Poem for Strings and Saxophone

Yes, saw those attached stretched tendons. Make 'em yowl,
make 'em bleat, make them sweet. For you know
the playing is work: how many muscles in the hands,
wrists, back, and neck? How much instant discernment
in memory, eyesight, and ear-hearing? Now

your neurotransmitters need a break, so let
a saxophone stride in wearing a gold suit,
black shirt, and Falun red tie. Yes, please,
let the horn raise the subject of a steak-thick
fold of cash caught in a worn money-clip.

Bring them together now, brass
and class, robust and refined, all
intertwined.  The music ought
to be serious, funny, subtle, and crude
like something from that Satie dude.



hans ostrom 2016

The Fiddler's Response

The absorption of music operates
individualistically, in spite of
communal structures, hitocracies,
group performance, and ubiquitous
corporate dispensers. Thus

was the violin-player in a four-
person acoustic jazz band induced
by the present music and her
personal compunctions to play
with her hair, twisting it with
one finger, then looking at it

as if it were a clue; this, as
she waited (was she waiting?)
for a guitarist to complete
his wailing interval.


* "wailing interval"--sometimes
used by Duke Ellington to refer to
an instrumental solo


hans ostrom 2016

Bach to Basics

Watching Bach Played


I saw a string-ensemble play
Bach's music. Each musician
leaned, turned, and swayed
in chairs differently as
they played. The women's
backs looked strong in gowns.
The men's feet in black shoes
stayed fixed to the floor.

Sometimes violin-bows poked
straight up as if probing unseen
clouds just above the players'
heads. Portly cellos had to be
held up like friendly drunks.
They mumbled low genial
gratitude. One man stood

above the players, waving
his arms and a stick as if
to try to get someone's
attention. The violinists
may have glanced at him,
I don't know, but mostly
they cuddled their polished
wooden instruments, and
let their bodies feel the music.


Copyright 2009 Hans Ostrom