An accordionist's blog on music, art & life - Fanfares & Reveries

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An Artist's Perspective, Compass & Living Map

9/28/2013

"Visions of the Landscape Along Highway 260" - image size 3 inches - color pen & ink drawing describing some of the design elements along Arizona's panoramic highways & roads. Artist: Glenn Tompkins

Highway 260 - Panoramas of Earth, Sky & Marvelous Light
The highway system which connects Cottonwood with Camp Verde also exhibits wilderness tentacles stretching out toward Jerome and Page Springs, areas southwest of Sedona, Arizona. Years ago I traveled north from my home in Mesa to visit Fort Verde State Historic Park and tour the extensive beauty of this fabulous landscape. Highways 169 and 69 extend further south and west toward Prescott, once the territorial capitol of this state. On a bright and clear day, I drove along miles of Arizona highways, taking in the awesome spectacle stretched out on the open road before my very eyes.
An Intriguing Panorama For the Visual Artist
As I drove along Highway 260 after spending the entire day touring the area, the sky began to grow dark and the colors of the landscape subtly began to change, from vivid earth colors to subdued shadows mixed with a thousand desert/ mountain textures and hues. The night sky spread out in celestial grandeur, hovering above the palaces and hidden canyons of the Arizona landscape, like jewels upon an infinite sea. Here was a passport of observation for the traveler, a compass for the hunter, and a living map for the avid adventurer.
A Poem for the Open Road and Highways of Arizona
Whether as particles or waves,
once light illumines the view,
vision paints true perspective,
a cast of ebullience & spirit renewed.
Glenn Tompkins

Visions of Payson, Arizona & the Mogollon Rim

9/25/2013

Colors and shapes inspired by a drive through Payson and the Rim Country of Arizona. Size: 3 inches in diameter, drawn with color ink-pens in minimalist style. Artist: Glenn Tompkins

Driving Through Arizona's Rim Country
Payson offers some splendid scenery for the artist, photographer or nature observer. The Mogollon Rim extends from Strawberry and Pine at the western edge to Heber, Show Low, Lakeside and Pinetop at the eastern edge of the Rim. The Coconino National Forest stands to the north, with Tonto National Forest to the south, Sitgreaves National Forest further east and the White Mountain Apache Reservation to the southeast. One may explore Knoll Lake, Bear Canyon Lake, Woods Canyon Lake or Chevelon Canyon Lake along this scenic corridor surrounded by miles of magnificent pine trees. Highway 87 runs north & south while Highway 260 traverses an east-west course through the forests.
A Night of Camping Upon the Rim
Years ago I camped with a friend who went fishing at Chevelon Lake, about 15 miles west of Heber (altitude 6,376'). We broiled some freshly caught fish over an open fire, added some rice & vegetables and enjoyed a splendid meal in the cavernous confines of the pine forest. When you leave the city behind, the forest becomes your new environmental home, far afield from the noise, clutter & maddening pace of the urban lifestyle. There is a compelling spirit of divine rest & unmatched quietude in such a majestic setting, from listening to the wind aloft to hearing the muted cries of myriads of wildlife scattered throughout the forest.
The Image Drawn by the Artist
I wanted to memorialize the vertical thrust of the pine trees guarding the road, envisioning the green and rust colors spread across the regal mountains inhabiting the horizon. Such greenery becomes a verdant paradise.

Images of New York City from the Artist's Collection

9/24/2013

Entitled "Vertical Entities," this freehand pen & ink drawing first appeared in "Columns: Fall Winter 1967-1968," the magazine of Liberal Arts at Drew University in Madison, New Jersey. Artist: Glenn Tompkins. Inspired by the Art Semester in NYC.

