Rise of American Power, a history of the Pentagon, which the Chicago Tribune called “the first great non-fiction book of the new millennium.”

http://www.houghtonmifflinbooks.com/catalog/authordetail.cfm?authorID=1380