Crab Canon
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| - | Bach, like Cage and Clapton entwined, appeals to the brain -- his mathematical precision; his cancrizans canons looping and inverting like Möbius strips; his nomenclatural "coding" (e.g., his "signature" BACH motive{{an|2}}) -- all reflecting a stupefying intellect far removed from heart-wrenching, soul stirring, gut-twisting storms of Beethoven, Stravinsky, Coltrane, and Hendrix. | + | Bach appeals to the brain: pure [[head]] music. From the mathematically rendered precision of his cancrizans canons, looping and inverting like Möbius strips, to the cunning nomenclatural codings like his "signature" BACH motive{{an|2}}) -- Bach's music is a mirrored reflection of a stupefying intellect far removed from heart-wrenching, gut-twisting storms of Beethoven and Stravinsky. |
| - | But where to place the enigmatic [[Paolo Grignotti]]? Grignotti's "cryptic and often mocking allusions"{{an|3}} to Bach's Mass in B minor may seem ironic and insincere, but Grignotti's evident debt to Bach rings clear in his imitative{{an|4}} use crab cannons and "coded" notation in such works as ''Buggeroni'' (1789), wherein the BAGAB motive{{an|5}}) has been interpreted as a commentary on the infamous [[Pietri Biberoni|Biberoni]], Grignotti, Diamanta love triangle{{an|6}}. Yet the plaintive cries of ''The Sharper's Tale'' (1796) and the bitter stomp of ''A Sausage Became Her'' (1797) suggest Grignotti was made of more emotive stuff. | + | But where to place the enigmatic [[Paolo Grignotti]]? Though he clearly stands in the shadow of Bach's intellect, his operatic forays suggest we look elsewhere. Indeed, Grignotti's numerous musical references to Bach's Mass in B minor may be read as homage -- or as "cryptic and often mocking allusions, hinting of ironic insincerity"{an|3}}. While virtually all living critics agree on Bach's genius, Grignotti's opinion is open to debate. Does he display a sincere, an imatative mimickry? Or an insincere, subtly mockery? Or is it all simply a case of a somewhat more heavy handed realization by jealous Grignotti? |
| - | Perhaps Grignotti is best viewed as striking some peculiar balance, a sort of devil's bargain -- like Shostakovich, who, some hundred-fifty years later, straddled two worlds, one foot in the avant-garde and a second steeped in romance, from the lonely, frightened howl of his Symphony No. 15{{an|7}} to his tight-lipped, head-tripping experimental Jazz Suite No. 1. | + | No matter how we read it, Grignotti's evident debt to Bach rings clear in the crab cannons and "coded" notations his wry ''Buggeroni'' (1789). Listen, for example, to the reversable BDGDB motive, with its twisting and straining crab cannon and its [[veil]]ed notative references to the infamous [[Pietri Biberoni|'''B'''iberoni]], '''G'''rignotti, '''D'''iamanta love triangle. |
| + | Grignotti's more bizarre themes have yielded more outrageous interpretations than these lighthearted musical puns. Indeed, before Grignotti's disappearance, there were more than a few suggestions that his music supplied the [[La Ligue du Masque Cancéreux]] with encrypted directives. Pie-throwings, [[Ritual Murder|assassinations]] and [[ritual shoplifting]] were all variously linked back to "this madman's furtive work"{{an|4}}. But all these intellectual readings do little to explain the plaintive cries of ''The Sharper's Tale'' (1796) and the bitter stomp of ''A Sausage Became Her'' (1797); such heart tugging tunes suggest Grignotti was made of more emotive stuff. | ||
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| + | Perhaps Grignotti is best viewed as striking some peculiar balance, a sort of devil's bargain -- like Shostakovich, who, some hundred-fifty years later, straddled two worlds, one foot in the avant-garde and a second steeped in romance, from the lonely, frightened howl of his Symphony No. 15 to his tight-lipped, head-tripping experimental Jazz Suite No. 1. It's little wonder he was so torn, with some of early work (like the haunting march of his Symphony No. 7, [[27]] December 1941) written during the Siege of Leningrad, while [[Nazi Regime|Nazi]] troops were closing in on his Russian homeland, while later pieces found him cowed, desperately trying to please the oppresive regime that arose from within Russia herself. | ||
| == See Also == | == See Also == | ||
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| * [[God]] | * [[God]] | ||
| * [[Potato Cannon]] | * [[Potato Cannon]] | ||
| - | * [[Untieable knot]] | + | * [[The Untieable Knot]] |
| == Notes == | == Notes == | ||
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| {{anb|1}} The "canon cancrizans" (as it was originally termed) is a melodic counterpoint (or canon) which reverses the notes of the original melody (the cancrizans, or crab, scuttles backwards). | {{anb|1}} The "canon cancrizans" (as it was originally termed) is a melodic counterpoint (or canon) which reverses the notes of the original melody (the cancrizans, or crab, scuttles backwards). | ||
