Mayerling

I put this
movie
on my Netflix queue because of this
review,
which says:

This is a very sophisticated tearjerker. You can weep
over it without feeling either your intelligence or dignity has
been insulted.

I didn’t weep, but I did enjoy the sophistication.

The review also says:

Litvak lingers too long on ballets and balls and on one really hideous oompah beer garden number.

I enjoyed the oompah beer garden number (which happens twice), but the music I was
really glad the movie lingered on was the gypsy dance band,
centered by a hammered dulcimer.

http://rcm.amazon.com/e/cm?t=laymusicorg-20&o=1&p=8&l=as1&asins=B002E01MAG&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr

Cleaning out the house of a deceased person

I’ve been thinking about this experience because of writing up
the summary for the IRS of what we sold and donated. There are
other good stories to tell, but here’s the email I sent to the
list of Bonnie’s friends about a month after she died:

Subject: [Bonnienews] deadlines

I have been officially appointed executrix of Bonnie’s estate, with
the power to sell things, and specifically real estate.

I am going to be signing an agreement with a realtor, who will be
hiring some men with a shovel and a truck to clean the place out,
starting Monday, July 7, three weeks from today.

If there’s anything in Bonnie’s house that you want to save from the
shovels, you must remove it before then.

As far as I know, I have already removed all the instruments. There
is a rumor of there being a set of handbells, and I think it’s
possible there are some small things like recorders and viol bows that
I haven’t found yet. I found a drawer full of double reeds, so if
there are more of those, it isn’t clear I need them. If you’re
helping clean out and find anything like a musical instrument or part
thereof, give it to me.

An antique dealer has looked at the house; he is buying a desk, and
giving us some assistance with getting two large items to an auction
house.

There are a few items of possible antiquarian interest that I’d like
the dealer to see before I give them away. There’s a mantle clock,
some dolls that look older than Bonnie, a statue of a horse, the
family silver…

We have made major progress in finding and boxing the music. Some
music has been removed; there is still a corner full of boxes; there
are probably a few boxes not in that corner that we haven’t yet looked
at, but we’re on track to have found most of the music. We will need
to move it somewhere for further sorting. I have several volunteers
to help with this; if you also want to help with it, let me know.

The other obvious thing that would be a pity if it goes into the trash
is the collection of scholarly books. (Old English, Middle English,
Old Icelandic, Mediaeval History…) There are people who are
interested in sorting this and finding a destination for it; we may
still need help with transporting it to that destination.

Anything else that would be of use to you, you are welcome to. If you
have a way to take it somewhere and sell it, please do so. If you
make hundreds or thousands of dollars, it would be good if you would
deduct a commission (possibly a large one) and return the rest to the
estate, but if you make only 10’s of dollars, please keep it, and if
you like, donate some of it to a charity of which Bonnie would have
approved.

There is some fairly nice old furniture; there’s a small refrigerator
that works, there’s an upright freezer that works, several fans that
work, there are quite a lot of mystery novels and other books; there
are CD’s, DVD’s and video tapes; gardening equipment and supplies…

If you have young friends who are starting their first apartment and
don’t have all the stuff they need, you might consider seeing if they
want to spend a couple of hours helping out in exchange for everything
they want to snarf.

The clothes and the kitchen stuff can be put in bags and boxes and
donated. If you feel like helping with the bagging and boxing, the
assistance would be appreciated. Anything not in bags and boxes by
the deadline will be trashed.

Please note that I am asking for assistance, not advice. If I had a
year, I could take care of all of this, and everything useful would
get to someone who could use it and everything saleable would get put
up for sale. I don’t have a year; I have three weeks. So the things
that are important to me or to Bonnie’s friends who have time to help
will get taken care of, and the other things won’t.

All my life I’ve heard stories that start, “X had such a wonderful
collection of Y, but it disappeared when he died…” I now have more
sympathy with the executors who get blamed for the disappearance.
Some of them may not have tried as hard as I have to get the friends
and family to take care of the things they care about. But likely
they all tried a bit, and if the people telling the stories had said,
“Would you like me to come pack up the collection of Y and put it in a
safe place until you have time to deal with it?”, the collection would not
have been lost. So if you’re thinking of telling those stories about
the terrible executrix of Bonnie’s estate, think about asking to help
now, instead of telling the story later.

