PKD musical references
From owner-pkd@odyssey.jazzflavor.com Sat Jul 24 04:22:22 1999
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From: zebe
Subject: [PKD] Music references in Flow My Tears
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Ok here’s the report on Flow My Tears. If you want a different format
let me know.
Each of the four sections of the novel is introduced by a quatrain from
Dowland’s ‘Lachrimae Antiquae Pavan’.
Chapter 10
Moodily, General Buckman opened the third drawer of the large desk and
place a tape reel in the small transport he kept there. Dowland airs
for four voices... he stood listening to one which he enjoyed very
much, among all the songs in Dowland’s lute books.
...For now left and forlorn
I sit, I sigh, I weep, I faint, I die
In deadly pain and endless misery.
The first man, Buckman mused, to write a piece of abstract music. He
removed the tape and put in the lute one, and stood listening to
‘lachrimae Antiquae Paven. From this, he said to himself, came, at
last, Beethoven’s final quartets. And everythign else. Except Wagner.
He detested Wagner. Wagner and those like him, such as |Berlioz, had
set music back three centuries. Until Karlheinz Stockhausen in his
‘Gesang der Junglinge’ had once more brought music up to date.
... And, lstening once again to the ‘lachrimae Antiquae Paven’ thought,
Flow, my tears...
Chapter 19 - Alys Buckman
‘We have a good collection of Rilke and Brecht in interlinear
translation disks. The other day Felix came home with a quad and light
set of all seven Sibelius symphonies.’
Chapter 22 - describing Mary Anne Dominic.
She probably lived in a world of pots, clay, brown wrapping paper,
troubles with her little old Ford Greyhound, and, in the background,
the sound of the stereo only voices of the old-time greats: Judy
Collins and Joan Baez.
Chapter 24 - Felix Buckman on his ‘marriage’
‘So what?’ Buckman said. ‘Haven’t you read the libretto to Die
Walkure?’ tremblingly, he lit another cigarette. ‘Sigmunde and
Sieglinde. "Schwester und Braut" Sister and bride. And the hell with
Hunding.’
Chapter 27 - Felix Buckman again
Flow My Tears, he thought, the first piece of abstract music ever
written. John Dowland in his second lute book in 1600. I’ll play it on
that big new quad phonograph of mine when I get home. Where it can
remind me of Alys and all the rest of them. Where there will be a
symp[hony and a fire and it will be warm.
And that’s it for real recordings. I’ll briefly mention the fictional
music of the book seeing as the main character is a ballad singer!
His records include the single ‘Nowhere Nuthin’ fuckup’, and his album
titles include Taverner and the Blue Blue Blues and There’ll be a good
time with Taverner tonight (Chapters 18 & 20).
Heather Hart’s album is called the Heart of Hart.
In Chapter 21 Jason is in a cafe where they are playing Louis Panda’s
‘Memory of your nose’.
There is also a fashion at the time for ‘pornochords’. Alys Buckman
mentions one titled ‘Go Down Moses’ in Chapter 7.
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From owner-pkd@odyssey.jazzflavor.com Tue Jul 27 18:06:02 1999
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Date: Tue, 27 Jul 1999 20:00:35 -0500
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From: tomdill@wc.stephens.edu (TOM DILLINGHAM)
To: pkd@jazzflavor.com
Subject: [PKD] This is too brief to be offensive
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From: COSMO::TOMDILL "TOM DILLINGHAM" 27-JUL-1999 11:58:29.53
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Subj: Musical References: _In Milton Lumky Territory_
PKD seems to have imagined and represented Milton Lumky territory
as a nearly music-free environment. In 215 pages, there are only
three direct references to anything musical.
p. 14: Bruce Stevens arrives at a former girl-friend's
house: "In the living room a number of persons sat about
with drinks, listening to the phonograph plaing
Johnny Ray records."
p. 27: Bruce Stevens and Susan Faine are talking about
their first encounter: "'Of course,' he said, 'people
always say that.'
'A "Some Enchanged Evening" sort of thing.' She
smiled, 'instantaneous identification of the beloved.'"
p. 52: Bruce Stevens remembers his childhood as "repetitious
and futile" except for his encounter with classical music.
"The _Gazette_ had run an offer to mail out phonograph
records of great symphonic masterpieces for coupons clipped
from the daily paper." (p. 51) He collects coupons and
receives the first shipment of "World's Greatest Symphonies."
"The names of the orchestra and the conductor were not
given. This particular set of records--it had no album,
only paper sleeves--turned out to be the Haydn Symphony
Number 99. He played it on the table-model phonograph,
which he had gotten as a Christmas present during junior
high. Up to then his musical taste had run to Spike Jones,
and after that it more or less still did. But that
particular symphony had an enormous impact on him; it
had affected him to the soles of his feet. He played
the three records until they turned white and wore away
into noisy hissing."
Those who grew up in the 50's will remember the kind of "record club"
that distributed unidentified European recordings by mail, usually
at very low prices. I still have several of them in my collection.
