---- 2023 youtube I wonder if, and lo': The Planets
A grand background orchestra, mental direct
there, you hav it, too, listen, a few times,
just in the mood, to listen
maybe as you get, that it starts at Mars,
begin as we
think we
Read this at your pace the writer advised,
and I did, a couple of times,
like long stuck records…
To Holst, an offered libation,
to all the minds whose words
are music as big as any mind
limited by my unknowing,
only
using, the truth, music, leading after words,
through ever away,
silent for a now,
or so,
from the Sun, past the fragment,
the single lump at the core,
of the process,
Ash as
Icarus, and Hermes, speedy messenger,
such as see thee, hold the knowledge holy,

watch, see, the wandering planets Holst,
might have seen today,
looking through my eyes,
wordless, right on, so far, as we

agree, there
is power in the mind that writes and reads
music,
power alloted some in blind feel,
power exuding from an ever in times past,

lasting ever tones thinning, spreading, patterning
perfected harmonies unexpected
yet
taken as granted, felt, in passion y sympassion,
same sound,

my once known wind, my bass oboe player,
acquaintance, who called me by name,
accusing me, subtly of not knowing,
there is a forest of low stature,
and there are missions there,
where if you pray,
they feed you twinkies… I recall, between
Venus and busy laughing Earth,

I remember Mars is next,
I am ready, I went into the dark kitchen,
back of the Mission on Fourth Street,
across from an Electra Records Billboard…

ifery approaches, Holst has not gotten me to Mars,
I am pulling in an experience, from a mission,
on Fourth Street, in a mindtimespace shared,

as of yet, by a few, who will know the place,
the ******* Mission, the one
with the Joker who used rats,
to get a startle response,

and at exactly the wrong place, for men with
certain
kinds of sure thing reactions, to diabolic attacks.

2023, approaching Mars with Lou Holtz, I thum thum
thummin wearin' my Razorback hat,
Inter Planatary Hwy 71, to Joplin,
ur in my realm.

Bass every thing slow creep slow, seep as sludge,
to the edge, and look beyond,
this is it, this is the Earth,
we shall survive!

We slay the unbelievers and fake it til we make it,
right, kids?

---------- longhair music, epicyc-lical as neckties,
to male tipped stacking schema for *****,
or stones,
or crystaline tones accompanying the heating up
of life's core cargo cult's last load,

Holst, bass trombones,
here, is the dance of little devils with a mind to make
a difference
in the depths of ever after,
up to now,
I had forgotten the piccolo parts, and the French horns,
and the joy of the big parade,
marching off
to war explore the unknown
for exploitations as per the underling theme,
go forth
subdue the Earth, and conquer all who refuse, to say
this is the way,
this is the good old way,

war
glory and honor, earn the urim'nthummin'n'human
inhumainity, we, the chosen warrior beings,
messengers of differing mocking gods of ****** mud
beyond the final river,
every slogger knows, forever, there remains
one more
river to cross, a final thread to tie to you, listener,

Holtz, still in the background, a journey, what price
each player plays in this, orchestration shared,
as I read, I wrote, as I hoped, I did,

and I remain, giddily glad… my side won the war
I lost.

Peace came, unbidden, apparently,
a deep breath, and harp strings,

this is the future from any ever before, now
to know
this is common, not so rare, as even the idea,
not so long ago,
first radio mono performance,
what child lay in the crib and heard this,
through the grand horn of Gram's Gramma phone.
Y''ello,
toldja, ai ain't no Injunsaint. Pretend, then,
right, ai and mai-y grandma

can piece together some occassional lessons, given us,
she in her time telling me in mine,sssince ever about
I was forty-nine, or so, she told me she was an orphan,
and had no family knowledge, past begins
at the last common thread,
to a native american epic,

when the old deluder, Satan, act, attached
to law and order and rectangular resettlement
of wilderness liberated from savages and beasts…
pawn, both steps, dare… help the Macedonians
and take Uncle Tom wit'cha, whicha oughtn't had
never the less, young wombed men, did tend
to become aspirational, after becoming
inspired read-up young wombed men, hot
to seek adventure, teachin' young'n's, out west.

indistanct depth Holst at the kettle drumms softerafter
- the silent version has a different light show
--- circa 1880's, not historically long ago, most places.
This character,
qwerty guy's friend, has kin as close as my Uncle Cebe'n'me,
who died at Wounded Knee, where my liege republic,
honored some two dozen rapid fire cannon supported
avengers of The Seventh Cav!
And in their hearts,
if not their lips,
was the march in time to Garry Owen. Their families
must be proud.