I will generally be there on Wednesday and Thursday, and other times
by appointment. Once you’ve seen the lay of the land, I can tell you
where the spare key is and you can go any time that’s convenient to
you, but the first time you go, you should have a guide (me or one of
the other people who’s been helping regularly) to where the sorted
piles are.

In the end, we didn’t end up hiring the men with the shovels —
the real estate agent found enough things wrong with the house
that she decided it should go to someone who wanted to do enough
work that some extra shoveling wouldn’t bother them. So we
actually had until the sale of the house in mid-September to clear
things out.

Earplugs: should music be hazardous to your hearing?

I started thinking this diatribe when I ran into a jazz
musician friend and asked him, “How are you?”, and he replied, “I
just got a new set of earplugs.” He realized that wouldn’t be an
exciting part of most people’s weeks, but for him being able to
both talk to the other musicians in his band and listen to what
they were playing without having his ears damaged was a major
improvement in his life.

I’ve run it by a lot of musician friends since, and haven’t
heard anything that seems like a valid counterargument to me.
Naturally, this has done nothing to change the number
of places I’m glad I have my earplugs along, or sorry I don’t have
them with me.

I basically think that if both the performers and the audience
need earplugs to listen to the music safely, it’s too loud.

I understand that if you’re playing acoustic music in a large
venue, it might be a good idea for some of the performers to need
the earplugs so that the audience has a chance to hear the whole
sound.

But if it’s amplified music in a normal sized room, there’s no
reason the volume level can’t be kept to one that doesn’t do
permanent damage to anyone’s ears.

So what kind of earplugs do I need?

For casual listening, those cheap
foam ones
that come in boxes of 200 are probably good enough,
although if you spend a lot of time listening to loud
music, you might need something better.

If you need to both hear conversations and listen carefully to
the loud music, you’re better off with something designed
specifically for that purpose. After being too close to a loud
cymbal crash in the band a year ago, I bought a pair of these.

If you buy directly from the
manufacturer
, you can get a quantity discount on more than 4
pairs. I didn’t do that, but there have been a couple of times
when I wished my pair were in my backpack, and not in my tuba
accessories pouch.

http://rcm.amazon.com/e/cm?t=laymusicorg-20&o=1&p=8&l=as1&asins=B000F6V1IE&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr
http://rcm.amazon.com/e/cm?t=laymusicorg-20&o=1&p=8&l=as1&asins=B0015WJQ7A&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr

No-knead bread

I tried doing this when the famous Mark
Bittman article
came out in the New York Times. I may well
have done something wrong, but the dough I produced was a gooey,
unmanageable mess.

The NPR interview with the author of Kneadlessly
simple
(Nancy Baggett) convinced me to try it again.

I’ve baked two loaves out of the book. I can’t say that either
of them was an unqualified success, but the method does definitely
produce good bread dough if you mix the ingredients the way she
tells you to and leave the bowl on your kitchen counter for a
day. I do seem to need to modify her instructions for the baking part, though.

I know the conventional wisdom is that you should buy an oven thermometer and
test the temperature of your oven, but I’ve never seen any
reason to believe the oven thermometer that costs $4.99 at the
hardware store is any more likely to be
accurate than the one in the stove that cost $499 at the
appliance store. And usually when I set the temperature
specified in a
recipe on the stove, what I’m baking comes out roughly the way I
expect it to.

Both the loaves of bread I’ve made from the recipes in this book have burned on the bottom before the
internal temperature of the bread got to where the directions said
it should. So I’ll be baking subsequent loaves at a lower
temperature, or maybe to a lower internal loaf temperature, or
maybe on a higher shelf in the oven.

But after I fed the burned part of the crust to the dog, the
rest of the bread has been quite good. I fed some to a dinner
guest last night, and he agreed that it was a very good texture
and flavor.

I’m definitely going to be baking more bread like this. It’s
about as little work as using the bread machine for the kneading
part and baking in
the oven, and you don’t have the bread machine cluttering up
your counter.

I will leave the bread machine to clutter up my pantry,
however. There really are times when you need the bread less
than a day and a half after you decide to make it.

