Sakura Salon 2/15/15 – Early Choral Music

Thanks to Diamanda Gustaffson for her guest presentation at our last Salon on early music!  Tonight we continue our look at early music.

Tonight I am going to give a quick overview of Renaissance choral composers.  I was going to get into some more detail, at first, but there is too much to cover in one Salon – and I am also not the expert Diamanda is in early music.  So, instead we will simply go with an overview of some of the important composers and pieces that are generally ones I like.  Hopefully, if you hear something you like, you will have the information to follow up..

First, however we will start with two pieces from the Medieval period, where you can hear that Western tonality and harmonies have not yet settled into what we now culturally feel is ‘normal’.  In some ways, this may remind you of 20th century music when composers were trying to break away from those same tonalities and aural expectations.

 

Playlist (translations at the end of post):

  1. Musica Nova – Machaut: Messe de Nostre Dame: Agnus Dei (4:46)
  2. Musica Nova – Andrieu: Armes, amours / O flour des flours (10:10)
  3. Blue Heron – Dufay: Flos florum (3:54)
  4. The Tallis Scholars – Josquin: Missa Pange lingua: Kyrie (2:55)
  5. Hilliard Ensemble/Paul Hillier – Josquin: Mille regretz (2:02)
  6. Hilliard Ensemble/Paul Hillier – Josquin: Petite camusette (1:01)
  7. Hilliard Ensemble/Paul Hillier – Josquin: El grillo (1:49)
  8. Hilliard Ensemble/Paul Hillier/David James/Paul Elliott/Leigh Nixon/Michael George – Josquin: La déploration sur la mort de Jehan Ockeghem (5:46)
  9. Dennis Keene: Voices Of Ascension – Lassus: Justorum Animae (2:05)
  10. Dennis Keene: Voices Of Ascension – Byrd: Ave Verum Corpus (4:23)
  11. Dennis Keene: Voices Of Ascension – Victoria: O Magnum Mysterium (3:40)
  12. Dennis Keene: Voices Of Ascension – Sweelinck: Psalm 96, “Chantez A Dieu Chanson Nouvelle” (1:57)
  13. The Tallis Scholars – Palestrina: Missa Papae Marcelli: Kyrie (4:49)
  14. Dennis Keene: Voices Of Ascension – Viadana: Exultate Justi (1:59)
  15. Robert King: The King’s Consort – Gabrieli (G): Kyrie A 12 (7:10)

 

Guillaume de Machaut (1300-1377)  – The French composer and poet Guillaume de Machaut is indisputably one of the most prominent figures of 14th-century music. In his numerous poetical and musical works we can recognize an ultimately cultured, educated artist, endowed with refined sense of noble beauty. His personality is a fascinating combination of the culturally and politically influential ecclesiastical elite and a vanishing world of medieval chivalry, embodying the conquest trips across Europe, heroic deeds, but also the warm tones of the love songs intended for noble and beautiful ladies.

Today his four-voice Mass of Notre Dame is a textbook example for medieval counterpoint, and has served sufficiently to maintain his reputation across shifts in fashion.   Although two other cyclical masses predate this one, this is the first existing by a single composer.

Machaut is also considered the last of the line of Trouveres, the musician poets of the “Court of Love”

 

Franciscus Andrieu (late 14th centrury) – a composer, most likely French, of the late 14th century. Nothing is known about him except that he wrote an elegy on the death of Guillaume de Machaut (1377), a four-voice ballade Armes amours / O flour des flours, which is contained in the Chantilly Codex. He also may be tentatively identified as the Magister Franciscus, composer of two other ballades from approximately the same time, though the link can only be made by stylistic similarities.

His music belongs to that portion of late medieval musical practice known as the ars nova.

 

Next we get to our Renaissance composers.

Guillaume Dufay (1397-1474) was one of the most highly regarded composers of his generation, and one of those principally responsible for inaugurating the Renaissance in music.  Dufay was one of the most cosmopolitan composers of his or any age, and his large musical output contains masterpieces in every genre from cyclic masses to isorhythmic motets to simply ornamented hymns and dramatic cycles.