| {{anb|2}}That is, the notes B-A-C-H, where H is German for B natural. | {{anb|2}}That is, the notes B-A-C-H, where H is German for B natural. | ||
| - | {{anb|3}}Professor Newton Periwinkle, Arkham University Dept. of History, lecture notes circa 1952. | + | {{anb|3}}[[Dr. Periwinkle, Newton|Professor Newton Periwinkle]], ''Flying [[Pig]]s'', [[Grignotes]] '97, p. 13. |
| - | {{anb|4}}Some would say subtly mocked rather than mimicked, though, with all due respect, this reviewer finds a somewhat more heavy handed realization in Grignotti. | + | {{anb|4}}Author unknown, ''Conversations with [[Flambini Lamenti]], 1785. |
| - | {{anb|5}}That is, the notes B-B-A-A-A-G-G-A-A-A-B-B, in addition to forming a crab canon of sorts, are seen as refering to '''B'''i'''B'''eroni, di'''A'''m'''A'''nt'''A''', '''G'''ri'''G'''notti, di'''A'''m'''A'''nt'''A''', '''B'''i'''B'''eroni. | + | |
| - | {{anb|6}}These lighthearted musical puns have led to some more fanciful interpretations of some of Grignotti's more bizarre themes; indeed, even while before Grignotti's disappearance, there were more than a few suggestions that his music supplied the [[La Ligue du Masque Cancéreux]] with encrypted directives for pie-throwings, [[Ritual Murder|assassinations]] and [[ritual shoplifting]]. | + | |
| - | {{anb|7}}This stirring and usual work draws heavily from the haunting march of Shostakovich's own Symphony No. 7 ([[27]] December 1941) -- written during the Siege of Leningrad, while [[Nazi]] troops were closing in on his Russian homeland. | + | |
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Revision as of 16:19, 20 Nov 2005
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crab canon cc. 1. musical An ouroboric tune that plays the same backwards or forward.1 2. meta. That which is conceptually or literally reversible (e.g., palindromes, fancy down jackets, presidential elections, the construction of New Orleans, erections). 3. A mirrored reflection. (No, it clef, er…). 4. Thai term for a male prostitute. ExtrapolationBach appeals to the brain: pure head music. From the mathematically rendered precision of his cancrizans canons, looping and inverting like Möbius strips, to the cunning nomenclatural codings like his "signature" BACH motive2 ) -- Bach's music is a mirrored reflection of a stupefying intellect far removed from heart-wrenching, gut-twisting storms of Beethoven and Stravinsky. But where to place the enigmatic Paolo Grignotti? Though he clearly stands in the shadow of Bach's intellect, his operatic forays suggest we look elsewhere. Indeed, Grignotti's numerous musical references to Bach's Mass in B minor may be read as homage -- or as "cryptic and often mocking allusions, hinting of ironic insincerity"{an|3}}. While virtually all living critics agree on Bach's genius, Grignotti's opinion is open to debate. Does he display a sincere, an imatative mimickry? Or an insincere, subtly mockery? Or is it all simply a case of a somewhat more heavy handed realization by jealous Grignotti? No matter how we read it, Grignotti's evident debt to Bach rings clear in the crab cannons and "coded" notations his wry Buggeroni (1789). Listen, for example, to the reversable BDGDB motive, with its twisting and straining crab cannon and its veiled notative references to the infamous Biberoni, Grignotti, Diamanta love triangle. Grignotti's more bizarre themes have yielded more outrageous interpretations than these lighthearted musical puns. Indeed, before Grignotti's disappearance, there were more than a few suggestions that his music supplied the La Ligue du Masque Cancéreux with encrypted directives. Pie-throwings, assassinations and ritual shoplifting were all variously linked back to "this madman's furtive work"4 . But all these intellectual readings do little to explain the plaintive cries of The Sharper's Tale (1796) and the bitter stomp of A Sausage Became Her (1797); such heart tugging tunes suggest Grignotti was made of more emotive stuff. Perhaps Grignotti is best viewed as striking some peculiar balance, a sort of devil's bargain -- like Shostakovich, who, some hundred-fifty years later, straddled two worlds, one foot in the avant-garde and a second steeped in romance, from the lonely, frightened howl of his Symphony No. 15 to his tight-lipped, head-tripping experimental Jazz Suite No. 1. It's little wonder he was so torn, with some of early work (like the haunting march of his Symphony No. 7, 27 December 1941) written during the Siege of Leningrad, while Nazi troops were closing in on his Russian homeland, while later pieces found him cowed, desperately trying to please the oppresive regime that arose from within Russia herself. See AlsoNotes
Note 1: The "canon cancrizans" (as it was originally termed) is a melodic counterpoint (or canon) which reverses the notes of the original melody (the cancrizans, or crab, scuttles backwards). Note 2: That is, the notes B-A-C-H, where H is German for B natural. Note 3: Professor Newton Periwinkle, Flying Pigs, Grignotes '97, p. 13. Note 4: Author unknown, Conversations with Flambini Lamenti, 1785. |
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