My favorite bread machine use was the time I got home from
buying dinner ingredients and realized that I’d forgotten to get
bread. So I decided it was easier to throw flour, water, salt,
and yeast in the bread machine than to go back to the store. I
took the bread out of the machine just as the guests were
arriving, and had a house that smelled like baking bread as a bonus. To do this as a no-knead recipe, you would have to be organized about the bread the previous morning, not at 4 the afternoon of the dinner party.

http://rcm.amazon.com/e/cm?t=laymusicorg-20&o=1&p=8&l=as1&asins=0470399864&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr

Dog park conversation

One of the people I talked to at the dog park last night was
complaining about her neighbor, who, although he lives in a
densely populated part of one of the most densely populated
cities in the country, has decided that he should
never have to hear a dog bark.

Her dog is a very nice labrador retriever, but he does think
it’s his job to tell people when someone walks down his street.
He barks 4 or 5 times and stops; it isn’t that he thinks it’s his
job to bark until someone does something about
whoever’s walking down the street.

In any case, it sounds like the situation is under control.
The neighbor suggested they get one of those electronic collars
that does does something unpleasant to the dog when it barks,
and my friend’s husband suggested that they test it on the
neighbor first.

So the neighbor called Animal Control, who came and explained
to everyone that you can’t remove a dog because it barks
occasionally. The whole neighborhood would have to support
removal of the animal.

So then the grumpy neighbor went around to the neighbors to get
support, and apparently didn’t get any. (There’s at least one
other dog in the neighborhood who barks a lot more than this one.)

But this dog owner is feeling a little guilty for not having
been more sympathetic to the grumpy neighbor. He apparently
grew up on a farm, and the noise level in his current home is
making him very tense and upset.

What’s a recorder society?

The
other day,
I glossed over the description of what I was
doing for the Boston Recorder
Society
(BRS) in 2002, so I thought I’d expand on that for this
post. Since it’s been on my mind, I’ll tell you some of what I
was doing that the current organization isn’t.

Note that all of this is from the publicity, and a bit of
hearsay from people who are still going — I haven’t actually been
to a meeting for over a year.

For the 6 years I was involved in putting together the program
and the publicity (2002 through 2007), there were a couple of points I always
had to argue with the rest of the committee:

  1. Describing the classes in terms of the music being played
    rather than the level of players in them.
  2. Having a class open to players of other instruments.

I also made it really easy to volunteer to help out with the
work of the organization, set up a concert series, and published
the names of the board members, both on the web and in the
newsletter.

Class Descriptions

This is the more important of the two points. Here’s a
description from the 2006 brochure, which I compiled:

16th Century Italian Madrigals with
Héloïse Degrugillier (9 meetings)
Play some of the most dramatic music of the
renaissance. This class will explore the
madrigals of Da Rore, Arcadelt, and others.
We will work on ensemble skills, expressive
playing, and fundamental recorder technique.

And here’s the description of the class taught by the same
coach on the current website:

Heloise Degrugillier (group C)
Players should know at least three instruments, play “alto up”, be fluent with cut time and eighth note beats, and be comfortable reading one on a part.

If you wanted to pass tests and validate yourself by moving up
to a more “advanced” group, I can see that you might prefer the
second class, but if you wanted to play music with people who were
excited about it, and you didn’t already know the people involved,
I can’t imagine why you’d even think of going to a class with the
current description.

Now you can make an argument that when I was doing the
brochure, many people were insecure about deciding from the
brochure what class they wanted to take, because I didn’t usually
say anything at all about the level of playing required for the
class. Thus some peole worried
that they wouldn’t be able to do what the class expected. Other
people worried that they’d be stuck in a class with people who
couldn’t play very well.

My contention always was that the coaches should make the
decision about whether the people who wanted to take their class
were capable of playing the music. And since we believed that a
class shouldn’t run unless at least 6 people signed up for it,
anything we said about how advanced everyone in the class was
going to be was usually a lie, because it was rare that there were
really 6 advanced players who wanted to take the same class.

And a further argument in favor of not describing the levels in
the brochure is that people weren’t really deciding what class to
take from the brochure, because the September meeting was always a
“shopping” meeting, where you could meet the coaches and see what
the classes were like. This seems like a better way to decide
than by counting how many instruments the other members of the
class could play.

Other instruments

The main reason I always pushed for a class that allowed other
instruments besides recorders is that I really wanted the BRS to
be an organization that served all the recorder players in the
Boston area. When I joined, there were a couple of advanced
recorder players who were coming and mostly playing Dulcian (an
ancestor of the bassoon), and I benefitted a lot from being able
to play with them.

