Sun-Bathing in Lockdown

Cornell Daily Sun, front page, April 16, 1918

—Friday, November 13th

During the dark days and nights of the pandemic I occasionally rummage in the archive of the Daily Sun in search of a sense of how Cornell coped with the Spanish Flu a century ago. Such then-and-now comparisons fascinate not least for the exotic look of a vintage broadsheet even when leafed through in digital form:  the front-page cartoon crowning the seven-column layout; the creativity and craft of the advertisements that open windows onto the vibrancy of Ithaca’s urban life with its cafeterias, smoke shops, haberdasheries, and many theaters (both live and movies). At every turn one encounters juxtapositions and synchronicities, international wire stories jostling with campus announcements, as in the issue of April 16, 1919—Eastertide—and the call for Cheerleader try-outs placed just below the headline about peace terms being presented to the Germans at Versailles. The ominous subhead runs: “Paris Believes the Central Powers Will to Balk at Hard Conditions.” To the left of the cartoon making light of the looming introduction of Prohibition, we read of a Bolshevik defeat, corruption in state government Albany, and a strike on the docks of New York. Just below the illustration of a drunken Noah watching his bottles of booze toddle towards the Ark, comes an announcement of University Organist James T. Quarles’s pre-Easter potpourri program that ranges from Chopin’s Marche funèbre to the Good Friday Spell from Wagner’s Parsifal on which the recitalist is joined by his wife Gertrude, a contralto. Gone are the days when an organ concert, even in Easter Week, makes it onto the front page of any newspaper.

On page three another cartoon calls for funds to bring the troops back from Europe by depicting the Doughboys forced to swim home across the Atlantic. Almost comically moored alongside the cartoon is another watery column about changes to the order of the rowers in the Cornell varsity eight. On page five we read that the number of “English” deaths has surpassed births, nearly 100,000 having fallen victim to the flu. Just below this report comes news that the Cornell Mandolin Club has given up plans to re-form because its long-time director is still France. These and other collisions bring home the mortal truth that Spanish Flu was spread and worsened by war.

From University Historian Morris Bishop’s classic History of Cornell published in 1962 one learns that that in October 1918 the university began quartering soldiers on campus. With them came the flu. There were 900 cases at Cornell, some 1,300 in Ithaca. Thirty-seven students died, and about the same number in the town. In 2020 by contrast, the first Covid death in Tompkins County, home to Cornell, was reported a month ago. In the autumn of 1918 many doctors were overseas, so local resident and students were called on to help the stricken.

In World War I, Cornell’s fraternities were converted to dormitories for soldiers, with as many as seventy-five cots in each house. There were no campus clubs, no publications, no athletics. Tompkins County had voted to go dry already in October of 1918, more than a year before the Eighteenth Amendment went into effect. The cessation of student activities and the popularity of the movies, as Bishop wryly noted, “operated to keep the students away from beer’s redolence.”

During Covid there has been more than a little beer pong played. Today there’s a cluster of new cases at Cornell caused by party-hopping students.  Rather than facing quarantine in fine style in the Statler as has been the case in the present crisis, one could have been sent off to the trenches instead, not for contracting the disease but for being alive.

A Socially-Distanced Octet

Chamber music during COVID: a logistical challenge with spontaneous rewards

6 feet apart please

It began with an email. “Well, the weather is glorious–see you at the tent at 5:30!.” What was supposed to be a normal Friday rehearsal in Lincoln Hall transformed into a concert thrown together last-minute by our octet coach. 8 musicians were not what innocent passersby of the arts quad were planning to see.

The tent? At our first rehearsal three weeks ago, I was sure that one of the following two scenarios would define the fate of our chamber music group: 1. We get through this first meeting and the school shuts down all in-person gatherings the following week, or 2. We don’t get shut down, but we continue rehearsing aimlessly without the traditional semester-end chamber concert to look forward to. So, when news arrived (granted at the latest possible moment) of this rehearsal-concert hybrid, I was euphoric. The weather gods had gifted us 82 ֯F weather that Friday to play a socially-distant outdoor concert.

Much like the case of the pandemic, however, chaos ensued. Nothing about this concert was extravagant in any way. In fact, it was as far as it could be from refined.

I had imagined walking into the tent with my fellow musicians, sitting down, and playing seamlessly through the first movement. But instead, we found ourselves scrambling to secure our sheet music on the wobbling stands with masking tape amidst the aggressive flapping of the canopy tent in the unanticipated wind.

Insert intermission here. Those first twenty brutal minutes of logistical triaging called for a necessary contingency plan.

Like any musical group, we wanted to execute our piece to perfection. So as per our coach’s request, we ran through parts of the development and recapitulation to recalibrate. That process didn’t work too well though. With our socially-distant seating arrangement and lack of walls, we might as well have been playing in individual soundproof rooms. Then came the point of the dreaded synchronous, or so they were supposed to be, sixteenth notes. I do not exaggerate when I say that this segment has always been the ultimate test of our octet’s musical chemistry, so when a passionate gust of wind knocked over one cellist’s stand and jeopardized the already precarious tape holding all the music together, I was bracing for a crash landing. Sure, a couple violins and violas dropped out of the race here and there, but that one persevering communal brain cell we shared that somehow allowed us to reconvene at that last chord was an accomplishment, to say the least.

I do not doubt the fact that Mendelssohn was most likely rolling in his grave hearing the harmonic discord of our performance. But given the fact that Mendelssohn was only 16 when he composed this universally celebrated work, I’d like to believe that he would have appreciated the youthful mayhem of our concert. The piece features extremes in fortes and pianos and the umpteen use of hairpins throughout, mimicking the bipolar weather throwing us, quite literally, around. Mendelssohn meant for the octet to be full of “youthful verve, brilliance, and perfection,” as music critic Conrad Wilson describes. We blundered on the last requirement but definitely exceeded all expectations on the first.

This glorious mess of a concert was not destined to be ordinary, and I wouldn’t have liked it any other way. When would I ever get the chance again to play the Mendelssohn Octet in E-Flat with this same group of musicians in the middle of a pandemic wearing masks seated six feet apart (more or less) under a tent in the Cornell arts quad with dogs playing fetch and four different games of spike ball happening simultaneously?