And that's a shame. We were taught to grant worth
to a medal signifying honor brought to the liege, in victory.

Peace passes that, music makes bubbles, we revisit,
replay the gramma phone version,
some scratchy
real realizing strings singing chimes and harps
of ages past
unveiling, hiding nothing knowing freedom is a sense,
you know
you do not own it,
you do not make it up, it is free. The idea

I had, approached as
hunter
in pursuit, steady as she blows,

leave us hap as may be at a triumph of joyous
curious
dancing twinkle noise amusing being a muse used,
enter tained, and voiced by bass
then tinkles
thin thin thin then Zildjian  K-bang!

____

It always intrigued him how a group of people entering a room for the first time made decisions about where to sit. He stood quietly by a window to give the impression that he was looking out on a wilderness of garden that fell steeply away to a barrier of trees. But he was looking at them, all fifteen of them taking in their clothes, their movements, their manners, their voices (and the not-voices of the inevitably silent ones), their bags and computers. One of them approached him and, he smiling broadly and kindly, put his hand up as a signal as if to say ‘not just now, not yet, don’t worry’, or something like that.

This smile seemed to work, and he thought suddenly of the woman he loved saying ‘you have such a lovely smile; the lines around your eyes crinkle sweetly when you smile.’ And he was warmed by the thought of her dear nature and saw, as in a photo playing across his nervous mind, the whole of her lying on the daisied grass when, as ‘just’ lovers, they had visited this place for an opening, when he could hardly stop looking at her, always touching her gently in wonder at her particular beauty. In the garden they had read together from Alice Oswald’s Dart, the river itself just a short walk away . . .

Listen,
a
lark
spinning
around
one
note
splitting
and
mending
­it

As he finally turned towards his class and walked to a table in front of the long chalkboard, half a dozen hands went up. He had to do the smile again and use both hands, a damping down motion, to suggest this what not the time for questions – yet. He gathered his notebook and went to the grand piano. He leafed through his book, thick, blue spiral-bound with squared paper, and, imagining himself as Mitsuko Uchida starting Beethoven’s 4th Piano Concerto, fingers placed on the keys and then leaning his body forward to play just a single chord. He held the chord down a long time until the resonance had died away.

‘That’s my daily chord’, he said, ‘Now write yours.’

Again, more hands went up. He ignored them. He gave them a few minutes, before gesturing to a young woman at the back to come and play her chord. Beside the piano was a small table with a sheet of manuscript paper and a Post-It sticker that said, ‘Please write your chord and your name here’. And, having played her chord, she wrote out her chord and name – beautifully.

He knelt on the floor beside a young man (they were all young) at the front of the class. He liked to kneel when teaching, so he was the same height, or lower, as the person he as addressing. It was perhaps an affectation, but he did it never the less.

‘Tell me about that chord,’ he said, ‘A description please’.
‘I need to hear it again.’
‘OK’, there was a slight pause, ‘now let’s hear yours.’
‘I haven’t written one’, the reply had a slightly aggressive edge, a ‘why are you embarrassing me?’ edge.
‘OK’, he said gently, and waved an invitation to the girl next to him. She had no trouble in doing what was asked.

Next, he asked a tall, dark young man how many notes he had in his chord, and receiving the answer four, asked if he, the young man, would chose four voices to sing it. This proved rather controversial, but oh so revealing – as he knew it would be. Could these composers sing? It would appear not. There was a lot of uncertainty about how it could be done. Might they sound the notes out at the piano before singing (he had shaken his head vigorously)? But when they did, indeed performed it well and with conviction, he congratulated them warmly.

‘Hand your ‘chord’ to the person next to you on your right. Now add a second chord to the chord you have in front of you please.’