A secondary reason is that there’s a lot of really good
recorder music that wouldn’t historically have been played in an
all-recorder ensemble, so having viols or dulcians does in fact
make the recorder playing experience better than it would be with
only recorders.

In fact, although the current class descriptions don’t make it
clear who’s invited, the current organization does believe they
should welcome the “right kind” of other instruments. Their
statement says:

No more loud instruments
We are sorry to announce that we will no longer be accepting loud instruments in our ensembles (including serpents, shawms, and krummhorns).

There is apparently somewhere a slightly longer list of
proscribed instruments, but it specifically does not include
cello, which is the other non-recorder instrument which someone’s
actually been bringing. As played at recorder society meetings
I’ve been to, the cello player is at least as loud as the serpent player, and a
less good sightreader of Renaissance rhythms than the krumhorn
player.

So in my opinion, that decision probably has to do with
considerations other than musical ones.

But we already knew that based on the way they describe their classes.

So what is a recorder society?

When I was on the board (including the two years I was the
administrator), I thought
it should be an organization that brought together all the
recorder players in the area of whatever level.

This is why I ran things the way I did.

The current organization has decided that it’s an organization
that lets the established coaches coach the players who want a
once-a-month playing opportunity. Note that this offers nothing
to either the less-experienced professionals or to the advanced
amateurs who want more serious ensemble-playing opportunities, and
it’s unclear how much it does for beginners who need to get their
first ensemble experience.

All the coaches they’ve hired are good musicians and good teachers, and although
you couldn’t tell that from their descriptions, if you sign up for
their classes, you will probably learn something from them.

This Sunday, September 20, is their first meeting of the year, so
if what they’re offering is what you want, you should go.

If you want anything else out of a recorder society, you should
probably look elsewhere. I don’t see any reason why a recorder
player who isn’t interested in the monthly meetings should feel
any desire to join to support their other work, because if there
is any other work, I don’t see it. If you want to do any other
work, I don’t see any suggestion of where you would go to
volunteer.

Real program for Sunday’s event

This isn’t the post I promised you this morning. That one’s
going to take a bit more than one day to write. This is a
followup to this
post,
with the complete program.

Lower Highlands Historic Downtown Neighborhood Association

Arts Around the Block
The Classical Venue
Program

Church of the Holy Spirit, 160 Rock Street, Fall River
Sunday September 20, 2009 12:30 – 4

Chapel:

1: Judith Conrad
playing 17th century Neopolitan Virginals
Fantasia in C; Balletto del Granduca; Mein Junges Leben Hat ein End;
Fantasia ut re mi fa sol la
JAN PIETERSZOON SWEELINCK
Capriccio on La Girometta; 2 Canzone, La Bergamasca GIROLAMO
FRESCOBALDI
1:30: Laura Conrad,
Two ornamented renaissance standards by Diego
Ortiz, G-alto Recorder accompanied on Italian
Virginals Douce Memoire, O Felici Occhi Miei
2:00 Paolo Do Carmo
17th century Spanish Vihuela Music, early
gut-strung guitar
SONETO ENRIQUEZ DE VALDERRABANO
PAVANA I , II, III, FANTASIA LUIZ MILAN
FANTASIA VI, VII KYRIE DE LA MISSA BEATA VIRGINE DE JOSQUIN
GLOSADO ALONSO DE MUDARRA
FANTASIA, FANTASIA, GARDAME LAS VACAS, TRES DIFERENCIAS POR OTRA
PARTE LUIS DE NARVAES
2:30 Dr. Alan Powers
Reading From his own works

Sanctuary – Classical music:

2 Mike Shand
on Traverso Georg Philipp Telemann Flute Sonata in G
minor
2:15 Jagan Nath Singh Khalsa
J. S. Bach violin Sonata in E
Judith Conrad
music of Frederick Chopin. He was born 200 years
ago this coming March 1
Waltz in Eâ™­; Nocturne in Dâ™­; Mazurka in c# minor; Third Scherzo; Album
Leaf; Revolutionary Etude
3: Peter and the Wolf by Sergei Prokofiev.
Led at the keyboard by
Judith Conrad (who also plays the Wolf), Jagan Nath Singh Khalsa,
Violin as Peter, Ruth Shand, Bassoon as Grandfather, Mike Shand,
Baroque Flute as the bird, Dan Moniz, Clarinet as the Cat, Carroll
Grillo Brown, Alto Saxophone as the Duck, Alan Powers, Narrator.