Dufay’s music flows more smoothly than the characteristically complex rhythmic textures of the late Medieval period, and is marked by graceful melodies and a compelling sense of direction.  Today, we value Dufay’s music not only for its grace and invention, but also for its significant historical position in the quickly evolving style of the early Renaissance.

 

Josquin Des Prez  (1450-1521) was one of the most influential and widely regarded composers in the history of Western music, so famous that he is known merely by his first name.  Josquin’s surviving musical output is very large, comprising masses, motets, and secular songs in both French and Italian. His style is marked by the technique of pervasive imitation, in which different vocal lines share material in a subtle interlocking manner. Most of his compositions are for four voices, though larger textures are not uncommon. Typically, Josquin utilizes pair-wise imitation between voices – such that the texture is divided into pairs of voices which interchange material in canon. This technique deliberately eschews the longer lines of the previous generation to concentrate on shorter motifs which lend themselves to various combinations of melody and harmony. This technique was to have direct consequence for the later Renaissance, and for the Baroque and Classical periods as well.

His influential contrapuntal experimentation and structural refinement lead many people to consider Josquin the greatest composer in the history of Western music, and indeed composers would be studying and utilizing his material directly for more than a century.

 

Orlande de  Lassus (1532-1594) was a Netherlandish or Franco-Flemish composer of the late Renaissance. He is today considered to be the chief representative of the mature polyphonic style of the Franco-Flemish school, and one of the three most famous and influential musicians in Europe at the end of the 16th century (the other two being Palestrina and Victoria).

 

William Byrd (1540-1623) was the leading English composer of his generation, and together with his continental colleagues Giovanni Palestrina (c.1525-1594) and Orlando de Lassus (1532-1594), one of the acknowledged great masters of the late Renaissance. Byrd is considered by many the greatest English composer of any age.  He wrote both Catholic and Protestant pieces, in his religious output.

 

Tomás Luis de Victoria (1548-1611) studied the music of Italian and Iberian masters, including Palestrina, Morales, and Guerrero, becoming a leading composer of the Roman School.

Victoria published his first book of motets in 1572, followed by the Officium Hebdomadae Sanctae in 1585, a collection of motets and lamentations for Holy Week Catholic services. These works established Victoria as the most significant composer of the Counter-Reformation in Spain, and one of the most highly-regarded composers of sacred music in the late Renaissance.

 

Jan Pieterszoon Sweelinck (1562- 1621) was a Dutch organist, teacher, and composer. He is widely considered to be the greatest of Dutch composers.

Sweelinck was extremely influential as a teacher, especially of German students (including Scheidemann, Scheidt, Praetorius, and Hasse) who would propagate his compositional techniques far into eastern Europe. He is one of the major figures in the transition from Renaissance to Baroque compositional styles.

 

Giovanni Pierluigi da Palestrina (1525-1594) was an Italian Renaissance composer of sacred music and the best-known 16th-century representative of the Roman School of musical composition.  He has had a lasting influence on the development of church music, and his work has often been seen as the culmination of Renaissance polyphony.

 

Giovanni Gabrieli (1556-1612) is an important transitional figure between the Renaissance and Baroque eras and their associated musical styles. The distinctive sound of his music derived in part from his association with St. Mark’s Cathedral in Venice, long one of the most important churches in Europe, and for which he wrote both vocal and instrumental works.

 

Some other terms to know:

Chanson,  (French: “song”)  – French art song of the Middle Ages and the Renaissance.

Motet,  (French mot: “word”)  – style of vocal composition that has undergone numerous transformations through many centuries. Typically (but not always), it is a Latin religious choral composition.

Madrigal – A madrigal is a secular vocal music composition, usually a partsong, of the Renaissance and early Baroque eras. Traditionally, polyphonic madrigals are unaccompanied; the number of voices varies from two to eight, and most frequently from three to six.

 

TRANSLATIONS

 Agnus Dei

Lamb of God, you who take away the sins of the world, have mercy upon us.

Lamb of God, you who take away the sins of the world, have mercy upon us.

Lamb of God, you who take away the sins of the world, grant us peace.