An Artist's Encounter With Encouragement

9/23/2013

Further Thoughts on Portrait of Jennie (1948)
At the beginning of this film we hear a voice-over of artist Eben Adams (played by actor Joseph Cotten) reciting an overview of his present state of despair. Adams calls it "a winter of the mind," a time which author Robert Nathan describes (through Cotten's distinctive voice) as follows:
"There is a sort of desperation which takes hold of a man
after a while, a dreadful feeling of the world's indifference,
not only to his hunger or his pain, but to the very life
which is in him."
One senses the bleakness of the artist's predicament, having sold so few paintings and facing the consistent pressure of providing for rent, food and the basic necessities needed for survival. The film paints a somber portrait through the deserted scenes at Central Park, highlighting the artist's struggle to keep alive amidst a season of discouragement.
The Gallery Scene with Matthews and Miss Spinney
This is one of the most fascinating scenes in the entire film, with superlative performances by Ethel Barrymore as Miss Spinney and Cecil Kellaway as Matthews. When Eben Adams enters the gallery we almost immediately sense his rather desperate situation. He wonders if the gallery might be interested in buying some of his pictures. When Matthews offers to take a look at the artist's portfolio, he rather dismissively states, "Of course, we buy very little....almost nothing....and the times being what they are...." Cecil Kellaway perfectly demonstrates the noble, elegant demeanor of the professional gallery owner who is not overly impressed with a relatively unknown artist in the competitive field of Art sales. Matthews barely has the time or patience to deal with the forlorn Mr. Adams, brushing quickly aside the examples of "bridges....landscapes....flowers," for which there is apparently no contemporary market.
The Entrance of Miss Spinney into the Conversation
When Miss Spinney comes over to meet Mr. Adams, we sense that the artist is already retreating into his shell of protective obscurity, having been suitably discouraged by the professional gallery assistant (Matthews). She says that Adams "...needn't be defensive about" mentioning his name or simply introducing himself. As she looks through his uninspired collection of paintings and drawings, she finds one that she likes and decides to purchase it for $1.25, a first sale in ages for the grateful artist. The sale has an electric effect upon Adams, though Matthews says to Miss Spinney (after Adams leaves) that it's not worth the money. To which she replies, "No, but Mr. Adams is." This perspective offers profound insight into the art of encouragement.

A Painter's Landscape Captured in Central Park - Part II

9/21/2013

Joseph H. August, Cinematographer (1890-1947)
Joseph August worked as cinematographer on quite a few memorable films, including Gunga Din (1939), The Hunchback of Notre Dame (1939), The Devil & Daniel Webster (1941), and Portrait of Jennie (1948). Gunga Din was nominated for an Academy Award for Best Cinematography at the time of its release, and Portrait of Jennie was nominated for Best B & W Cinematography in 1949, winning an Award for Best Visual Effects that year. Portrait of Jennie was August's last film, with Lee Garmes finishing the project at the untimely occurrence of August's death. Joseph Cotten, who played the part of main character Eben Adams in the film, spoke of August as "brilliant...incomparable...our master of ethereal light."

To Capture the Beauty of Central Park
Vintage equipment was used to capture the effect of warm, radiant light surrounding Jennie in the Central Park scenes. August paints a lovely portrait in vintage black & white, with those picturesque park benches, quaint antique lamp-posts, curving pathways, the distant atmosphere of the pond, the manifold hedges of trees and thousands of darkly mysterious branches. One imagines that these forests of branches might resemble the expanse and patterns of time, one set of shapes leading to another and expanding at new and different angles. The Winter scenes and the ice-skating scenes similarly strike resonant chords, with the awesome skyline of New York City towering over some of the backdrops like palatial castles and European chateaus.

A Vast Refuge in the Midst of Urban America
The history of Central Park is one that reaches back to its inception in the year 1857. In 1858 Frederick Law Olmsted and Calvert Vaux won a design competition to expand and improve the park. While the Park in 1857 encompassed 778 acres, today it encompasses 840 acres including a pond, a lake, a reservoir, numerous wooded areas, picnic groves and open fields for play or athletics.

A Document of A Rare Time & Place
One of the most beguiling pleasures of watching Portrait of Jennie is this remarkable canvas of light & shadow so eminently captured by the gifted cinematographer Joseph August. What the artist manages to preserve transcends decades of time, offering indelible scenes recorded for the impressionable viewer.