Outside by the wall behind the cemetery (weather and noise level
permitting):

12:30 Laura Conrad
English Country Dances for recorder
1:30: Professor Emeritus Alan Powers
declaims great poetry of the
western world
2:30: Mike Shand
playing an unaccompanied flute Partita by J, S, Bach
3:30 The Fall River Fipple Fluters:
The Night Watch by Anthony Holborne
Mozart Trio
Folk Songs from the British Isles (The Banks of Allen Waters,
Flow Gently Sweet Afton, Dashing Away with the Smoothing
Iron, All Through the Night, Londonderry Air)
Dowland Now O Now I Needs Must Part

Performers

Judith Conrad
is here playing Piano, Virginals (an oblong
harpsichord-like keyboard instrument from 400 years ago which was the
favorite instrument of Queen Elizabeth the First of England) and
Recorders. A resident of Fall River, she is a graduate of Harvard
University and performs widely on keyboard instruments, most recently
at the Boston Early Music Festival, at the Loring-Greenough House in
Jamaica Plain, in Philadelphia and in Magnano, Italy.
Jagan Nath Singh Khalsa
studied violin in Chicago and in St. Louis.
He is a member of the Sikh ashram community in Millis, MA. His love
of music extends to orchestral, chamber music, and most especially
music for church. He also teaches violin and plays in local community
theater shows.
Mike Shand,
a physicist by trade, has studied traverso for over ten
years with Wendy Rolfe, Linda Marianiello, Anne Brigg, and Sandy
Miller. He has performed solo and in ensembles in northern New Jersey
and, more recently, in Newport, RI. He recently moved from New Jersey
to Tiverton. He is a graduate of Durfee High School.
Laura Conrad,
also a Durfee High graduate, now lives in Cambridge MA
where she directs the Cantabile Renaissance Band and studies recorder
with John Tyson. She is the webmaster for Laymusic.org and
SerpentPublications.org, two websites which support musicians who play
Renaissance Music in small groups. She is playing recorder today; she
also plays serpent, an ancestor of the tuba which was widely used as
the loudest bass instrument available between 1600 and 1850.
Paolo Do Carmo
studied classical guitar in his native Rio De Janeiro,
and has taken up early music since moving to Fall River 11 years
ago. He is playing a Vihuela today, which is an early Spanish
guitar. He also plays recorders and lute and makes instruments. He is
currently finishing a theorbo.
Ruth Shand
is the longest-serving member of the Fall River Symphony. A
former Somerset music teacher and a concert pianist, she is playing
bassoon for us today.
Dan Moniz,
a Swansea resident, is the first-chair clarinettist in the
Swansea Community Musicians.
Carroll Grillo Brown,
a Fall River resident, plays all sizes of saxophones.
The Fall River Fipple Fluters
are an amateur recorder-playing group
founded in 1991 by Judith Conrad. They play together for fun every
Friday at Four-thirty in Fall River. New members are always welcome,
willingness to try to learn recorder is the only requirement. They
play all sizes of recorder and many different styles of music, the
core repertoire being Western classical music from the 16th to the
18th centuries, the heyday of the recorder.

For further information
call Judith Conrad, 508-674-6128 or e-mail her at
judithconrad@mindspring.com

Truce in the browser wars (on my machine, anyway)

I wrote previously
about my efforts to find a browser to replace Firefox 3.0, which
has major memory leaks and takes over the sound system.

I seem to have settled on Firefox 3.5 for the moment.

I still like the interface on chromium-browser from google, but the linux
version was too incomplete, and so I had to keep a firefox
browser going in addition. In addition, because it was
undergoing such rapid development, I was having to restart it
every day, which is a nuisance.

They have actually gotten flash working, so you could use it to
watch youtube videos, but I’m still not able to publish my
daily blog entry. And they frequently have problems with the
interface with X windows, so that you can’t move or view the
window the way you expect.