What is troublesome about this reference to the Haydn symphony is
that there is no apparent connection with anything else about
Bruce Stevens's character. He never mentions it again and to
the extent that he is portrayed as self-centered and inclined
not to feel very much about anything (see Milton Lumky's rant
on pages 150-163), this would have to qualify as one of the
few times in the character's life that he responds to anything
outside himself. A testimonial to the power of music in PKD's
mind, if nothing else.
Tom Dillingham
From owner-pkd@odyssey.jazzflavor.com Wed Jul 28 19:32:34 1999
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Date: Wed, 28 Jul 1999 20:39:23 -0500
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From: tomdill@wc.stephens.edu (TOM DILLINGHAM)
To: cjane01@students.bbk.ac.uk, PKD@jazzflavor.com
Subject: [PKD] Musical References: Do Androids Dream of Electric Sheep
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The first page numbers below are from the Signet 1969 paperback;
the second numbers are from the Del Rey 1982 version of _Blade Runner_
which may be a more accessible version.
All but one of the musical references in DADOES are connected to
the retiring of the android opera singer, Luba Luft. Almost all
of those refer to roles in Mozart's operas, _The Magic Flute_
and _Don Giovanni_.
63/79: "I particularly would like to see her as Donna
Anna in _Don Giovanni_. In my personal collection
I have tapes by such old-time greats as Elizabeth
Schwarzkopf and Lotte Lehmann and Lisa Della
Casa . . ."
68-70/85-86: "As he entered he recognized the music: Mozart's
_The Magic Flute_, the first act in its final scenes.
The moor's slaves--in other words the chorus--had
taken up their song a bar too soon and this had
nullified the simple rhythm of the magic bells.
What a pleasure; he loved _The Magic Flute_."
[this passage continues, describing Rick
responding to the words "Konnte jeder brave
Mann/solche Gloeckchen finden" and he watched
the rehearsal to its end, then goes to Luba
Luft's dressing room]
71/90: Luba Luft says: "My accent . . . is perfect.
It has to be for roles, for PURCELL, and
WALTON, and VAUGHAN WILLIAMS. But my
vocabulary isn't very large."
75/95 and 96/125: two more passing references to
_The Magic Flute_.
114/150: Rick brings home the "black Nubian goat" and
his wife reacts: "Iran said in an odd little
voice, "'My life is love and pleasure.' An
old, old song by Josef Strauss. Remember?
When we first met?"
122/161: Rick at the hotel, waiting for Rachel:
"Do androids dream?," Rick asked himself.
Evidently; that's why they occasionally
kill their employers and flee here. A better life.
Without servitude. Like Luba Luft; singing
_Don Giovanni_ and _Le Nozze_ instead of toiling
across the face of a barren rock-strewn field."
[Personal note: this surprised me--my memory suggested
far more musical references in DADOES. Implanted?
It seems to me that Rick's responses to musice are
important in relation to a recurrent question about
the book. PKD plants the love of music in characters
he tends to like or approve of; in this case, he seems
to suggest a connection between love of music and
the capacity for empathy, which would weigh in on the
side of Deckard being definitively human, not an android.
Of course, this does not satisfy the questions about
Deckard in _Blade Runner_, since music does not play
the same role in the screenplay.]
Tom Dillingham
From owner-pkd@odyssey.jazzflavor.com Wed Jul 28 20:41:24 1999
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Wed, 28 Jul 1999 23:32:36 -0400 (EDT)
Date: Wed, 28 Jul 1999 23:32:35 -0400 (EDT)
From: Gabriel McKee
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Subject: [PKD] PKD music references: game-players of titan
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Here's the report for game-players, and if you don't want to read it you
don't have to. to heck with votes. (also, I'd like to stake a claim for
The Zap Gun, since "man whose teeth" is now taken.)
There was surprisingly little to note in game-players, considering one of
the main characters owns a record store. Most of what is mentioned comes
in the form of a discussion between Joe Schilling and Pete Garden over who
was a better tenor: Tito Schipa or Gigli (first name unknown, though I
could find it out without too much trouble). This discussion occurs in
ch. 4 (pages 26-30 in the 1992 vintage edition), and the specific pieces
mentioned are _Don Pasquale_ (an opera by Goetano Donizetti), "thy tiny
hand is frozen" (an aria from _La Boheme_ by Puccini), and _una Furtiva
Lagrima_ (i;m not sure who the composer is for this one, i forgot to look
it up). Also mentioned (by a customer in Schilling's store) is a
recording of Claudia Muzio singing the Letter Scene from _La Traviata_ by
Giuseppe Verdi. Late in the same chapter, Les and Es Sibley enter the
store,and enter into a discussion with Pete Garden on vocal recordings.