Several minutes later, the task done, he asked them to pass the chords back to their original owners. And so he continued adding fresh requirements and challenges. – score the chords for string quartet, for woodwind quartet (alto-flute, cor anglais, horn, baritone saxophone – ‘transposition hell !’ said one student), write the chords as jazz chord symbols, in tablature for guitar, with the correct pedal positions for harp.

Forty minutes later he felt he was gathering what he needed to know about this very disparate group of people. There were some, just a few, who refused to enter into the exercise. One slight girl with glasses and a blank face attempted to challenge him as to why such a meaningless exercise was being undertaken. She would have no part in it – and left the room. He simply said, ‘May I have your chord please?’ and, to his surprise, she agreed, and with some grace went to the table by the piano and wrote it out.

A blond Norwegian student said ‘May we discuss what we are doing? I am here to learn Advanced Composition. This does not seem to be Advanced Composition.’

‘Gladly’, he said, ‘in ten minutes when this exercise is concluded, and we have taken a short break.’ And so the exercise was concluded, and he said, ‘Let’s take 15 minutes break. Please leave your chords on the desk in front of you.’

With that announcement almost everyone got out their mobile phones, some leaving the room. He opened the windows on what now promised to be a warm, sunny day. He went then to each desk and photographed each chord sheet, to the surprise and amusement of those who had remained in the room. One declined to give him permission to do so. He shrugged his shoulders and went on to the next table. He could imagine something of the conversation outside. He’d been here before. He’d had students make formal complaints about ‘his methods’, how these approaches to ‘self-learning’ were degrading and embarrassing, belittling even. I’m still teaching he thought after 30 years, so there must be something in it. But he had witnessed in those thirty years a significant decline in musical techniques, much of which he laid at the feet of computer technology. He thought of this kind of group as a drawing class, doing something that was once common in art school, facing that empty page every morning, learning to make a mark and stand by it. He had asked for a chord, and as he looked at the results, played them in his head. Some had just written a text-book major chord, others something wildly impossible to hear, but just some revealed themselves as composers writing chords that demonstrated purpose and care. Though he could tell most of them didn’t get it, they would. By the end of the week they’d be writing chords like there was no tomorrow, beautiful, surprising, wholly inspiring, challenging, better chords than he would ever write. Now he had to help them towards that end, to help them understand that to be an  ‘advanced composer’ might be likened to being an ‘advanced motorist’ (he recalled from his childhood the little badges drivers once put proudly on their bumpers – when there were such things – now there’s a windscreen sticker). To become an advanced motorist meant learning to be continually aware of other motorists, the state of the road, what your own vehicle was doing, constantly looking and thinking ahead, refining the way you approached a roundabout, pulled up at a junction. He liked the idea of transferring that to music.

What he found disturbing was that there were a body of students who believed that a learning engagement with a professional composer, someone who made his living, sustained his life with his artistic practice, had to be a confrontation. The why preceded, and almost obliterated, the how.

In the discussion that followed the break this became all too clear. He let them speak, and hardly had to answer or intervene because almost immediately student countered student. There evolved an intriguing analysis of what the class had entered into, which he summarised on a flip chart. He knew he had some supporters, people who clearly realised something of the worth and interest of the exercises. He also had a number of detractors, some holding quasi-political agendas about ‘what composition was’. After 20 minutes or so he intervened and attempted a conclusion.

‘The first rule of teaching is to understand and be sympathetic to a student’s past experience and thus to their learning needs, which in almost every situation will be different and various. This means for a teacher holding to an idea of what might, in this case, constitute ‘an advanced composer’. I hold to such an idea. I’ve thought about this ‘idea’ quite deeply and my aim is to provide learning opportunities to let as many of you as possible be enriched by that idea. You are all composers, but there is no consensus about what being a composer is, what the ‘practice of composition’ is. There used to be, probably until the 1970s, but that is no more. ‘

‘You may think I was disrespectful in not wishing to engage in any debate from the outset. I had to find a way to understand your experience and your learning needs. In 40 minutes I learnt a great deal. My desire is that you all go away from each session knowing you have stretched your practice as composers, through some of the skills and activities that make up such a practice. You all know what they are, but I intend to add to these by taking excursions into other creative practices that I have studied and myself been enriched by. I also want to stretch you intellectually – as some of my teachers stretched me, and whose example still runs through all I do.