Firefox 3.5 still has some memory leakage, and of course when
it’s using 13% of my current 8G, that would have been more than
100% of the old 1G system. But it takes at least a week to get
to be a nuisance on the current system, and by then I’ve usually
had to restart it so that I can listen to the MIDI files when I’m
transcribing music. (This is a point for Chromium; I can play
midi files from the command line even if I’ve just listened to
music on Chromium.)

Another major advantage of Firefox over chromium is that there
are all those plugins, including one that lets you use emacs to
edit text fields, and the one that lets you share your bookmarks
between all your computers.

I’ve heard people complain about problems with Firefox 3.5, but
the only one I’ve hit is that my bank site complains that I’m
using an untested browser, but then it lets me do my banking
anyway.

So for now, I’m putting up with Firefox 3.5, but I’ll let you
know if chromium grows up enough to be worth another shot.

Anna Karenina reread

Anna
Karenina
(free Gutenberg
text
) is one of the books I reread fairly regularly.

In this
case I was inspired to reread it sooner than I would have
otherwise, because of looking
at the chapter about using a scythe
. I had remembered
reading that, but not how detailed the description of how you
swing it and how often you have to whet it was. So I thought
there were probably other detailed descriptions of how 19th
century farming worked that I didn’t remember and would enjoy reading.

It turns out all the descriptions of how people did their work
were more detailed than I remembered. So I’ll point you at a few
I really enjoyed.

Politics

Serfs on private land were freed in 1861 and on public land in
1866. Anna Karenina was published serially in 1874-7 and in book
form in 1878.

So how a landowner got the farm work done with a different
relationship to the peasants that neither he nor they were used to
was a hot topic of conversation.

Here’s a conversation Levin has with a peasant who has done
well:

Over their tea Levin heard all about the old man’s farming. Ten
years before, the old man had rented three hundred acres from the
lady who owned them, and a year ago he had bought them and rented
another three hundred from a neighboring landowner. A small part
of the land–the worst part–he let out for rent, while a
hundred acres of arable land he cultivated himself with his
family and two hired laborers. The old man complained that
things were doing badly. But Levin saw that he simply did so
from a feeling of propriety, and that his farm was in a
flourishing condition. If it had been unsuccessful he would not
have bought land at thirty-five roubles the acre, he would not
have married his three sons and a nephew, he would not have
rebuilt twice after fires, and each time on a larger scale. In
spite of the old man’s complaints, it was evident that he was
proud, and justly proud, of his prosperity, proud of his sons,
his nephew, his sons’ wives, his horses and his cows, and
especially of the fact that he was keeping all this farming
going. From his conversation with the old man, Levin thought he
was not averse to new methods either. He had planted a great
many potatoes, and his potatoes, as Levin had seen driving past,
were already past flowering and beginning to die down, while
Levin’s were only just coming into flower. He earthed up his
potatoes with a modern plough borrowed from a neighboring
landowner. He sowed wheat. The trifling fact that, thinning out
his rye, the old man used the rye he thinned out for his horses,
specially struck Levin. How many times had Levin seen this
splendid fodder wasted, and tried to get it saved; but always it
had turned out to be impossible. The peasant got this done, and
he could not say enough in praise of it as food for the beasts.

“What have the wenches to do? They carry it out in bundles to
the roadside, and the cart brings it away.”

“Well, we landowners can’t manage well with our laborers,” said
Levin, handing him a glass of tea.

“Thank you,” said the old man, and he took the glass, but refused
sugar, pointing to a lump he had left. “They’re simple
destruction,” said he. “Look at Sviazhsky’s, for instance. We
know what the land’s like–first-rate, yet there’s not much of a
crop to boast of. It’s not looked after enough–that’s all it
is!”

“But you work your land with hired laborers?”

“We’re all peasants together. We go into everything ourselves.
If a man’s no use, he can go, and we can manage by ourselves.”

Animals

One of the distinctions that’s drawn subtly between Levin, who
works his farm and takes care of his animals and the urbanized
noblemen, who like horses but just pay someone else to take care of
them, is how carefully he notices whether they’ve been worked too
hard:

Here, he’s on his way to go hunting with Veslovsky, previously
described as a quite uncongenial and superfluous
person.