They metnion that they own a few Suprevia recordings-- I assume this is a
label, rather than a performer. In the Vintage edition (p 29), Pete
states that he considers Aksel Schitz singin _every Valley_ is the finest
vocal recording ever made-- first, the piece is from Handel's _Messiah_,
second, this is a typoo-- the tenor's name is Aksel Schiotz (or perhaps
Askel, my notes are confusing me). Nats Katz, of course, is fictional.
Also mentioned (p 34, but elsewhere as well) are HMV recordings--also
presumably a record label.
later (p 88), Schilling mentions that the McClains have bought Jussi
Bjoerling records from him--another operatic tenor. In the final chapter,
Schilling finds himself in Les and Es Sibley's house; they ask him about a
record of Erna Berger performing the Queen of the Night aria from Die
Zauberflote-- _The Magic Flute_ by W.A. Mozart. They are listening to a
piece called _the Cherry Duet_ which Schilling cannot stand, but whether
this is because of the piece itself or his mental state at the time is
unclear. I was unable to locate a compser for this piece.
The only other reference of note is a quotation in ch. 10 (p 107): "Things
are seldom what they seem; Skim-milk masquerades as cream," attributed to
W.S. Gilbert (of Gilbert and Sullivan) in the text, the line is from _HMS
Pinafore_.
The musical references in _Game-Players of Titan_ seem to serve the
purpose of characterizing Schilling and Garden. But why tenors? For the
most part, it comes across as Phil showing off his audiophile expertise.
Gabriel.
From owner-pkd@odyssey.jazzflavor.com Wed Jul 28 21:41:30 1999
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Date: Wed, 28 Jul 1999 23:25:36 -0500
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From: tomdill@wc.stephens.edu (TOM DILLINGHAM)
To: pkd@jazzflavor.com
Subject: Re: [PKD] PKD music references: game-players of titan
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Just a couple of footnotes to Gabriel's excellent report on
_Game Players of Titan_:
It's Beniamino Gigli
Suprevia is probably the great soprano Conchita Supervia
"Una Furtiva Lagrima" is from Donizetti's _L'Elisir d'Amore"
Erna Berger's performance of Queen of the Night is
IMHO the greatest on record--really unsurpassed,
though maybe Luba Luft could have equalled her
The "Cherry Duet" is nagging my memory, but I can't place it.
I agree that it is tempting to suspect PKD of parading his
specialized knowledge of classical recordings, and that is
probably reason enough for the dialogue, but that kind of
information is a kind of currency among people who know
it--an arty version of having the rarest baseball cards
and knowing the stats on them--but I do think PKD usually
has more on his mind when he puts that dialogue into his
characters' mouths. _Game Players_ is so far in my past
that I would have to re-read it to guess any other purpose
except for the Gilbert and Sullivan quotation, which is
from a wonderfully funny patter song about masquerades
and deceptions offering a catalogue of "humble" objects
masquerading as more "noble" or exalted objects (or people).
Thematically that is very relevant, if I remember right,
to _Game Players_.
Tom Dillingham
From owner-pkd@odyssey.jazzflavor.com Thu Jul 29 01:38:50 1999
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Date: Thu, 29 Jul 1999 01:24:16 -0700
From: Jim Flannery
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Subject: Re: [PKD] PKD music references: game-players of titan
References: <99072823253607@wc.stephens.edu>
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TOM DILLINGHAM wrote:
>
> the Gilbert and Sullivan quotation, which is
> from a wonderfully funny patter song about masquerades
> and deceptions offering a catalogue of "humble" objects
> masquerading as more "noble" or exalted objects (or people).
> Thematically that is very relevant, if I remember right,
> to _Game Players_.
And to _MitHC_, where the same line is a coded message from Tokyo to Mr. Tagomi,
referring to the imminent arrival of Baynes/Wegener (tho here lacking (or even
inverting) the humble/noble relation).
Long as these are starting to pop up on the list, I might as well forward my
notes on MitHC, following ...
--
---------------------------------------------------------------
Jim Flannery newgrange@sfo.com
"The pleasure of collecting is in achieving
orderliness and completeness."
-- Dr. Benjamin Spock
From owner-pkd@odyssey.jazzflavor.com Thu Jul 29 01:43:54 1999
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Date: Thu, 29 Jul 1999 01:26:18 -0700
From: Jim Flannery
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notes (no pun intended) on _Man in the High Castle_:
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From: Jim Flannery
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Subject: Re: [PKD] PKD and classical music (aka Me and My Big Mouth)
References: <199907211542.IAA22419@netcom10.netcom.com> <3796C276.E4E43190@students.bbk.ac.uk>
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OK,
_Man in the High Castle_
pagination from 1981 Berkeley mass-market edition
p. 18
Mr. Tagomi receives a coded message from Tokyo about Baynes/Wegener:
The key phrase, 'skim milk in his diet,' referred to _Pinafore_, to the
eerie song that expounded the doctrine, '...Things are seldom what they
seem -- skim milk masquerades as cream.'