 

Armes Amours / O flour des flours

I dont have this at this time.  😦

 

Flos Florum

Flower of flowers, fount of gardens, queen of the heavens,

hope of pardon, light of joy, remedy of sorrows. 

fresh branch and seemly virgin, model of goodness:

spare the guilty and bring them a reward in the peace of the righteous,

feed your own, succour your own, have mercy upon your own.

 

Kyrie

Lord have mercy

Christ have mercy

Lord have mercy

 

Petite Camusette

Little Camusette (you little minx), you will be the death of me.

Robin and Marion, they went off to the pretty (green) woods.

They went off, they went off arm in arm.

They fell asleep.

Little minx, you will be the death of me.

 

Mille Regretz

A thousand regrets at deserting you

and leaving behind your loving face,

I feel so much sadness and such painful distress,

that it seems to me my days will soon dwindle away.

 

EL Grillo

The cricket is a good singer

He can sing very long

He sings all the time.

But he isn’t like the other birds.

If they’ve sung a little bit

They go somewhere else

The cricket remains where he is

When the heat is very fierce

Then he sings only for love.

 

La deploration sur la mort de Jehan Ockegham

Eternal rest grant unto them, O Lord,

and let perpetual light shine upon them.

Wood-nymphs, goddesses of the fountains,

Skilled singers of every nation,

Turn your voices, so clear and lofty,

To piercing cries and lamentation

Because Atropos*, terrible satrap,

Has caught your Ockeghem in her trap,

The true treasurer of music and master,

Learned, handsome and by no means stout.

It is a source of great sorrow that the earth must cover him.

 

Put on the clothes of mourning,

Josquin, Pierre de la Rue, Brumel, Compère,

And weep great tears from your eyes,

For you have lost your good father.

May they rest in peace.

Amen. 

 

Justorum animae

The souls of the just are in the hand of God,

and the torment of death shall not touch them.

In the sight of the unwise they seemed to die;

but they are in peace.

 

Ave Verum Corpus

Hail, true Body, born

of the Virgin Mary,

who having truly suffered, was sacrificed

on the cross for mankind,

whose pierced side

flowed with water and blood:

May it be for us a foretaste [of the Heavenly banquet]

in the trial of death.

O sweet Jesus, O pious Jesus,

O Jesus, son of Mary,

have mercy on me. Amen.

 

O Magnum Mysterium

O great mystery,

and wonderful sacrament,

that animals should see the new-born Lord,

lying in a manger!

Blessed is the Virgin whose womb

was worthy to bear

Christ the Lord.

Alleluia!

 

Psalm 96: Chantez a Dieu

Sing unto God new songs upraising, 

Sing thou, O world, His glory praising, 

Sing thou and bless His holy name. 

Yea from day to day tell His fame, 

Upon His great salvation gazing. 

 

Exultate Justi in Domino

Rejoice in the Lord, O ye just; praise befits the upright.

Give praise to the Lord on the harp; sing to him with the psaltery, the instrument of ten strings.

Sing to him a new canticle, sing well unto him with a loud noise.

Rejoice in the Lord

 

Salon 1/18/15 – van Cliburn and Tchaikovsky’s Piano Concerto #1

The first International Tchaikovsky Competition in 1958 was an event designed to demonstrate Soviet cultural superiority during the Cold War, on the heels of that country’s technological victory with the Sputnik launch in October 1957.

It was pretty much fore ordained that a Russian would win.

However Van Cliburn’s performance at the competition finale of Tchaikovsky’s Piano Concerto No. 1 and Rachmaninoff’s Piano Concerto No. 3 on April 13 earned him a standing ovation lasting eight minutes.

When it was time to announce a winner, the judges were obliged to ask permission of the Soviet leader Nikita Khrushchev to give first prize to an American. “Is he the best?” Khrushchev asked. “Then give him the prize!”

Cliburn returned home to a ticker-tape parade in New York City, the only time the honor has been accorded a classical musician. His cover story in Time magazine proclaimed him “The Texan Who Conquered Russia”

Tonight we will will listen to a performance by Van Cliburn recorded just after his shocking win, with the conductor the same as at the competition, invited to the US by Van Cliburn.  This was the first classical recording to ever go platinum.