A Painter's Landscape Captured in Central Park - Part I

9/18/2013

A Classic from the 1940's
One of the most atmospheric films I have ever seen is director William Dieterle's Portrait of Jennie (1948), a romantic fantasy starring Joseph Cotten as Eben Adams and Jennifer Jones as Jennie Appleton. This film takes place in Depression-era New York City and captures some marvelous shots of Central Park via cinematographer Joseph August's splendid black & white photography.
Soundtrack Highlights
Initially composer Bernard Hermann was set to write the musical score for this film, but he parted company with producer David O. Selznick. Composer Dimitri Tiomkin was hired to complete the soundtrack, borrowing heavily from Classical composer Claude Debussy's distinctive impressionistic style. Claude Debussy's "Nuages" can be heard in the opening narrative sequence, with "The Girl with the Flaxen Hair" woven into some of the background music throughout the film, and "Arabesque No. 1 in E" also appearing in background musical sequences as well as the closing credits. I love how this music weaves back and forth amidst the action upon the screen, allowing passages to assume a sense of extraordinary texture throughout the evolving plot involving the full cast of characters. Here there is a sense of magnificent drama, mystery, and brooding temperament heightened by the fluctuations in the main character's broad range of human emotions.
A haunting song and some memorable spoken dialogue
The one original song composed by Bernard Hermann and still part of the soundtrack is "Jennie's Song," with Hermann's music matched to Robert Nathan's lyrics. The lines are intriguing with the words "Where I come from, nobody knows," leading to speculation as to Jennie's origin and the mysterious nature of her life. Then there are some richly evocative moments of dialogue spoken by Jennie as she shares with Eben, "I know we were meant to be together. The strands of our lives are woven together and neither the world nor time can tear them apart." Jennie speaks intimately to Eben the artist, "Eben....I want always to sit and watch you paint....I want you to paint all the beautiful things in the world." From an artistic viewpoint, this is the kind of fabulous inspiration and ultimate encouragement any artist would want to hear.
A superlative cast
Jennifer Jones is one of the most beautiful actresses I have ever seen, perfectly fit for this unusual role. She complements every scene she is in with the veteran actor Joseph Cotten, also superbly cast in his role as the struggling artist. Ethel Barrymore adds convincing demeanor as the gallery owner Miss Spinney, and Cecil Kellaway is perfectly suited to his supporting role as gallery curator & friend to Miss Spinney.

Garden State Retrospective - Part II

9/11/2013

Since the 1950's I have been fascinated with the sounds which emanate from vintage accordions. Although my earliest attempts at music involved sitting at my grandparent's Story & Clark upright piano, I quickly gravitated toward the accordion when my dad offered to pay for music lessons in 1959.

The Accordionist's Sketchbook - A Day in South Orange - (posted on You Tube Channel
FromHolbergsTime on July 20, 2013) - This improvisational piece traces back to the years 1974/ 75 after I finished my 4 year tour of duty with the US Air Force and drove home from California to rejoin my family in New Jersey. It is an atmospheric sketch of some of the sounds, sights and patterns of a thriving urban core set adjacent to South Mountain Reservation, in the vicinity of Millburn toward the West and South Orange toward the East. Here there are railroads, lots of vehicular traffic, densely populated neighborhoods and a neatly laid out downtown center. For an entire day I walked these streets and recorded in my mind all the unique sounds of the South Orange environment, the rumbling pace of delivery trucks, the metallic squeal of the fast passenger trains, the familiar noise of the diesel city buses. And yet I could also assess the beauty of birdsong in the parks and the forest preserves and take note of the myriad conversations in this bustling metropolis. Throughout the day I was keenly aware of the dichotomy between the densely populated corridors of the city and the wilderness preserves just to the West. What a marvelous juxtaposition of serene tranquility on one hand and incessantly dynamic pace on the other! This music attempts to record some of the noteworthy pulses and dynamic observations of that day. Recorded upon my vintage Iorio accordion, a 4/5 reed instrument in LMMH configuration.

