In the [Tannhäuser] overture's opening episode, the chorale (called the "Pilgrim's Chorus") represents merely the weary progress of Christian pilgrims, first toward, then away from an imagined physical point; i.e., a pretty much matter-of-fact affair. In the closing episode of the overture when the chorale reappears with a ff return to triple measure in the trombones rising above, against, and in opposition to the furious, frenetic, and insistent ff rapid runs of duple measure 16ths in the strings (representing the dithyrambic claims of the Venusberg), it's not merely a recap of the chorale of the overture's opening episode but its apotheosis, a declaration of the triumph and redeeming power of self-sacrificing love over the selfish, ensnaring claims of the flesh promoted within the Venusberg. In all the readings of this overture we've heard to date [now including the present reading by Maestro Nelsons], the chorale's appearance in the overture's opening episode is taken almost as broad, slow, and triumphant (in the trombones) as its reappearance in the overture's closing episode, which is, of course, rhetorically absurd, both musically and dramatically, and, further, serves to blunt that closing episode leaving it nowhere to go dramatically except into the dumper. The Venusberg episodes (the overture's center episodes) are then taken too slow as well, both as a matter of proportion (to the too-slow opening chorale), and also as a misguided attempt at the sensuous rather than the dithyrambic for the Venusberg center as a whole, which is also wrong rhetorically, both musically and dramatically.So much for Maestro Nelsons's reading of the concert's opening work. Next came the aria "In fernem Land" from Act III of Lohengrin with Mr. Kaufmann as soloist who here turned in his typically superlative performance both musically and dramatically and by so doing all but forced Maestro Nelsons to get his reading right as well. Closing the concert's first half was the famous (and famously misnamed) "Prelude and Liebestod" stitched together from Wagner's great(est) masterpiece Tristan Und Isolde with, of course, Ms. Opolais as soloist who here acquitted herself competently and most bravely as did Maestro Nelsons. The concert then undertook an abrupt descent from the sublime to the soapy and we were treated so some Italian opera goodies which delighted the audience no end and with which Maestro Nelsons seemed more at home. We were given, one after another, "Mamma, quel vino è generoso" from Act II of Cavalleria rusticana (Mr. Kaufmann); "Un bel di" from Act II of Madama Butterfly (Ms. Opolais); the "Intermezzo" from Cavalleria rusticana (the BSO); "Tu, tu, amore?" the love duet from Act II of Manon Lescaut (Ms. Opolais and Mr. Kaufmann); and "O soave fanciulla" the Finale from Act 1 of La Bohème (Ms. Opolais and Mr. Kaufmann). As we've only passing familiarity with all these works as with Italian opera generally we can say only that they all sounded just fine to us but, for the aforementioned reason, no great confidence can be placed in our judgment on this matter. The concert closed in spectacular fashion with Respighi's spectacular orchestral tone poem The Pines of Rome complete with auxiliary brass choirs placed in several strategic locations around the great auditorium's balcony. Most impressive, both the work (which has one of classical music's most stirring closing movements) and the performance itself albeit, again, Maestro Nelsons's tempi were markedly on the draggy side. All in all, an inaugural concert of which the BSO, Maestro Nelsons, and Boston need not be ashamed although it struck us as more than a little, um, curious that the inaugural concert of a symphony orchestra with its new music director on the podium should be programmed by that music director almost entirely with music of the opera and with opera stars as soloists.