 

The music

Peter Ilyich Tchaikovsky was neither the greatest nor the most innovative musician of his time, yet his contributions to music are still felt today, for it was his gift to write beautiful, evocative melodies that are not easily forgotten. From the love theme of the Romeo and Juliet Overture (1870), to the music of Swan Lake (1877) or his Sixth Symphony (Pathétique, 1893), to the well-known opening of the Piano Concerto No. 1, his music has become almost inescapable, a part of the collective conscious.

Yet the oft-told tale of the Piano Concerto’s conception reminds us that even Tchaikovsky’s melodies could fail to charm. He completed the work in December of 1874, and dedicated it to his teacher and friend, the great Russian pianist Nikolai Rubinstein.

He described the scene in a letter to a friend: “I played the first movement. Not a word, not a remark. If you only knew how disappointing, how unbearable it is when a man offers his friend a dish of his work, and the other eats and remains silent!” Tchaikovsky played the entire piece and then, he wrote, Rubinstein told him it was “worthless, impossible to play, the themes have been used before … there are only two or three pages that can be salvaged and the rest must be thrown away!”

Rubinstein offered to play the piece if Tchaikovsky rewrote it, but the composer replied, “I won’t change a single note,” and instead gave it to the pianist and conductor Hans von Bülow. Von Bülow did not share Rubinstein’s distate, and premiered the work in Boston on October 25, 1875. Though a critic there called it an “extremely difficult, strange, wild, ultra-modern Russian Concerto,” the audience was enthusiastic, as was a second audience in New York a week later, demanding an encore of the final movement. Rubinstein later recanted and performed the piece as well, while fifteen years later Tchaikovsky made some of the changes Rubinstein had requested. Rubinstein’s criticisms still have merit, for the piece is in some places nearly unplayable, while other passages for the soloist are barely audible. And the famous opening theme, for all its grandeur, is just as remarkable in its disappearance — for after storming in with blaring horns calls, sweeping strings, and maestoso ascending chords from the piano, the theme continues for only 110 measures and simply drops out of the piece, never to be heard again.

Yet it is at that point that the first movement, Allegro, may be said to truly begin. Two themes are introduced in double exposition, with the athletic first theme reappearing to interrupt the more restrained second at dramatic moments, and the piano “indulging in cadenza-like flights of startling execution,” as the Boston reviewer wrote in 1875. The movement ends in a burst of pyrotechnics from both orchestra and soloist.

The gentle Andantino simplice offers a respite from the bold gyrations of its predecessor, with the flute, oboe, and viola taking turns with the solo piano to develop the gentle, lilting first theme. The second theme is a rapid scherzo, based on a French song, “Il faut s’amuser, danser et rire” (One must amuse one’s self by dancing and laughing), a song favored by the opera singer Désirée Artôt, with whom Tchaikovsky had once been infatuated.

The first theme for the final Allegro is based on a Ukrainian folk song, “Viydi, viydi Ivanku,” (Come, come Ivanku), and it dances up and down in brilliant syncopations. A second, more lyrical theme sweeps in above the virtuosic piano line, and the piano answers in kind. The two themes build to a maestoso tutti followed by bravura fireworks all around.

 

Salon 12/7/14 – Piano Music of Erik Satie

In the midst of an art opening at a Paris gallery in 1902, Ambient music was born. Erik Satie and his cronies, after begging everyone in the gallery to ignore them, broke out into what they called Furniture Music–that is, background music–music as wallpaper, music to be purposely not listened to. The patrons of the gallery, thrilled to see musicians performing in their midst, ceased talking and politely watched, despite Satie’s frantic efforts to get them to pay no attention.

 “I have never written a note I didn’t mean.” – Erik Satie

________________________________________

You’ve heard his work in movies, commercials, even on “Sesame Street.” He was the quintessential “artist’s artist,” a man who, as one critic wrote, “had the no-doubt gratifying sensation of seeing the times catch up with him.”