(Gilbert & Sullivan)
p. 79
death of Bormann announced:
'... all Reich stations cancelled scheduled programs and listeners heard
the solemn strains of the Chorus of the SS Division _Das Reich_ raised
in the anthem of the Partei, the _Horst Wessel Lied_.'
(composer?)
p. 90
Tagomi panicked at meeting on Nazi succession:
Think along reassuring lines. Recall order of world. What to draw on?
Religion? He thought, now a govotte perform sedately. Capital both,
capital both, you've caught it nicely. This is the style of the thing
precisely. Small form of recognizable world, _Gondoliers_. G&S. He shut
his eyes, imagined the D'oyle Carte Company as he had seen them on their
tour after the war. The finite, finite world ...
p. 99
Childan dines at the Kasouras:
Seated on the soft carpet with their drinks, they listened to a
recording of koto, Japanese thirteen-string harp. It was newly released
by Japanese HMV, and quite popular.
p. 104
same:
Betty said, 'Most true. Average taste really deplorable.'
'As in music,' Paul said. 'No interest in authentic American folk
jazz, as example. Robert, are you fond of say Bunk Johnson and Kid Ory
and the like? Early Dixieland jazz? I have record library of old such
music, original Genet recordings.
Robert said, 'Afraid I know little about Negro music.' They did not
look exactly pleased with his remark. 'I prefer classical. Bach and
Beethoven.' Surely that was acceptable. He felt now a bit of resentment.
Was he supposed to deny the great masters of European music, the
timeless classics in favor of New Orleans jazz from the honky-tonks and
bistros of the Negro quarter?
'Perhaps if I play selection by New Orleans Rhythm Kings,' Paul
began, starting from the room, but Betty gave him a warning look. He
hesitated, shrugged.
pp. 148-9
Juliana and Joe enroute to Denver:
The car radio played mushy beer-garden folk music, an accordion
band doing one of the countless polkas or schottishes; she had never
been able to tell them one from another.
'Kitsch,' Joe said, when the music ended. 'Listen I know a lot
about music; I'll tell you who a great conductor was. You probably don't
remember him. Arturo Toscanini.'
'No,' she said, still reading.
'He was Italian. But the Nazis wouldn't let him conduct after the
war, because of his politics. He's dead, now. I don't like that von
Karajan, permanent conductor of the New York Philharmonic. We had to go
to concerts by him, our work dorm. What I like, being a wop -- you can
guess.' He glanced at her. 'You like that book?' he said.
'It's engrossing.'
'I like Verdi and Puccini. All we get in New York is heavy German
bombastic Wagner and Orff, and we have to go every week to one of those
corny U.S. Nazi Party dramatic spectacles at Madison Square Garden, with
the flags and drums and trumpets and the flickering flame. History of
the Gothic tribes or other educational crap, chanted instead of spoken,
so as to be called "art." Did you ever see New York before the war?'
p. 160
Baynes/Wegener, on being informed of Yatabe/Tedeki's arrival:
As soon as he had shaved, Mr. Baynes hopped into the shower. As
water roared around him he sang at the top of his lungs:
'Wer reitet so spat,
Durch Nacht and den Wind?
Es ist der Vater
Mit seinem Kind.'
(Goethe's _Erlkönig_, presumably Schubert)
pp. 218-9
Tagomi wrestles with Frank's pin in Portsmouth Square:
Curse at it, he told himself. Frighten it.
'My patience is running out,' he said sotto voce.
And what then? Fling you in the gutter? Breathe on it, shake it,
breathe on it. Win me the game.
He laughed. Addlepated involvement, here in warm sunlight.
Spectacle to whoever comes along. Peeking about guiltily, now. But no
one saw. Old men snoozing. Measure of relief, there.
Tried everything, he realized. Pleaded, contemplated, threatened,
philosophized at length. What else can be done?
Could I but stay here. It is denied me. Opportunity will perhaps
occur again. And yet, as W.S. Gilbert says, such an opportunity will
_not_ occur again. Is that so? I feel it to be so.
(_Patience_, act 1 finale:
Come, walk up, and purchase with avidity,
Overcome your diffidence and natural timidity,
Tickets for the raffle should be purchased with avidity,
Put in half a guinea and a husband you may gain--
Such a judge of blue-and-white and other kinds of pottery--
From early Oriental down to modern terra-cottary--
Put in half a guinea -- you may draw him in a lottery--
Such an opportunity may not occur again.
)
(does this count?):
p. 223
same:
Focus on silver triangle once more, he told himself when he could
breathe. Scrutinize it forcefully and count. At ten, utter startling
noise. _Erwache_, for example.
p. 242
Abendsen explains why he left the castle:
'I thought you lived in a fortress,' Juliana said.
Bending to regard her, Hawthorne Abendsen smiled a meditative
smile. 'Yes, we did. But we had to get up to it in an elevator and I
developed a phobia. I was pretty drunk when I got the phobia but as I
recall it, and they tell it, I refused to stand up in it because I said
that the elevator cable was being hauled up by Jesus Christ, and we were
going all the way. And I was determined not to stand.'
