F 1 D 0 -- 02 03 10 at 11 50

Art and Music.

Well, nobody asked me about the Beethoven
Festival, but still, I liked it, and this
is my writing place.

TBSO Festival 2002
Beethoven Rediscovered

The theme of the festival, which ran Feb 28
Mar 01 02 03 was that an awful lot of the
music written by Beethoven is ignored or
forgotten. They endeavoured to perform some
of these lost works.

Feb 28

An die ferne Geliebte Op 28
Cycle of Six Songs

String Quartet Op 18 No 1 in F Major

Septet for Strings and Winds in E-flat Major Op 20

(I was packing during this performance)

Mar 01

The Ruins of Athens Overture Op 113

Romance for Violin Op 40

Romance for Violin Op 50

The Creatures of Prometheus Op 43

Tarpeja Triumph March

Symphony No 1 Op 21

(I was on a Greyhound Bus during the performance,
arriving at 1030pm that night)

Mar 02

Serenade Op 25 in D Major

String Quartet Op 18 No 4 in C minor

Symphony No 7 arranged for winds

I *did* get to see this one.

You may argue that Symphony No 7 is hardly
a lost or forgotten work, but it turns out
that a lot of the symphonies (etc) were 
re-written for smaller orchestras. Beethoven
didn't write the arrangement, but he did
authorize it, which is special.

The music was played by two oboes, two bassoons,
two clarinets, two horns, and one double bass.
It was effective.

Geoffry Moull, the conductor, explained that
this arrangement wasn't just for less musicians,
but was also shorter. I recall it took about
40 minutes to play the four movements.

Mar 03

King Stephen Overture Op 117

Egmont Op 84

Name Day Celebration Overture Op 115

Symphony No 8 Op 93

Moull talked about why people play
symphony 7 more then 8.  Was it Beethoven
who said, "Because that (number 8) was
the better work." 

I found all of the music was new to me,
so I had nothing to compare it to. Too
bad, because I get so much from seeing
films and hearing music that's familiar.

On Fri Mar 08, the Art Gallery here had
the opening for the display of all of the
student work that was in the competition.

It gathered so many people. Lots of students,
lots of teachers, lots of average folk too.

The process went this way.

The five faculty go through the works,
all of them, with bright post-it notes.
They each tag their favourites.

Anything which has five tags is in
the show For Sure. Anything with
four is probably in the show, and
so on. They work together to pick
the best.

They used to have outside jurors come in
to pick the (above). This was painful.

One year, there was a guy who said things
like, "Well, there won't be any abstract
work, since I don't like that." Well, when
you consider that a lot of this work was
class work, where Abstract was what was 
required by the assignment, that is craziness.

Or a line like, "There won't be any sculpture,
as I only like flat works, myself." Uh, that
excludes One Fifth of the pieces.  

The university teaches Sculpture, Painting,
Drawing, Print Making and Ceramics.  They 
are exposed to different styles, so the 
students can explore the different media
as part of their study.

So, the faculty judges which pieces will
be taken to the Art Gallery. Once there,
the outside jurors choose works.

There were about 5000.00 in prizes this 
year, and most of the donors judged their
favourites personally, thereby picking
the recipient. At the ceremony, these same 
people handed the artists their envelope too.

Some donors were unable to attend, so there
were three artists from the area called upon
to serve, and they choose accordingly.

The show went well.
It was such a good thing. 

Near to the gallery is Caribou, a fancy
restaurant. We met with some others for
'drinks'. Except that I'm not really into
going out and paying for alcohol. 

So we shared some Black and Blue Ahi Tuna,
with wasabi sauce. It was not Japanese, but
it was friendly and nice. 

We kept running into others we knew at
the Caribou. I suppose I had better get
used to this experience. It is not a big
town, and I'll continue meeting friends
over and over.

There were five of us at the table, but
having one conversation between five seems
rough. Some are just so far away from the 
speaker person.

So on our end, Mike, Julie and I were talking
about bread makers, and what I liked and 
disliked. Ann and Lori were talking about
how long they'd not seen each other, and
the things Lori did in Africa. I'm surprised
I was able to take all of it in.

Yesterday was Saturday.

My routine is to play in the Acoustic
Bluegrass circle at Colisimo's Music
from 100-300pm. Ann likes to go for a
swim during this time. 

We get back together, pick up some
newspapers, and head for afternoon
coffee at a local place.

We went to Kanga's. I think this also
means we had to have the pancakes they

We chatted with our server girl, and
talked about how hard it is to make

"Yes, our cooks who do them here cannot
make them at home. You need a grill which
gets very very hot. Most just won't do

Well, that was the clue I needed. I need
to superheat a nonstick pan to make these
flat things. They're thin like crepes. A
bit greasy, from butter, to be sure. They
have a nice mottled toasty appearance, and
the browing is where the taste happens.

I like the doughy near-pasta consistency.

I'm sure you're supposed to pour syrup
onto these guys, and use a knife and fork.

But me, I roll them into a torpedo, and
bite the thing. I don't season it, as when
I do, I can't taste the crepe any more.

I always order with a side of strawberries.
These are ostensibly for putting onto them.
But I prefer just spooning them out of the
bowl. The first taste of berries each time
is the brightest taste. 

After that, we should have gone shopping, but
found our way to a workshop at the university,
where we assembled Stretchers. 

I've not done this before. The canvas needs
to be connected to something. A strong wooden
frame. We will add a dark border strip of wood
around the works, and then frame around that
border. Perhaps today.

But yesterday, I learned how to deal with wood.
I realize that last time I did anything like
this was Grade 7 and Grade 8. I was age 12-14.

At school I was NOT good at this. 

Uh, last night I was not so good either.

But my ability to learn this has changed. I was
free to figure things out.

1. The stretchers had to be flat when complete.

That isn't so easy to do when the wood is all
twisted up. 

2. The stretchers had to be to specification

This makes sense. The painting is (say) 12 by
22, with a border of a few inches. So the product
I make has to be rectangular, and be that size.

3. C-clamps are my friend.

When I started hammering into the small strips
of wood, I had the same sense of helplessness
I remember as a kid. But all of that went away
when I figured out how to hold the things still
that I was trying to nail.  

By the end, while each stretcher seemed to take
a long time to make, they were flat, sized to
spec, and strong. 

I didn't hurt myself by hammering. Ok, I hit a 
finger gently ONCE. 

I did hurt myself in a way I didn't predict. I
got a bruise from always tightening the C-clamps
the same way with the same hand with same fingers.
Even now my right forefinger is still red there.
It was just how I was gripping them.

I maintain the clamps made *all the difference*.
I clamped the frame flat to the table, square
to itself, and anything which tried to get away
was held in place. 

I enjoyed it.

That's all I know.