I challenge @alexrossmusic to defend (or at least explain) promoting this "music" by giving it notice.The Twitter ID "@alexrossmusic" belongs to Alex Ross, one of the nation's most prominent and respected classical music critics, a best-selling author (The Rest Is Noise: Listening to the Twentieth Century), and the classical music critic for The New Yorker, one of the nation's most prominent and respected journals, and the "music" referred to is this; something only a Cagean or Stockhausean fundamentalist gone off the deep end would or could mistake for music. Mr. Ross's responding tweet — deleted by Mr. Ross almost as soon as it was posted and which tweet we didn't think to make a verbatim record of simply because we never imagined it would be necessary — was brazenly and uncharacteristically arrogant and self-important and made no attempt whatsoever to either acknowledge or answer our challenge. As Mr. Ross is hardly the only classical music critic, print and/or digital, professional or amateur, guilty of promoting cacophonous noise (literally noise) masquerading as music under cover of being "performed" by legitimate musicians and being declared music by one or more classical music critics, one might imagine we're here picking on Mr. Ross for personal reasons but in so imagining one would be wrong. We singled out this particular instance because it's so off-the-chart egregious and because Alex Ross is Alex Ross who in his intensified zeal to promote new music (a perfectly honorable, necessary, and, especially for one in Mr. Ross's position, obligatory enterprise) since the publication of his above noted bestselling book has here done all classical music a grievous disservice. No matter how illustrious one's professional stature, one cannot hope to convince or persuade a potential audience for classical music, whether classical music of the new or canonical sort, by treating that potential audience as if it were made up of tone-deaf idiots who can be persuaded that actual noise is actually music simply on the say-so, explicit or implied, of an acknowledged expert. It's time, long past time, that classical music critics of all statures within the profession embarked upon a searching, brutally frank, no-holds-barred reassessment of their professional selves and the effect of their work upon classical music audiences both existing and potential.
It had to happen. As surely as the irresistible force had to meet the immovable object, as surely as Frankenstein had to meet the Wolfman [sic], Roger Norrington and his London Classical Players had to confront Richard Wagner, the fountainhead of everything against which Mr. Norrington, and all of Early Music, have been in constant zealous revolt. The resulting CD (EMI Classics 5 55479 2), which contains the Rienzi Overture, the Prelude to Act III of Lohengrin, the Prelude and "Liebestod" from Tristan und Isolde, the Meistersinger Prelude, the Siegfried Idyll and the Parsifal Prelude, is one of the most fascinating recordings of the year just past, and one of the most important. Which is not necessarily to imply that the performances it preserves are any good.Read the whole thing.
When it comes to classical music and American culture, the fat lady hasn’t just sung. Brünnhilde has packed her bags and moved to Boca Raton. Classical music has been circling the drain for years, of course. There’s little doubt as to the causes: the fingernail grip of old music in a culture that venerates the new; new classical music that, in the words of Kingsley Amis, has about as much chance of public acceptance as pedophilia; formats like opera that are extraordinarily expensive to stage; and an audience that remains overwhelmingly old and white in an America that’s increasingly neither. Don’t forget the attacks on arts education, the Internet-driven democratization of cultural opinion, and the classical trappings—fancy clothes, incomprehensible program notes, an omerta-caliber code of audience silence — that never sit quite right in the homeland of popular culture.Clearly, this is not claiming that classical music is dead in contemporary mainstream American culture but a suggestion that it finds itself in serious trouble; viz., as the rest of the article makes clear, relegated to the culture's deepest hinterlands, its outermost margins. (Although the article negligently does not make note of it, this silent, insidious process had its beginnings in the mid-1960s and became more pressing with each passing year since and has today reached a degree that's perhaps the most extreme it's been since America became a fully developed nation sometime in the mid- to late-19th century.) And following those lede grafs, that is what the balance of this article is all about; the thesis it attempts to support and prove using statistical evidence of the inarguable migration. And that's it. No requiem, no funeral. The article's author even hopes classical music in American culture is due a comeback (see the article's closing graf). The above commentary published here in an attempt to inject a modest measure of clear-eyed sanity into the presiding hysteria.
If the lockout of the Orchestra ends, the Musicians could work with management to merge any planned concerts produced by the Orchestral Association with those produced by the Musicians.Our ignorance of the workings of symphonic orchestra management procedures and dynamics notwithstanding, we feel compelled to issue openly the following brief letter of admonition to the Musicians of the Minnesota Orchestra (with apologies for our temerity): STOP! Don't even think about it! If you manage to successfully self-produce your planned concerts you're already more than halfway home. If the Minnesota Orchestral Association (MOA) shows signs of wanting to lift their lockout of the Minnesota Orchestra Musicians and settle the matter, make certain in that settlement that, when all is said and done, the MOA ends up working for YOU, not you for them as in the past. Always remember and keep foremost in mind that YOU are the sine qua non here, in some respects the unique sine qua non, not the MOA which is made up of mere money-men(-women) and therefore freely replaceable and interchangeable. Money is money and always the same everywhere and at all times no matter from where or from whom it comes. STAND YOUR GROUND! That is all. As you were.
The biggest part of the problem is the Great Man myth that still permeates classical music and which has also found its way into the new music claiming its lineage from that tradition. Until we rid ourselves of the notion that the best music of all time was created by a handful of men who lived an ocean away from us and who all died more than a century before any of us were born, we will never have programming that truly reflects the vast array of musical creativity all around us. It’s the same myth that locks American repertoire out of most programming at opera houses and symphony orchestras as well as music by anyone from anywhere who is currently alive. When a work by someone who is alive, American, or female (or a combination of those attributes) is played, it’s inevitably a single work wedged in between the obligatory performances of works by Great Men. Heaven forbid a major opera company or symphony orchestra would most [sic] a season that included a broad range of works that were not penned by Great Men!If "the biggest part of the problem" is truly the Great Man Myth (and we don't for an instant imagine that it truly is) which has it that "the best music of all time was created by a handful of men who lived an ocean away from us and who all died more than a century before any of us were born," then we've news for Mr. Oteri: the "problem" is indissoluble and will remain so for even the most remotely foreseeable future. For the "Great Man Myth" as above defined (except for the "more than a century" part which more accurately should have read "more than a half-century or so") is in large part no myth but a demonstrable truth that no amount of wishful, PC, or delusional thinking can make disappear or cease to exist. It's time living composers (and incidentally, their champions and cheerleaders as well) accepted and got over that demonstrable truth and their destructive "anxiety of influence" response to it, to borrow Harold Bloom's neatly and aptly named formulation, and instead got on with the business of composing new music as best their native gift will allow without the need to attempt to demythologize or pooh-pooh a purported myth that's no myth at all and never was. Yes, we understand your pain. But instead of railing at us for the above as you may be wont to do, you would do better to consider it our sincere if modest contribution to the furtherance of new music worldwide.
said the situation has reached a “serious tipping point” whereby centuries of great works could be lost to future generations more interested in “vacuous celebrity culture and inane talent shows." He described the standard of music teaching in British schools as a “disgrace” and backed calls for every child to study classical works to help them better understand humanity. However, the 79-year-old said the same ignorance extended to other areas of learning, warning that many children are equally oblivious to the writings of Shakespeare or Dickens.One quails at what Sir Peter might have to say concerning this matter should he ever have cause to examine America's education system. We suspect he would be beyond appalled. Read the whole article here.
[The language of the music of ancient Greece] is a uniquely simple language but one that can find endless possibilities of development. It easily accepts external influences - a new color, a new combination of intervals, a rhythmic pattern - and it has the capacity of continually renewing itself. Those composers who bought into the theory that this ever-evolving system was dead at the beginning of the 20th century were enthusiastic and passionate adolescents, almost all of whom later recanted and got back to writing music, having passed through their tantrum phase. Hindemith, Weill, Copland, Stravinsky, Schoenberg, Prokofiev, Bartok, Shostakovich - they all ended up in a very different place from their bang-on-a-can, yell-in-your-face entrance onto the international stage. We don't teach that version of history [today], mind you. We are meant to believe that classical music just got more and more complex and experimental — and continues to. But the only way to accept that idea is to eliminate the data, since this explanation of the 20th century describes a fraction of the music actually composed and listened to. If you were a physicist, and proposed a theory of the Universe that simply ignored 99% of perceivable information, you would be laughed out of the Academy.Yes indeed. Indeed you would. Read the whole article here.
Impossible? Believe.In response to which we say, Why impossible? But of course we believe. It sounds perfectly logical and spot-on apposite to us.