Tolkien Society awards

The Tolkien Society (the UK-based fan organization of which I've been a member for many years) has announced the final ballots for its annual awards. Any member of the Society is eligible to vote; the deadline is April 25.

This year the Society has introduced a new method of picking the finalists out of the long list of initial nominees: panels of 5-6 expert jurors, one for each award. And I, perforce, was on the panel for Best Book, the books being full-length scholarly monographs or collections of articles.

The eligibility winnowing process (a complex matter in itself) had left ten candidates to be considered. The 5 of us on this panel were sent links to PDF copies of all the nominees (arrangements having been made for this with the publishers), and to a Google Docs spreadsheet to cast our votes on. We were given about a month to read them all and make our choices, by putting checkmarks in cells under our names on the spreadsheet.

I'd already seriously browsed through 3 of the 10 books in hard copy, but I had a lot of reading ahead of me. I loaded the files onto both my desktop computer and my tablet, and did a lot of the reading on the tablet while taking transit to and from concerts. Still, I pushed the deadline pretty close, but at least I had strong clear reactions, positive or otherwise, to all the nominees.

The panelists were asked to cast between 3 and 5 votes for the worthiest books. In the end, all of us picked 4. Our choices were not all identical, but there was a general consensus. There were 6 books which received 2 or more votes, and those became the finalists. I'm pretty pleased with the list: everything I picked is on it, and even the ones I didn't pick I thought were decent and worthwhile books.

And that's what we're presenting for the members to vote on.

concert review: Isidore String Quartet

This is the group that won the latest Banff String Quartet Competition, three years ago. I only saw videos of that, which is not at all like being there in person, so I was eager to hear this group live and up close.

A very light, bright, and chipper sound, I thought. Normally we think of Beethoven as the big brusque composer while Mozart is smooth and graceful. This was almost the other way around. Beethoven's Op. 127 was delicate, even hesitant at times, while Mozart's K. 465 was more robust - if only by contrast, for it was certainly also graceful, and there was no attempt to make anything horribly modernist out of the work's infamous 'dissonant' introduction - which is unlike anything else in the piece.

There was one small bit outside of the classics, a brief recent quartet by Billy Childs, one of a contingent of jazz players who also dabble in classical. Nothing jazz-like about this piece which was largely of the 'four voices wandering around' school of composition. Isidore played a different quartet by this composer at Banff and I didn't find it very interesting either.