Erik Alfred Leslie Satie was born in 1866, and was raised in Paris during an age in which the Wagnerian music model reached its zenith in Europe. He began music lessons at the age of 15, but without much success – though some thought he had talent and potential, his playing was at various times called “insignificant and laborious” and Satie the student, “worthless.”

In the 1890s he joined the Rosicrucian church, and was introduced to the mystical strains of Gregorian and plainsong chant that would permeate his music for the rest of his life. Satie quickly became bored by the Rosicrucians, though, and decided to create his own church, which he called “L’Eglise Métropolitaine d’Art de Jésus Conducteur.” For this he published an “official” manifesto that functioned primarily as soapbox upon which to rant against music critics.

Satie supported his one-member church by playing in the famous cabaret, the Chat Noir, where he met a young composer named Claude Debussy. Satie held strong influence over Debussy, instructing him to avoid all popular Wagnerian influences of the time. As he claimed, “There is no need for the orchestra to grimace when a character comes on stage. . . . What we have to do is create musical scenery . . . in which the characters move and talk.”

Debussy and friend Maurice Ravel began writing Satie-inspired pared-down music that eventually morphed French Impressionism. Debussy and Ravel only acknowledged Satie’s influence many years later, as firmly established composers. But, while Impressionism flourished, Satie stayed in the cabarets, and stayed very poor, even called Monsieur le Pauvre by his friends. By the turn of the century he moved to a cheap industrial suburb of Paris, where he would spend the rest of his life, walking several miles each day to play at the cabarets and back home every night with hammer in his pocket for protection.

It was around this time that Satie began wearing his trademark gray velvet suits, earning himself the nickname “the velvet gentleman.” He detested the sun, and tried to go outside only during bleak days. He washed only with pumice stone, never soap, but perhaps his most extreme behaviors centered around food: he “never spoke while eating, for fear of strangling himself,” and only ate white foods. His list? Eggs, sugar, shredded bones, animal fat, salt, coconuts, rice, turnips, pastry, cheese (white varieties), cotton salad, and certain kinds of fish.

In 1905, at the age of 40, Satie enrolled again in the conservatory to learn the “proper” classical techniques of counterpoint and theory. Surrounded by students half his age, he honed his skills and graduated top of class. With the classical training however, his music continued to become more bizarre. He began scribbling mysterious directions all over his scores and gave a running commentary of dialogue, puns, and absurdities: to be jealous of one’s playmate who has a big head, the war song of the King of Beans, canine song, to profit by the corns on his feet to grab his hoop, and indoors voice. The titles, too, were remarkable: Veritable Flabby Preludes (for a Dog), Sketches and Exasperations of A Big Boob Made of Wood, Menus for Childish Purposes, and Desiccated Embryos, to name just a few.

Spring of 1917 marked the premiere of the balletParade, a synthesis between literature and music, visual art and dance, fashion and poetry. For many, it was a long-awaited unification of art with everyday life, and an overdue break with the stifling bindings of Wagnerian late-romanticism.

The collaboration of poet, artist, and enfant terrible Jean Cocteau with the 48-year-old Satie began some three years prior, when the two had met as witnesses in a wedding. The charming Cocteau had attached himself to the Ballet Russes, becoming, in one critic’s words Diaghilev’s “court jester” and “house pixie.” While artists championed Parade, critics panned it, and the piece outraged so many people that there was a riot the first night it opened. Satie, Cocteau, and a few of their cronies even found themselves facing a libel suit in court, culminating being labeled “cultural anarchists,” and eight days of jail time for Satie.

Cocteau and Satie thrived on scandal however, and Parade became something of a cult object. Thanks to the high standing of Diaghilev and Picasso (not to mention a scathing press) Satie became something of a celebrity. Shortly after the premiere Satie’s newfound popularity found him at the center of a group of composers that would become known as Les Six. Satie collaborated with Les Six for the next several years and continued his interest in ballets, culminating in the 1924 premiere of Relâche.

Four decades of bourbon and absinthe had caught up with the composer however, and shortly after this event Satie became ill with cirrhosis of the liver and died. Though largely forgotten in the years following his death in 1925, during the 1960s Satie’s music began to surface as an anecdote to more traditional classical music, and has risen in popularity ever since.