Vassenka was extremely delighted with the left horse, a horse of
the Don Steppes. He kept praising him enthusiastically. “How
fine it must be galloping over the steppes on a steppe horse!
Eh? isn’t it?” he said. He had imagined riding on a steppe horse
as something wild and romantic, and it turned out nothing of the
sort. But his simplicity, particularly in conjunction with his
good looks, his amiable smile, and the grace of his movements,
was very attractive. Either because his nature was sympathetic
to Levin, or because Levin was trying to atone for his sins of
the previous evening by seeing nothing but what was good in him,
anyway he liked his society.

After they had driven over two miles from home, Veslovsky all at
once felt for a cigar and his pocketbook, and did not know
whether he had lost them or left them on the table. In the
pocketbook there were thirty-seven pounds, and so the matter
could not be left in uncertainty.

“Do you know what, Levin, I’ll gallop home on that left
trace-horse. That will be splendid. Eh?” he said, preparing to
get out.

“No, why should you?” answered Levin, calculating that Vassenka
could hardly weigh less than seventeen stone. “I’ll send the
coachman.”

Later on, one indication that the affair with Anna is
destroying Vronsky’s ability to concentrate on the matters that
used to be important to him is the way he loses the horse race
that he’s been spending time and money on for weeks or months:

There
remained only the last ditch, filled with water and five feet
wide. Vronsky did not even look at it, but anxious to get in a
long way first began sawing away at the reins, lifting the mare’s
head and letting it go in time with her paces. He felt that the
mare was at her very last reserve of strength; not her neck and
shoulders merely were wet, but the sweat was standing in drops on
her mane, her head, her sharp ears, and her breath came in short,
sharp gasps. But he knew that she had strength left more than
enough for the remaining five hundred yards. It was only from
feeling himself nearer the ground and from the peculiar
smoothness of his motion that Vronsky knew how greatly the mare
had quickened her pace. She flew over the ditch as though not
noticing it. She flew over it like a bird; but at the same
instant Vronsky, to his horror, felt that he had failed to keep
up with the mare’s pace, that he had, he did not know how, made a
fearful, unpardonable mistake, in recovering his seat in the
saddle. All at once his position had shifted and he knew that
something awful had happened. He could not yet make out what had
happened, when the white legs of a chestnut horse flashed by
close to him, and Mahotin passed at a swift gallop. Vronsky was
touching the ground with one foot, and his mare was sinking on
that foot. He just had time to free his leg when she fell on one
side, gasping painfully, and, making vain efforts to rise with
her delicate, soaking neck, she fluttered on the ground at his
feet like a shot bird. The clumsy movement made by Vronsky had
broken her back. But that he only knew much later.

Birth Control

I’d never noticed before that Anna tells Dolly that she’s using
birth control after the difficult birth of her daughter:

“Well, and the most legitimate desire–he wishes that your
children should have a name.”

“What children?” Anna said, not looking at Dolly, and half
closing her eyes.

“Annie and those to come…”

“He need not trouble on that score; I shall have no more
children.”

“How can you tell that you won’t?”

“I shall not, because I don’t wish it.” And, in spite of all her
emotion, Anna smiled, as she caught the naïve expression of
curiosity, wonder, and horror on Dolly’s face.

“The doctor told me after my illness…”

“Impossible!” said Dolly, opening her eyes wide.

For her this was one of those discoveries the consequences and
deductions from which are so immense that all that one feels for
the first instant is that it is impossible to take it all in, and
that one will have to reflect a great, great deal upon it.

This discovery, suddenly throwing light on all those families of
one or two children, which had hitherto been so incomprehensible
to her, aroused so many ideas, reflections, and contradictory
emotions, that she had nothing to say, and simply gazed with
wide-open eyes of wonder at Anna. This was the very thing she
had been dreaming of, but now learning that it was possible, she
was horrified. She felt that it was too simple a solution of too
complicated a problem.

“N’est-ce pas immoral?” was all she said, after a brief pause.

“Why so? Think, I have a choice between two alternatives: either
to be with child, that is an invalid, or to be the friend and
companion of my husband–practically my husband,” Anna said in a
tone intentionally superficial and frivolous.

“Yes, yes,” said Darya Alexandrovna, hearing the very arguments
she had used to herself, and not finding the same force in them
as before.

“For you, for other people,” said Anna, as though divining her
thoughts, “there may be reason to hesitate; but for me…. You
must consider, I am not his wife; he loves me as long as he
loves me. And how am I to keep his love? Not like this!”