She did not understand.
Caroline explained, 'Hawth has said as long as I've known him that
when he finally sees Christ he is going to sit down; he's not going to
stand."
The hymn, Juliana remembered.
(If this is a reference to a hymn in the book, I missed it completely;
the Protestant chestnut, 'Stand Up, Stand Up for Jesus,' perhaps?)
--
---------------------------------------------------------------
Jim Flannery newgrange@sfo.com
"The pleasure of collecting is in achieving
orderliness and completeness."
-- Dr. Benjamin Spock
--------------53AE65ED2F474CDA7278D242--
From owner-pkd@odyssey.jazzflavor.com Thu Jul 29 09:34:17 1999
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Date: Thu, 29 Jul 1999 11:07:27 -0500
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From: tomdill@wc.stephens.edu (TOM DILLINGHAM)
To: pkd@jazzflavor.com
Subject: Re: [PKD] PKD music references: game-players of titan
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"seem to serve the purpose of characterizing Schilling and Garden.
But why tenors?" Well, tenors and sopranos. I think the
simple version--just to offer details about the characters along
with showing off audiophilia--is probably a good hypothesis that
would apply to more than one of the instances in the various
novels. But I would venture one other possibility. We know that
the transience of physical objects, especially, but also of
institutions and even human identities, is a major concern in
PKD. ("kipple" in DADOES, the failing "printer," the Mare
Nostrum as a realm of death in _Pot-Healer_, everything in
_Ubik_ and so on and on) If I remember _Game Players_ right,
various forms of games of chance (the ultimate in uncertainty,
dependence on "luck," sudden gain, instant loss--total
transformation of the way things are in a split second)
dominate the social, political, economic conditions created
by the Vugs. PKD seems to have seen something that is very
visible in the US and has been for a while--the "collecting
impulse" that prompts people to amass old things that in
themselves seem to preserve a more "genuine" or "honest"
or aesthetically pleasing past. (Since I am in the
middle of _Counter-Clock World_ at the moment, this would
suggest that one of PKD's ultimate nightmares would bhe
be the inevitable erasure of all art and culture as well
as technology in a time-reverse situation.) The people
who try to hold on to "
old things" (the Americana sold as antique treasures in
MitHC, for example) are trying--against impossible odds==
to maintain a connection with things that seem to be
part of the definition of a true "human" world by
contrast with the "plastic" or inhuman constructs,
always impermanent, "always already" decayed (as in
"planned obsolescence" or "instant obsolescence" in
the case of computer technology).
Maybe the ultimate "victory" in that effort would be
the successful work of Joe Fernwright who is able
to restore potsherds to their original perfection.
The essential image of the ravages of time--broken
pieces of pottery--can be reversed in the pot-healer's
profession.
This is getting pretty long, but one of the things I
suspect is that PKD is working with a notion that
somehow great works of art--music, especially, and
poetry, maybe others, though he is not as likely
to allude to visual arts (even with the Munch
exhibition in DADOES)--may have a kind of permanence
and imperishability not granted to other physical
or human creations. Specifically, as in sound
recording, especially (or in pot-healing) the
artistic achievements can outlive the physical
artists and those who appreciate and preserve the
recordings (the audiophiles) contribute to the
preservation. (This makes Mavis McGuire a truly
appalling villain as she ruthlessly obliterates
all such records.)
It's just a thought.
Tom Dillingham
From owner-pkd@odyssey.jazzflavor.com Tue Jul 27 18:06:24 1999
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From: tomdill@wc.stephens.edu (TOM DILLINGHAM)
To: pkd@jazzflavor.com
Subject: [PKD] So nobody seemed much opposed
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From: COSMO::TOMDILL "TOM DILLINGHAM" 26-JUL-1999 19:27:02.30
To: SMTP%"cjane01@students.bbk.ac.uk"
CC: TOMDILL
Subj: Galactic Pot-Healer Musical references
I am using the Berkeley Medallion printing from 1974 (02569-095) so the
page numbers refer to this printing.
p. 15: Joe Fernwright says: "BEETHOVEN'S music is firmly rooted in
reality. That's what makes him unique. On the other hand,
genius as he was, MOZART . . ."
p. 42: "When he awoke he heard only the sound of the MAHLER "Fourth"
and a low murmur of voices."
(Note--at this point of the story, the hero is awakening on
board a spaceship during his first trip off earth; Mahler's
Fourth symphony includes a song, "Das Himmlische Leben,"
in which the voice of a child describes the pleasures of
living in heaven; it is about shunning what is earthly,
and certainly fits thematically with Joe's situation.
Also, the second movement of the symphony is sometimes
described as a "danse macabre" or dance of death. That
is also thematically tied to the situation on Plowman's
Planet with the Glimmung.)
p. 103: Willis the robot rants about the grossness of radio broadcasts
including advertising: "They're playing BEETHOVEN'S "Ninth"
Then there's a commercial for a hernia belt. Then the
Good Friday music from WAGNER'S _Parsifal_. Then an ad
for an ointment that cures athlete's foot. Then a chorale
from the BACH cantata _Jesu du Meine Seele_. Then an
ad for a rectal suppository used in the treatment of piles.