Over the next seven days you are to compose music for a remarkable ensemble of professional musicians. I see myself as helping you (if necessary) towards that goal, by setting up situations that may act as a critical net in which to catch any problems and difficulties. I know we are going to fight a little over some of my suggestions, the use of computer notation I’m sure will be one, but I have my reasons, and such reasons contribute towards what I see as you all developing a holistic view of composing music as both a skill and an art form. I also happen to believe, as Imogen Holst once said of Benjamin Britten, that composing music is a way of life . . .

With that he walked to the window and looked out across that wilderness of green now bathed in sunshine. He felt a presence by his shoulder. Turning he suddenly recognised standing before him a young man, bearded now, and yes, he knew who he was. At a symposium in Birmingham the previous summer he had talked warmly and openly to this composer and jazz pianist in a break between sessions, and just a few weeks previously in London after a concert this young man had approached him with a warm greeting. Empathy flowed between them and he was grateful as he shook his hand that this could be. She had been with him at that concert and he remembered afterwards trying to recall his name for her and where they’d met. She was holding his arm as they walked down Exhibition Road to their hotel and he was so full of her presence and her beauty no wonder his memory had failed him.

‘Brilliant,’ the young man said, ‘Thank you. Just so much to think about.’

And he could say nothing, suddenly exhausted by it all.

For Denis Joe*

Alas, poor Pluto
I knew him slightly
Dangling out there
On the sun system's edge
Unsung by Holst
Who knew him not at all.

Furl browed tribunes smack their gavels
And in a nano - second
Planetary glory dashed to asteroids.
Mighty Pluto busted to dwarfhood!

[Brief moment of silence]

Well, the dwarves will have to have
Their own music now -
Nothing Earth shattering
like THE PLANETS.
A humbler essay, say a trio
For tuba, autoharp and cello.
Modest but catchy tunes
For little orbiters and shakers:

XENA (warrior princess)
CERES (goddess of grain)
PLUTO (mythical silver smith)
CHARON (underworld boat jockey)

Oops, almost missed the big send off.
There he goes now with Charon at the oars.

          Arrivederci

                little

           ­           fellow.

                              SNIFF!

keer op keer
telkens weer
vlak voor zonsopgang
hoevaak nog wakker te worden
met een steen in mijn buik
hoevaak nog betraande ogen te openen
in het holst van de nacht
in de stilte na de storm
als een zwarte koude wind
je neemt me steeds weer
eventjes
mee
naar een plek waar ik niet wil zijn
nee
het is er niet fijn
het doet pijn
keer op keer
een geschaden vertrouwen
wanneer laat je me met rust
dit is wat het doet met een vrouw
jij, geschaden vertrouwen
ik wantrouw jou

i wish playing ukelele didn't remind me of you
i wish the beach didn't remind me of you
i wish fireworks didn't remind me of you
i wish you didn't wear that one cologne that everyone wears because it reminds me of you and i smell you in every wannabe prepster boy that passes me on his way to the pencil sharpener
i wish other girls didn't remind me of you because you're always talking to them but not me
i wish holst suites didn't remind me of you, particularly the first
i wish sunrises didn't remind me of you
i wish late nights didn't make me think of you
i wish the ghost of your skin didn't haunt this entire town
until i am seeing tessellations of your silhouette in the brick walls you pressed me against
i wish i weren't afraid to call you
i wish you'd call me first
i wish that song didn't remind me of you
and by that song i mean that entire folder of songs on my computer,
the one entitled whatever because that is all you were supposed to mean to me
but now, you are more, more than a whatever
and whatever did i have to dream of before i kissed you?
i wish i could sleep
but the morning reminds me of how i'll never wake up next to you

I had a dream and I was laying on the grass of a football field with a girl. we were just talking. I asked her who her favorite composer was and she replied "Mary lou Williams" I had no idea who that was and had never her that name before, I lean over and say "I have to check her out" she said, "Yeah, we can do that, you'll be in love", she asked me the same, I replied "Alexander Scriabin". She said, "I love his work, he was before his time and completely underrated" That was the first time I felt that feeling. You know that feeling when you don't feel completely different because someone knew what you were talking about... That feeling.