 

Tonight’s Playlist

  1.    Reinbert de Leeuw – Satie: Gnossiennes – No. 1 – Lent (5:37)
  2.    Reinbert de Leeuw – Satie: Gnossiennes – No. 2 – Avec étonnement (2:58)
  3.    Reinbert de Leeuw – Satie: Gnossiennes – No. 3 – Lent (4:05)
  4.    Reinbert de Leeuw – Satie: Gnossiennes – No. 4 (2:51)
  5.    Reinbert de Leeuw – Satie: Gnossiennes – No. 5 (3:03)
  6.    Reinbert de Leeuw – Satie: Gnossiennes – No. 6 (2:40)
  7.    Jean-Yves Thibaudet – Satie: Le Piccadilly (1:36)
  8.    Jean-Yves Thibaudet – Satie: La diva de l’empire (2:15)
  9.    Jean-Yves Thibaudet – Satie: The dreamy fish (5:34)
  10.    Jean-Yves Thibaudet – Satie: The Angora Ox (7:39)
  11.    Reinbert de Leeuw – Satie: Petite ouverture à danser (2:17)
  12.    Jean-Yves Thibaudet – Satie: Je te veux (5:12)
  13.    Jean-Yves Thibaudet – Satie: 3 Gymnopédies – No.1 (3:39)
  14.    Jean-Yves Thibaudet – Satie: 3 Gymnopédies – No.2 (3:29)
  15.    Jean-Yves Thibaudet – Satie: 3 Gymnopédies – No.3 (3:07

Salon 11/30/14 – Gabriel Faure

Gabriel Faure

Gabriel Urbain Fauré (1845-1924) was a French composer, organist, pianist and teacher. He was one of the foremost French composers of his generation, and his musical style influenced many 20th-century composers. Among his best-known works are his Pavane, Requiem, nocturnes for piano and the songs “Après un rêve” and “Clair de lune”. Although his best-known and most accessible compositions are generally his earlier ones, Fauré composed many of his most highly regarded works in his later years, in a more harmonically and melodically complex style.

Fauré’s music has been described as linking the end of Romanticism with the modernism of the second quarter of the 20th century. When he was born, Chopin was still composing, and by the time of Fauré’s death, jazz and the atonal music of the Second Viennese School were being heard. The Grove Dictionary of Music and Musicians, which describes him as the most advanced composer of his generation in France, notes that his harmonic and melodic innovations influenced the teaching of harmony for later generations.

 

Playlist

 Fantasie

The Fantasie for Flute and Orchestra was written as a competition piece but is certainly more than just an exercise. Although under five minutes the piece is in two movements and beautifully demonstrates the range and abilities of the flute. The work recorded here is an orchestration made in 1957 for Jean-Pierre Rampal.

 

Prelude to Penelope

Pénélope is an opera in three acts by the French composer Gabriel Fauré. The libretto, by René Fauchois is based on Homer’s Odyssey.  The Prelude to Penelope, Faure’s only opera, is a good piece of dramatic music writing that sets the scene for what is to follow: the return of Ulysses to his homeland after 20 years absence.

 

Ballade in F-Sharp Major

The Ballade for Piano and Orchestra comes from 1879 and is like Faure’s Nocturnes in mood. The music begins with a reflective melody and slowly builds in tempo to a dance-like melody becoming more and more tranquil and finally fading away.

 

Pavane

The Pavane is a famous piece, slightly melancholy but with elegance and beautifully composed.  This is the version without boys choir, which I prefer.

 

One Voice

Well, I usually live under a rock and have no clue what is going on around me.  But I started reading up on this story this weekend, and it really bothered me.  I admit, I don’t know for a fact who is right and who is wrong, but people that I trust and that have looked into it more (and my own reading of the story) have given me an opinion.  And this blog is for that, my opinions.

To be clear, I don’t know either creator.  I don’t think I have ever owned a skin by either.  I am not a content creator, and this is obviously not a ‘popular fashion blog.’  I am only doing this because I feel it is right. 