Baltusrol Impressions, Part I - (posted on You Tube Feb. 4, 2012)
Baltusrol Impressions, Part II - (posted on You Tube Feb. 8, 2012)
Baltusrol Impressions, Part III - (posted on You Tube Feb. 22, 2012)
Baltusrol Impressions, Part IV - (posted on You Tube Dec. 3, 2012)
These improvisational sketches reflect upon some of the historical moments shared while visiting my cousins and occasionally staying with them as a guest at their house on Baltusrol Avenue in Springfield, New Jersey. This area no longer offers the pristine beauty of waterfalls, rocky outcroppings, densely wooded forest, meandering stream and hidden pond in the distance. All of these lyrical treasures were swept away with the new highway alignment for Route 24 which came in during the late 1960's or early 1970's. This music attempts to recreate in an atmospheric manner some of the simple pleasures of those early years, from 1955-1965, when I was between 8 and 18 years of age. Various accordions are heard in this series, including a Hohner, Galanti and Iorio.

Garden State Retrospective

9/7/2013

Sound Portraits Painted from Memory
One of the greatest gifts associated with vintage accordions is their relative versatility in the performance of almost all styles of music, complete with impressive dynamic range and rich tonal resources. The various reed blends lend themselves to imaginative journeys of sound, where the art of improvisation can be fully implemented. Here follows a compendium of impressionistic sketches which I have posted on my You Tube channel (FromHolbergsTime). The subject matter looks back to my time spent in New Jersey, prior to my move to Arizona in 1978.

Accordion Impressions: In View of the Watchung Mountains (posted May 28, 2013) - this video reflects upon my time delivering mail for the Somerville Post Office in 1975/ 76. I remember eating lunch at the Somerset Medical Center while being assigned to walking routes in this lovely area. This music attempts to re-create some of the atmosphere of small-town America while exploring the creative patterns typically enjoyed by the letter carrier. My vintage Scandalli is heard on this recording.

Fantasia No. 3 for Vintage Iorio Accordion (posted May 20, 2013) - This video features my Iorio accordion, a 1950's instrument with organ-like tonal blends. This improvisation recalls my assignment to collect mail from Clinton and High Bridge on Sunday afternoons, then returning to the Somerville main office to deposit the collected mails. Here I can virtually re-play the adventurous journey through the New Jersey countryside as I travel along rural roads and pastoral farmland, briefly making contact with neat, historically charming towns & villages. This is road music for the mind & heart distilled through the Iorio's reed blends.

Accordion Impressions - Preservation of Woods & Meadows (posted Feb 1, 2013) - This impressionistic piece is devoted to sounds & memories associated with the Great Swamp of New Jersey, a vast area of natural beauty surrounded by modern urban density. Here I use the Iorio to indicate some personal reflections upon the special nature of this remarkably preserved area.

To be continued...

The Caress of Music

9/2/2013

Thinking Back to an Earlier Time

At a tender age I began to notice how music influences our lives and manages to provide resonant platforms for the expression of one's inner life. From my earliest days I found both the beauty of voice and the textures of instrumental music to be richly evocative of the intangible characteristics of the human spirit. Perhaps these ideas came about as I listened to my grandfather play his violin or improvise upon the piano for hours on end. My grandparents had a vintage Stromberg-Carlson radio (powered by vacuum tubes) which I listened to regularly and quickly learned to love. Here were the textures of Classical music, European folk music, Broadway melodies, film soundtracks and popular music, all brought to life in a high-ceiling room.

Time-Lapse to the Present Age

Always I will be grateful for these early reflections on music, as these memories continue to shape the call of the musician upon the study and practice of his art. Hearing my grandfather invent new worlds of music so many years ago still inspires me today as I play the accordion. I never realized the staying power of music until I took up the instrument again after a long absence (from 1965-1999). That small seed which once was given life has now blossomed into a fragrant garden of formidable delight. So that is the embrace and the passion of a lifelong endeavor, a soulful dialogue I like to call The Caress of Music.