The segments of the trip swing open like an orange.
There is light in there, and mystery and food.
—John Ashbery, Just Walking Around
The photographs were taken on September walks in Innisfree Garden, on the Walkway Over the Hudson, and in Beacon’s Long Dock Park. They are grouped by location, and the first photograph from each new location is indicated by label.
Also in the Hudson Valley, a brilliantly curated exhibition of work by photographer Gordon Parks is on offer at Vassar College’s Frances Lehman Loeb Art Center through December 13, 2015. “In 1948, [Parks] began a professional relationship with Life that would last twenty-two years when he proposed a series of pictures about the gang wars that were then plaguing Harlem. Parks gained the trust of one group of gang members and their leader Red Jackson . . .” [citation] The exhibition shows not only the completed Life Magazine article, but also some of the raw photographs Parks took, getting us behind the scenes to understand the impact of Life’s selection on “the making of the argument” (the title of the exhibition). Particularly affecting are photographs of domestic scenes, only one of which was used in the ultimate magazine article [photo 3 here], as well as photographs of Jackson, who outlived Parks, in old age. If you aren’t able to attend the exhibition, samples of the work shown in the exhibition may be found here and here. You might also enjoy reading Josie Holford’s post on the exhibition, which you may find here.
David Aldeborgh founded the Bruckner Archive in Poughkeepsie, New York, and attended Poughkeepsie Day School as a child, thus providing a rationale of sorts for offering a Bruckner symphony here. For more about Aldeborgh and the Bruckner Archive, click here and here.
Anton Bruckner, Symphony No. 7 in E Major, WAB 107 (1883; rev. 1885)
On Spotify (Barenboim/Staatskapelle Berlin; ed. Nowak)
On YouTube (Abbado/Lucerne)
From Michael Steinberg’s program notes about Symphony No. 7:
The focusing of [Bruckner’s] vision of the symphony was a slow process . . . as was the acquisition of the requisite technique. He had been a brilliantly apt pupil of the contrapuntal wizard Simon Sechter, but that training was useful only up to a point. Studying Tannhäuser with his next teacher, Otto Kitzler, Bruckner discovered that there were sources of nourishment simply not dreamt of in Sechter’s philosophy. Bit by bit, he learned from Beethoven about scale, preparation and suspense, mystery, and the ethical content of music; from Schubert, something about a specifically Austrian tone and much about harmony; from Wagner, everything about a sense of slow tempo, a breadth of unfolding hitherto unknown in instrumental music. With this knowledge, he made music like no other, naive and complex together, homely and sublime.
Six of Bruckner’s symphonies begin with a hum from which thematic fragments detach themselves or against which he projects a spacious melody. In the Seventh, as Robert Simpson so aptly puts it in his beautiful study The Essence of Bruckner, “the entrance . . . leads to a very lofty and light interior . . . “
Credits: The sources for quotations may be found at the links indicated in the text. The photographs, as always unless otherwise indicated on the blog, are mine. For more information on the George Trakas installation at Beacon’s Long Dock Park, click here. For a virtual tour of John Ashbery’s home in Hudson, New York, click here.