Anyway, I am going to this event.  Like I said, I am not a creator, not much of a blogger, and don’t have much of a voice in SL.  But what voice I have, I will use here.  And… well, I’m a good shopper!  So, I can go and shop for something I believe in.

To find out more about the event:

http://huntsl.wordpress.com/2012/07/09/one-voice-a-fundraiser-for-gala-phoenix/

Surname Discrimination (OOC)

Being relatively clueless to what goes on around me, I didn’t realize the controversy swirling about surnames in Second Life.  A very thoughtful friend of mine, CeeJay Writer, explains her take on this in her blog post, What’s In A Name? 

I can’t explain any of this better than she can, but I can affirm something she says from quite another perspective.

To quote two things she says in regards to the new ‘default’ surname of Resident,

This worker alt does have a cutsie display name, added for my own amusement, but her underlying name of Resident will always brand her as a ‘newbie’.

How will it feel to forever be a member of Clan Resident – never aging in others eyes, always and forever a newbie…

This is so true.    People make so many assumptions based in SL based on just your surname or your rez-date.

My SL surname is Mimistrobell.  From what I understand, that is a relatively old, ‘heritage’, surname.    With that old a name, it brings certain expectations, certain assumptions.  Sometimes these are relatively benign, such as when I IM’d someone I had to contact about something, and they thought I was IM’ing about their place in some large SL event because… well, I had been around so long. 

But sometimes… No.  I don’t own a shop.  I don’t know how to build.  I don’t know a whole lot about SL mechanics.    And yes, I am really clueless about a lot of SL things. 

Now part of it is because I took a fairly significant break from SL.  But before that, I was around for a long time.

The fact is – I don’t want to own a shop.  I don’t really have the desire (or energy after 12 hour work days) to learn the technicalities of building.    I’d like to run some events, but they need to be right for me and fit into my own schedule.   I come here to roleplay, to talk to people, to be the person I really feel I am inside and that I cannot be in my real life – for whatever reason.    I like to decorate. 

However, sometimes I get comments from people, like I am a parasite in SL.  I don’t add anything.  I do not add to the ‘experience’ that is Second Life – and after all this time, I should be. 

Maybe I should know those things.  And maybe those people have a right to think of me in that light.  But I don’t accept it and embrace that in myself.    There are other things in building an experience – in building a community, in caring about people, things that I think that I do do.

So, the upshot of all of this?  We all need to stop judging based upon surnames, or ‘length of service’.  It happens, all the time.  And I agree with CeeJay’s point that a new catch-all Resident surname will only perpetuate this kind of thing happening. 

 

The Mime (OOC)

Wanted to share another song I had written.  As some of you know, I used to rp a fantasy/medieval minstrel.  Therefore when I wrote the music to this song, I tried to stick with a certain period orchestration, based upon what instrument she played and what others could play.  And the music file has no vocals, but I think its easy to figure out.

Also, I wanted to try and use the limerick form in a non-limerick way.

The Mime

INTRO

There once was a minstrel from the north
A pretty one, some say, of a sort
She was young, she was old
She was shy, she was bold
But through it all, she doubted her worth

She cries yet there’s no-one to hear
All that people can see are their fears
Expectations and dreams
Turn to dust, it does seem
And emptiness, it dries all her tears

She’s the mime in the box, stuck within
They all see just the twinkle and grin
No one’s looking inside
Where she curls up and hides
Stuck within the walls of her skin

INTERLUDE

BRIDGE

All they see is the clothes, and the ribbons, and the curls
All they see is the dancing, the singing, the twirls
She’ll be flirty and bawdy, and perhaps a bit naughty
All they see are her performances for both boys and girls

They see what’s expected to be
It’s a self-fulfilling prophecy
The paint on the wall
Does it color it all?
Or does the paint stain the essence of she?

There once was a minstrel in hell
Trapped within an unchanging shell
Are those the same eyes
Peering out from inside?
I don’t know, can you see, can’t you tell?

I’m the mime in the box, stuck within
You all see just the twinkle and grin
No one’s looking inside
Where I’ve curled up and died
Stuck in the walls of my skin