Then PERGOLESI'S _Stabat Mater_. Then an ad for a false=
teeth dentifrice. Then the 'Sanctus' from the Verdi
_Requiem_. Then a laxative ad. Then the 'Gloria' section
from HAYDN'S _Mass in Time of War_. Then an ad for an
analgesic used for female monthly disorders. Then a chorale
from the _Saint Matthew Passion_. Then an ad for cat
litter."
(note--I forgot to capitalize VERDI; also, it is clear that
the robot also prefers to "shun" earthly physical things in
favor of the more celestial music--all the pieces mentioned
have a focus on the heavenly and divine.)
pp. 112-113: Joe thinks of the line "Cursed with an appetite keen I
am" and then remembers: "From _Princess Ida," he said to
no one. "Sung by Cyril in act two, in the gardens of
Castle Adamant."
Joe goes on to suspect that since Willis the robot had
quoted Yeats, "Surely it would be equally familiar with
W.S. Gilbert." later
pp. 126-127: Joe again thinks of W.S. Gilbert and tells the story of
his accidental death trying to rescue a drowning girl. Since
Joe tries to rescue the Glimmung from the sea (that's
"Mr. Glimmung" to us, I guess), there is a thematic connection
I admit that there is no direct reference to Sir Arthur
Sullivan, who is actually the composer involved, but the
use of the title of the opera certainly constitutes a direct
reference to his work.
Special Note: There is a question about a possible "reference"
so indirect as to be open to challenge, but I think it is
important. The Glimmung recruits/kidnaps a substantial number
of experts because he/she wants to raise a cathedral from the
ocean floor (from the floor of Mare Nostrum) on his planet.
One of the more famous piano pieces (also arranged for
orchestry) of Debussy is "La Cathedrale Englouti" or
The Sunken Cathedral. While it remains to be seen whether
PKD ever mentions the name Debussy in his work, I would
strongly suspect that the story of the sunken cathedral was
in his mind as he wrote this and that Debussy's music must
have been familiar to him, whether he liked it or not. The
absence of a direct reference to Debussy may be important,
but except for an understandable reluctance to get embroiled
in constant explanations of the piece, the only reason I
can think of for avoiding the reference would be that Debussy
might not have been a composer PKD admired. I suspect he
did not, in fact, based on his other tastes.
So much for _Galactic Pot-Healer_.
Tom Dillingham
From owner-pkd@odyssey.jazzflavor.com Thu Jul 29 14:52:24 1999
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From: "Lynn D Dewees"
To: "Severyn Janes" ,
Subject: [PKD] Mary and the Giant
Date: Thu, 29 Jul 1999 17:04:55 -0400
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Here is my summary of the musical references from May and the Giant. I'm
posting to the list AND directly to Severyn. This goes on at some
length.... This is a novel centered around a music shop owner, a folk singer
and a pianist.....there's music references EVERYWHERE!!!!! Unless it was
obvious to me that the song / singer / composer was made up for purposes of
the novel, I've listed it here. Many of the references are unknown to me.
What I'd really like to do next is track down some of these recordings to
see HOW they actually fit (if they do) with the scenes.
Working from the St. Martin's Press, Paperback edition of the novel
Page 20... introducing characters and settings.....
"I thought I heard, " he [Paul Nitz, pianist, major character, possible
candidate for Giant of the title] murmered, "Buddy Bolden say." Into the
texture of his music he wove a hint of the old Dixie tune. The thread,
elaborated and diminsihed, was lost in the dominant theme: the bop tune
"Sleep".
Page 32.... setting up a relationship between two of the main
characters......
Tweany [Carleton B. Tweany, local black folk singer, and one of several
potential candidates for The Giant of the title] went over and turned on the
radio. The sound of Sara Vaughan drifted out and into the living room."
Page 33.... continuation of previous characterization......
"Sing 'Water Boy.'"She [Mary Anne Reynolds, the Mary of the title] smiled
at him. "I like that....
Page 54....Chapter opening, setting the scene for a meeting between several
of the main protagonists, at the music store owned by Joseph
Schilling.......
"In the display window was a photograph of Walter Gieseking and two long
playing records half-slid from their bright covers"....."The Saint-Saens
Organ Symphony echoed through the open doorway"
Page 61.... character / setting...preparing the way for important event
later in novel.........
"In the corner, her [Phyllis Squire, minor character] white enamel radio
played a Perez Prado mambo.
Page 64....establishing relationship between two main characters.........
"I'm a bop player." Nitz reddened and avoided the girl's accusing stare. "To
me, folk music is like Dixie: a dead hores. It stopped growing back in the
days of James Merrit Ives....."
