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Kevin Reeves - The Composers: A Hystery of Music

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A Hystery of Music, is a satirical look at 50-odd composers. This shamelessly anecdotal book touches on the eating habits of Rossini; and the general contempt certain composers held for certain other composers.

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title The Composers A Hystery of Music author Reeves Kevin - photo 1

title:The Composers : A Hystery of Music
author:Reeves, Kevin.
publisher:Sound And Vision
isbn10 | asin:0920151299
print isbn13:9780920151297
ebook isbn13:9780585141671
language:English
subjectComposers--Caricatures and cartoons, Composers--Biography.
publication date:1998
lcc:ML390.R33 1998eb
ddc:780/.92/2
subject:Composers--Caricatures and cartoons, Composers--Biography.
Page 3
The Composers
A Hystery of Music
Kevin Reeves
Sound and Vision Toronto Canada Page 5 Preface I created - photo 2
Sound and Vision
Toronto, Canada
Page 5
Preface
I created my first composition at the age of sevenby mistake. It happened in my basement, on my upright piano, in front of my upright piano teacher. The lesson had just begun and he was watching my poised fingers with the stern impatience of a man who knows he has been sentenced to one hour of unfortunate music-making. I can still remember his soft words of disappointment: 'Poor Bach,' he would sigh. 'Danny played Mozart this week and Mozart lost,' he would mutter as my eyes desperately combed the keyboard for the right note (or at least for a note that might somehow sneak its way unnoticed into the harmony of the piece).
Perhaps out of boredom, perhaps in an attempt to occupy his hands before he found them wrapped around my neck, my teacher would take pencil to paper and begin to doodleright there in the middle of some obliterated gavotte.
The imagination of a young child holds no boundaries and I quickly deduced, out of my periphery, that he was either writing his Last Will and Testament or perhaps, worse yet, carefully drawing 'the black spot' he would hand to me at the end of the lesson. And so the hours would usually pass at an unbearable largo, highlighted by winces exchanged between student and teacher as the unimaginable became part of the sacred: Schoenberg met Mozart on every page to the shrieks of 'Oh no!' from my weary onlooker.
This time, however, it would be different. Bela Bartok and I had spent a week together and I really felt I understood him. More important, I thought he understood me. His careful intertwining of treble voices had me at that 'musical alter' (the teacher's words) at every moment. 'Thank you, Mr. Bartok,' I thought, 'thank you.'
Finally I would have revenge on the red-haired slave driver responsible for my exactly 30-minutes-a-day of misery; responsible for my being banished to the basement, six days a week, to survive on a diet of nursery-rhyme tunes.
The lesson began. Bartok and I worked our magic. 'Each note in place and brilliantly played,' I thought as I brought my eyes around to my instructor after the suitable silence that
Page 6
belongs to any artist responsible for such perfect moments. Our eyes met. He was riveted. His sketching pad hadn't even made its way out of his briefcase. 'You have been working,' he said. ('Finally,' I thought, 'finally, and it's about time') 'Yes,' I nodded nonchalantly, as if to suggest that I had been for months and only now had he noticed. 'Yes,' I said again, to be sure he wouldn't forget this moment.
And then he pointed to the musical staves: one treble and one bass. One treble and one bass. Not two trebles. Not treble and treble but one treble clef and one bass clef. I was certain there had been two treble clefs and had devoted my attention more to the surprising harmonies I thought Bartok had chosen than to these simple road-signs. I looked at my teacher with confusion and wonder.
'Here comes the black spot,' I thought, and braced myself. Instead, however, he pulled out his sketchpad, carefully removing the piece of paper to which he had taken his pencil one week earlier. There, in meticulously sculpted detail, a cartoon of a frowning Johann Sebastian with my mentor's initials, KR, at the bottom. The same KR that has graced the pages of the Toronto Star; that has found its way onto brilliant caricatures of the famous and infamous opera singers and conductors who have taken the stages of our countries leading houses; the same KR that guided art lovers through his own Artoons: The Hystery of Art. He nodded: 'Next week, Bartok will smile.' I nodded back, thinking 'Next week I won't be back.'
Not that his drawing wasn't wonderful. Be it through his sketches, films or compositions, Kevin Reeves has a gift for capturing the lighter side of life. And every life needs a character like Kevin. We inhabit a world of deadening competition and make-believe careers where power and money, all too often, dictate social standing. But among those who so often pretend to be something they are not, exist the true and honest souls like Kevin Reeves.
In his words and in all that Kevin creates, there is a sense of appreciation for what we have around us. He is the sort of person who spots the magic in everyday life and reminds us to laugh with it. He calls us away from our all-too-tragic lives, to that serene place between the pages of his work and into his fantastical world.
Picture 3
DANIEL TAYLOR
Page 7
Author's Acknowledgements
David W. Barber, for his expeditious editing; Jim Stubbington, for his deuteragonistic design; Peter Nagy, (pronounced the Hungarian way) for the loan of Berlioz and Puccini from his extensive caricature collection; Abigail Gossage, who continues to show me what filing means on a computer; Gail Rees, of North Bay; Dr. Dillon Parmer, from the University of Ottawa; the Donnelly family, for letting me draw in front of their television; Brian Law (important musician in Christchurch, New Zealand) and Derek Holman (equally important musician in Willowdale, Canada), two unwitting mentors of tormenting wit; Mort Drucker, Ronald Searle and the late Honor Daumier, for keeping me humble; Geoff Savage of Sound And Vision, for the belief and the opportunity, and for not calling the whole thing orff. Daniel Taylor, world-renowned countertenor, (and former dilating pupil) for taking the time between gigs in Geneva and San Francisco to write an incredibly lengthy preface (and as a true Handelian, it is nicely embellished). Finally, to my parents, for getting me into this fine mess known as 'music.'
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