She moved her white hands in a curve before her waist with
extraordinary rapidity, as happens during moments of excitement;
ideas and memories rushed into Darya Alexandrovna’s head. “I,”
she thought, “did not keep my attraction for Stiva; he left me
for others, and the first woman for whom he betrayed me did not
keep him by being always pretty and lively. He deserted her and
took another. And can Anna attract and keep Count Vronsky in
that way? If that is what he looks for, he will find dresses and
manners still more attractive and charming. And however white
and beautiful her bare arms are, however beautiful her full
figure and her eager face under her black curls, he will find
something better still, just as my disgusting, pitiful, and
charming husband does.”

Dolly made no answer, she merely sighed. Anna noticed this sigh,
indicating dissent, and she went on. In her armory she had other
arguments so strong that no answer could be made to them.

“Do you say that it’s not right? But you must consider,” she
went on; “you forget my position. How can I desire children?
I’m not speaking of the suffering, I’m not afraid of that. Think
only, what are my children to be? Ill-fated children, who will
have to bear a stranger’s name. For the very fact of their birth
they will be forced to be ashamed of their mother, their father,
their birth.”

“But that is just why a divorce is necessary.” But Anna did not
hear her. She longed to give utterance to all the arguments with
which she had so many times convinced herself.

“What is reason given me for, if I am not to use it to avoid
bringing unhappy beings into the world!” She looked at Dolly,
but without waiting for a reply she went on:

“I should always feel I had wronged these unhappy children,” she
said. “If they are not, at any rate they are not unhappy; while
if they are unhappy, I alone should be to blame for it.”

These were the very arguments Darya Alexandrovna had used in her
own reflections; but she heard them without understanding them.
“How can one wrong creatures that don’t exist?” she thought. And
all at once the idea struck her: could it possibly, under any
circumstances, have been better for her favorite Grisha if he had
never existed? And this seemed to her so wild, so strange, that
she shook her head to drive away this tangle of whirling, mad
ideas.

“No, I don’t know; it’s not right,” was all she said, with an
expression of disgust on her face.

“Yes, but you mustn’t forget that you and I…. And besides
that,” added Anna, in spite of the wealth of her arguments and
the poverty of Dolly’s objections, seeming still to admit that it
was not right, “don’t forget the chief point, that I am not now
in the same position as you. For you the question is: do you
desire not to have any more children; while for me it is: do I
desire to have them? And that’s a great difference. You must
see that I can’t desire it in my position.”

Darya Alexandrovna made no reply. She suddenly felt that she had
got far away from Anna; that there lay between them a barrier of
questions on which they could never agree, and about which it was
better not to speak.

I browsed Wikipedia on the history of birth control, and the
only suggestion relevant to what method Anna might have been using
is in the
barrier contraception article
, which says:

The diaphragm and reusable condoms became common after the invention of rubber vulcanization in the early nineteenth century.

Since Vronsky clearly doesn’t know she’s using birth control,
it couldn’t have been a condom.

Election description

As an election official, I was interested that the mechanics of
the secret ballot in 19th century Russia gave even less assurance
that the voter had voted the way he wanted to than our paperless
voting machines:

The district marshals walked carrying plates, on which were
balls, from their tables to the high table, and the election
began.

“Put it in the right side,” whispered Stepan Arkadyevitch, as
with his brother Levin followed the marshal of his district to
the table. But Levin had forgotten by now the calculations that
had been explained to him, and was afraid Stepan Arkadyevitch
might be mistaken in saying “the right side.” Surely Snetkov was
the enemy. As he went up, he held the ball in his right hand,
but thinking he was wrong, just at the box he changed to the left
hand, and undoubtedly put the ball to the left. An adept in the
business, standing at the box and seeing by the mere action of
the elbow where each put his ball, scowled with annoyance. It
was no good for him to use his insight.

Conclusion (for now)

There were lots more interesting passages that I can use the
next time I feel like letting Leo Tolstoy write my blog entry for
the day.

The passsages quoted above are all ones I don’t remember
noticing much before, so even if you don’t enjoy them, it doesn’t
mean you won’t enjoy lots of other things about the book.

http://rcm.amazon.com/e/cm?t=laymusicorg-20&o=1&p=8&l=as1&asins=0451528611&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr