On April 4, 1951 at 3:30 P. M., my brothers and I experienced a trauma that marked us for life: our father took us by force on our way home from school in Philadelphia and brought us back 700 miles to his and our home: Bluffton, SC. My twin brother and I were nine and one-half years old, and my younger brother was only six. None of us, including our father and mother, ever fully recovered from that event and the subsequent custody battles that followed.
John Samuel Graves, Jr., my father, and Florence Rubert, my mother, married on June 25, 1939. After 11 years of marriage my mother decided she wanted to think things over. She and my father agreed to a trial 3 month separation, and on June 3, 1950, Mother took us north to stay with her sister, her mother, and her grandmother. After about 10 months had passed without our father being allowed to see us he became convinced that he had to take matters into his own hands: he would return us to our ancestral South Carolina home. The details of that story are presented in my new book, Testimony of the Infant Children, the Untold Story, a non-fictional account of those and previous times in the Lowcounty town of Bluffton, South Carolina. The second edition will soon be available. Stay tuned.
For more information about the people described in my book please visit The Real People in my New Booktab on graveshouse.org.
My book is now available in its Second Edition on Amazon Books. Amazon’s Look Inside feature allows a viewer to read substantial portions of the book’s text. Please take a look! The Second Edition in not primarily different from the first edition. It has been re-edited for spelling, grammatical and formatting issues. The Second Edition also contains photographs that were not in the earliest versions of the book. Some of these additions and corrections have been posted for quite some time on graveshouse.org . See page Testimony Back Story & Photos.
Once again, I am exceedingly indebted to Walter Simmons and his book Voices in the Wilderness, Six American Neo-Romantic Composers. I quote him liberally and highly recommend his book to anyone desiring to fully comprehend American Neo-Romanticism and the works of these six wonderful composers. Also, please visit his website https://walter-simmons.com/ for more articles and information about his mission: The discovery and promotion of 20th- and 21st-century classical music that embodies traditional aesthetic values of emotional and spiritual expression, along with clarity of formal structure and coherence.
Despite the neo prefix “the early Neo-Romantics were not reviving a style from the past—they were evolving along a continuum still very much alive.”1 They embraced many stylistic features of the late 19th and early 20th centuries, and indeed knew, or knew of, many of the ‘greats’ of that period: Richard Strauss, Mahler, Stravinsky, Puccini, Rachmaninoff, Sibelius, Debussy and Ravel, among others. Bloch and Sibelius were life long friends, and he was also personally acquainted with Debussy and very much admired the French impressionists.
Simmons “posits a Neo-Romantic ideal, in which the expression of emotion, depiction of drama, and evocation of mood are joined with, rather than opposed to, formal coherence, developmental rigor, and structural economy.”2 The American neo-romantic “tended to emphasize intense, passionate emotional expression, lavishly colored instrumental sonorities, and a rich, chromatic harmonic language derived from expanded triadic harmony.”3 Simmons further offers the following four points as the ultimate distinguishing characteristics of American neo-romantics:
Most “displayed a greater use—and a more economical and disciplined application—of classical forms and more modest durational proportions in general than their European models.”
They “display certain characteristics often identified as ‘American,’ chiefly a heightened importance of rhythmic drive—frequently irregular, asymmetrical, and syncopated—and associated with this—a greater and more varied use of percussion instruments.”
Especially by mid-century, they “expanded the harmonic language of their predecessors by raising the dissonance quotient…(often adding harshness, richness, or both), thereby expanding the expressive potential of the harmonic language.”
Finally, “the American Neo-Romantics approached the matter of tonality somewhat differently from most of their European predecessors. In the earlier music of the neo-romantics, a tonal center is usually apparent at any given moment, although such centers may shift frequently within a work or section of a work, without a primary tonic exerting a unifying or hierarchical function relative to subordinate tonal regions. In other words, rather than an overall organizing principle as in much European music, tonality functions in neo-romantic music as a local expressive device, its relative strength or weakness contributing to a sense of emotional stability or lack thereof in the work at hand. Furthermore, in later neo-romantic compositions, a subjective perception of tonality may be absent altogether for greater or lesser periods of time, allowing for the expression of more extreme emotional contrasts. But even during passages when a tonal center is largely imperceptible, subjectively experienced tensions rooted in tonal expectations serve as important expressive elements.”4
Many of us can report that the rivers in our lives have profoundly influenced our lives. Such is my case. Much of my life, especially my creative life, has been lived on or around the Arkansas River at Little Rock, Arkansas, the May River of Bluffton, South Carolina, and the Savannah River, Savannah, Georgia. Rivers flow through our lives like life itself: forever approaching, passing by, and receding; forever going places we know not where. This site, as it develops, will reference these three rivers and explore their influences on my creative development over a period of many years. The images of these rivers are part of my life’s memory and history–sometimes conscious, sometimes unconscious–and will surface over and over again in my writings and discussions about art, music and creative writing. The recurring images of these three rivers have become avatars of my existence.
Anyone who feels a kinship with ideas expressed in this blog please feel free to leave a comment.
Hello! My name is John Graves. I have created this new website, astarfell.com,to focus on discussions of music, art and creative writing in the state of Arkansas and South Carolina. (I have contributed regularly to The Bluffton Breeze in Bluffton, SC. Just go to https://issuu.com/blufftonbreeze and search for John Samuel Graves, III) Initially I will be discussing my own works, and later, those of my wife, R. S. Perry. We live in Little Rock, Arkansas. We are both writers and composers and my wife is also a visual artist. I will begin by presenting and discussing my own musical compositions collected in my book, A Star Fell and Other Songs. See the Songs in my songbook tab above for a discussion of the first song in that book, A Star Fell.
Click here forA Star Fell Contents 2014.This book is now available on this site in two versions: an Arkansas edition and a Carolina edition. Please visit the Songs in my Songbook tab for more information. Also, most of my compositions can be purchased individuallyand downloaded in high quality pdf format at my other site, jsgraves.musicaneo.com.
All visitors with questions or comments are encouraged to contact meat email@example.com. Please visit my Abouttab above for my biographical material.
The above art is from the Creation Series by my wife, R. S. Perry. Used by permission. All rights reserved.