While sitting there, This guy walked onto the field and into the stands and asked if we could listen to him conduct and we said, "yeah". He puts his stand in place, raised his baton and began to tell us that people had called the piece "the Planets" but it wasn't holst, her and I looked at each other, looked at him then closed our eyes while he struck the downbeat to what reminded me of the StarWars opening mixed with Jupiter but Holst. She leaned in and I did the same. My heart was beating so fast... then my grandmother woke me up to tell me that there was still BBQ chicken from last night if was still hungry...  YEP

My golden brass
Did you hear a silver tone.
One day I remembered the sound we made.
Oh boy with thirteen trys
I played the song of things.
The sound was a still like a drop of rain.
Great full Holst composed his eyes in vain.
And now im chopping my lips with my dreaded lay over.
Five years ago and now im searching the twenties
For old photographs  about the way I played.
My heart stops and excepts the choices I made.
Because the future now the preseant is grey like a grave.
I still dream of film and simpler days.
Like it was still ambitious
When I see trombones sliding and clarinets deciding
What reed made the sound of jazz.

blowing 99 red balloons April 9th, 2023
will signal 158 years since Appomattox
plus what would have been ninety sixth birth
of the late Boyce Brandon Harris,
whereby yours truly the biological byproduct
when secular parents of mine
simply following the dictum
constituting be fruitful and multiply.

(Alternately titled always look
on the bright side of life sang
courtesy Eric Idle in Life of Brian)

Armageddon would be morbidly amazing,
concluding (reign of **** Sapiens)
fascinating albeit simultaneously
fantastic, catastrophic boon
dog gull to accompany
(this incognito sans,
spacesuit attired as bugs bunny
foolish faux rabbit, yup you reddit right
with netzero outlook)

amidst others eyed hop along
(like Cassidy) to find
amidst rubble strewn cocoon,
or perchance an arrid extra dry
armed hammer hotmail spelling
unrelenting radioactive
blown humungous earthlinked dune
daffy duck dynasty Don
trumpeting a brave (though

extremely foolish soul) weathering
fierce-some dust bowl
appearing like a ghoulish goon
vis a vis via global sand man
disallowing any inhabitant to be immune
whereat winter days
would mimic (nee far exceed)
those analogous to tropical June
day where nary species

of flora nor fauna,
which latter muffled cry
viz Clair De Lune
barely heard above blindingly pitched
(scoring major lunar home run)
when earth's moon
appeared to be batted,
snatched, and whacked -
piñata like casting
darkness at high noon

this out of other worldly debacle
(viz: a scene of apocalyptic,
cosmic and epic rune
from twilight zone re:
outer limits offsetting
sole millennial Gaia satellite
believed rigged forever)
which end of planetary
status quo came barreling along
sooner than expected, accompanied

by Gustav Holst The Planets
auspicious, eponymous, illustrious... tune
once Luna rung seismically,
titanic ally uprooted, violently wrenched
prior to crash landing at ground zero
rocked and rolled out of orbitz
before careering, and screaming
thru the atmosphere
analogous a full term baby
in utero yanked out of womb.

Though the above dynamic
gigantic jack-knifed nihilistic quantum
spectacular universal wreckage
sans the inner sphere of solar system
(known to mankind,
whose tenancy upon oblate spheroid
viz planet Earth did upstage
when said creature, an outlier),
whence even amidst the early
bipedal hominids didst throve a sage

no event (whether natural
or caused by human error),
would compare neither captcha,
when quaking, roiling, swarming,
teeming masses rage
against the machine
emasculated, jiggered, orchestrated
and wrought one after another
****** war strewn page
onto once verdant terrestrial firmament

no way to measure nor gauge
the depth, length, scope of total
value eradicating any trace
of simian equipage
reducing arrogant, conceited,
egomaniacal, dotage
boot far-fetched
science fiction phenomena would
witness civilization captive
in their own technological cage

more to the point yours truly
self imprisoned barred bard,
(whose fleshy epidermis camouflaged beige)
tricked out with latest futuristic
technological “smart” sophistication
showcasing latest skin tight accouterment
a win for progressive
penal reform champions,
who feel a cannibal (accountable)
to stamp out anthropophage.

Penny coin stains
On the fountain’s white base
Holst conducts pigeons