"What about 'Old Man River'?" Tweany sang "Ol' Man River' at least once a
night and it was one of her favorites.
At that, Nitz grinned. "See what I mean? 'Ol Man River' was written by
Jerome Kern."
"For my first number," Tweany rumbled in his furry sing-song ,"I will sing a
work that expressses the bitter terror of the Negro people in their ages of
bondage. You may have heard it before." He paused. "'Strange Fruit.'"
Page 65.......Character development and setting the scene for crucial events
of next chapter....
Carelton Tweany thereupon sang "Got Grasshoppers in My Pillow, Baby, Got
Crickets All In My Meal"
"For my last number," Tweany declared when he had finished, "I shall sing a
composition that has found special favor in the hearts of all Americans,
both Caucasian and Negro. It is a song that unites all of us in memories as
we near the moment in which we celebrate the birth of One Who died to redeem
us all, whatever our race, whatever our color."
Half-closing his eyes, Tweany sang "White Christmas"
Page 67.......The following pages (67,69,70,71) show some of the
relationships between the important characters as the story builds to an
important plateau......
"That song about grasshoppers...that's an old Leadbelly tune, isn't it?"
Half-listening to Nitz and the blond woman [Elizabeth Coombs, important
secondary character] rambling on about Blind Lemon Jefferson...
Page 69
NOTE: In the quote below, Sid Hethel is a very minor character in the novel
and therefore probably not a real composer. I'm not sure about the other
two names.
"It's not old. It's still going on; the same material you're doing, only
they don't call it by the same name.Milhaud, up in Oakland. And Roger
Sessions is at Berkeley; go listen to him. Sid Hethel is at Palo Alto...."
Page 70
"I thought it was nothing but Mozart," Nitz said.
Page 71
"A gentleman" Tweany stated. "We had quite an interesting talk about Bascam
Lamar Lunsford. He played an ancient Lunsford record for me, cut around
1927...."
Page 90 ....This chapter is a critical event, creating waves and ripples
through much of the rest of the novel....
NOTE: The musical references on pages 90, 91 and 92 come fast and furious
and lead the assembled group into a wild frenzy, practically an orgy, which
is finally broken up by the arrival of the police. I don't know any of the
music involved....I wonder if the music builds in the same way as the party.
"Shut up, Danny", Beth said good-naturedly, beginning a progression that
formed into a Faure ballad.
Beth showed a great shower of musical sparks; a Chopin prelude, followed at
once by the opening of the Liszt B-flat sonata.
"Do you know Shubert's 'Erlkonig'?" Beth asked, playing furiously.
Beth hurried back to the piano and struck up the opening chords of a Chopin
"Polonaise"
Page 91
"Look at me!" Lemming [Chad Lemming, folk singer, very minor character]
shouted, waving his arms and panting for breath. "What am I? Tell me what I
am!"
Beth began to play "Poor Butterfly"
Page 92
At the moment, they were playing "John Henry"
Page 101.... Daniel Coombs is sitting in his car with a loaded weapon,
waiting to kill Tweany.....
Clicking on the car radio, he [Daniel Coombs, cuckolded husband of
Elizabeth] tuned in the good music station at San Mateo and listened to the
Brahms Third Symphony.
Now they were playing the Berlioz Roman Carnival Overture. He wondered if
there was an opear called Roman Carnival or if it was one of *those*
overtures.
For the space of one Berlioz overture Coombs considered driving around to
the record shop....
Page 105....A lull in the story, more character development and a repeat of
the song "Sleep".....
"I think we were in a class together." He turned up a radio by hius elbow.
"Dig this." Progressive jazz drifted out and mixed with the sounds of
traffic. "Recognize it?"
"Naturally. Earl Bostic's 'Sleep.'"
Page 113......Setting the scene for the next important event in the
novel.........
>From the records on the counter he [Joseph Schilling, main character, record
store owner, second candidate for Giant of the title] selected Handel's
Water Muic and started in playing.
Page 118...Schilling talking to Nitz. Character development of Nitz.......
"Ever heard of a fellow named Arnie Scheinberg?"
"Schonberg", Schilling corrected. He couldn't tell if he was being made fun
of. "Arnold Schonberg. He wrote the Gurrelieder."
Page 120......Schilling talking to Mary Anne after hiring her at his
store..........
"Suppose I came in here and say to you: 'I heard a Bach piano concerto
played on the violin. What is it?' Could you do anything with that?"
Page 121......Same scene as above..................
"...Suppose someone comes in and asks you for a good Dvorak symphony. You
better be sure how many he wrote, which are the best recordings and what we
have in stock. And you've got to know Smetana and Brahms and Suk and Mahler
and all the other composers a buyer of Dvorak might enjoy."
"Listen to what your friend is playing." The rattle of a Chavez percussion
experiment was audible.
Page 129..........Schilling and Mary Anne on their way to a record dealer's
party.......
"I like that, " she said, inclining her head.
"Do you recognize it?"
She meditated. "Beethoven."
"It's the Hayden Drumroll Symphony."
Page 131......At the party.............
Over the mutter of voices roared the titanic Mahler Symphony No. 1
NOTE: Also on this page is a discussion of the "Diotronic binaural system"
for playing recordings....This sounds to me like what would eventually
become known as stereo? Anyone else know for sure?
Page 153.......Schilling and Mary Anne at a diner, after consumating their
relationship.......
"Look - these are all jump tunes. All 'Jazz at the Phil' stuff...could I
play one? Could I play this Roy Brown tune? 'Good Rockin'Tonight,'it's
called. Would you mind?"
Page 163........At Mary Anne's apartment, leading up to major
events...........
"What;s that?" Mary Anne asked. "That music."
"A Chopin piano concert."
"Isn't in good?"
"It's somewhat cheap."
NOTE: I don't know whether he is saying the piano concerto is cheap or the
rendition is cheap.
"Oh," She nodded. "Will you tell me which ones are cheap?"
"Gladly; that's half the fun. Anybody can enjoy music; it's disliking it
that takes training."
"I have some records," she said, "but they're all pops and jump tunes. Cal
Tjader and Oscar Peterson. My roommate listens to mambo records."
Page 165.......Schilling and Mary Anne enjoying a peaceful moment, sort of a
calm before the storm.........
He put on his big Magnavox phonograph, set the record changer for
seventy-eight speed, and then, while it was warming up, entered the pantry
and looked over his wine. Without consulting her he selected a bottle of
Mackenzie's Fino Perla sherry, found two small wineglasses and returned to
the living room. Presently they were spawled out listening to Heinrich
Schlusnus singing "Der Nussmaum"
...he put on another record and retured to his chair. She listened
attentively until it was over and he was turning the record.
:What was that?" she asked.
"Askel Schiotz." Then he added the title of the work.
NOTE: From about page 165 to page 224, all of the plot elements wind up and
are (mostly) sorted out. No music is mentioned throughout this critical
part of the book....
Page 224....Beginning of denouement.........Nitz is speaking to Mary
Anne......
"Plenty of times. I'll take you to the Hangover Club to hear Kid Ory."
Page 228.....Next to final scene of the novel................Mary Anne is
sitting in the park talking to a stranger............
"...haven't heard any music in the last few years, not since the war, that
can compare to Richard Tauber."
"That's square," Mary Anne said, playing with the baby's hand. "Isn't it,
Paul?"
"And Jeanette MacDonald," the kindly middle-aged lady said nostalgically.
"I'll never forget her and Nelson Eddy in Maytime.
From owner-pkd@odyssey.jazzflavor.com Fri Jul 30 01:19:55 1999
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From: "Umberto Rossi"
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Subject: Re: [PKD] PKD music references: game-players of titan
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> Tito Schipa or Gigli (first name unknown, though I
> could find it out without too much trouble).
Tito Schipa is one of the great Italian tenors of the 20s and 30s, not a
good as Beniamino Gigli or Mario del Monaco (the greatest with
Caruso), but outstanding all the same.
>This discussion occurs in
> ch. 4 (pages 26-30 in the 1992 vintage edition), and the specific pieces
> mentioned are _Don Pasquale_ (an opera by Goetano Donizetti), "thy tiny
> hand is frozen" (an aria from _La Boheme_ by Puccini),
So that's the rendering of "quella gelida manina"? Awful!
> and _una Furtiva
> Lagrima_ (i;m not sure who the composer is for this one, i forgot to look
> it up).
Una furtiva lacrima. I *guess* it's Puccini but here I might be wrong.
> Late in the same chapter, Les and Es Sibley enter the
> store,and enter into a discussion with Pete Garden on vocal recordings.
> They metnion that they own a few Suprevia recordings-- I assume this is a
> label, rather than a performer.
I am a bit of a melomane myself, but never herd about a singer with that
name; besides, it does not appear in my small encyclopedia of music.
> HMV recordings--also
> presumably a record label.
His Master's Voice, a famous classical music label now disappeared,
which was translated in Italy as La voce del padrone.
Umberto Rossi
"...io vedea la virtute esser spenta, e i vizi sollevati"
Gerolamo Savonarola
From owner-pkd@odyssey.jazzflavor.com Sat Jul 17 00:47:35 1999
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Date: Sat, 17 Jul 1999 07:55:58 +0100
From: Severyn Janes
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Subject: Re: [PKD] PKD and classical music
References: <99071614031379@wc.stephens.edu>
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Maybe each of us could read 1 book each for the musical references, and
then we could put them all together on the list. There must be enough
people here to make that work, and reading 1 PKD book shouldn't be too
arduous.
Severyn
TOM DILLINGHAM wrote:
>
> The suggestion from Steven Lewis is a fascinating one, but would
> be an arduous task--there are so many musical (and poetic)
> references scattered through the novels and stories--collecting
> them all would take a lot of time,
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