Brendan I. Koerner of Slate magazine has posted an article trumpeting the recent announcement that sales of "classical" recordings increased more than any other genre in 2006. Mr. Koerner emphasizes the contribution of "crossover classical" recordings to this occurrence, and Alex Ross convincingly questions that conclusion.
The rumors of concert music's death remain exaggerated.
23.2.07
14.2.07
High Hat 8
Just in time for the holiday: The new issues of The High Hat is up. There's a special section on "First Loves" (my article on the trombone is here) as well as the usual commentary on culture pop and non-pop (my piece on Terry Riley's In C is here). Enjoy!
12.2.07
Misc
Tallahassee Symphony review, Tallahassee (FL) Democrat, 12 Feb 2007.
Kyle Gann has posted a thought-provoking keynote address he delivered to a new music group in Canada.
Galen Brown reviews a new release of music by Lee Hyla.
Listening:
Beethoven, String Quartet in F, Op. 135; Guarneri Quartet.
Stravinsky: Symphonies of Wind Instruments; London Sinfonietta/Salonen.
Hyla: Orchestral Music; BMOP.
Gershwins: Songs; Ella Fitzgerald.
Kyle Gann has posted a thought-provoking keynote address he delivered to a new music group in Canada.
Galen Brown reviews a new release of music by Lee Hyla.
Listening:
Beethoven, String Quartet in F, Op. 135; Guarneri Quartet.
Stravinsky: Symphonies of Wind Instruments; London Sinfonietta/Salonen.
Hyla: Orchestral Music; BMOP.
Gershwins: Songs; Ella Fitzgerald.
8.2.07
Context
Context is everything.
No one likes for their words to be removed from their context and their meaning changed. Statements taken out of context can be twisted so that they appear to mean the opposite of the speaker's intention, or at least in conflict with the speaker's beliefs.
As much as we often want to say we hear pieces of music on their own terms, it is all but impossible to listen to music without putting it in a context of some kind, be it an aesthetic, historical, or social context, or some combination of those. (As an aside, I don't think it would be especially desirable to be able to experience works of art in such a vacuum, but that's a different post.)
What might it mean for a piece of music to be taken "out of context"? What does "context" even mean in this, well, context? If the groundwork has been laid for a piece in a new or locally-unfamiliar style, then the piece has a context in which to be heard. Even if a piece is radically new, the presence in a culture of other artifacts related to the radical piece provides a context for an audience's understanding.
A piece can be played, of course, even if there is no such context, but I have my doubts as to whether it can really be heard as music. The syntax, materials, structure, everything about the piece may be incomprehensible to the audience, even the performers. It's very important, then, for composers, performers, and presenters to help create an infrastructure for their art. Only then can a context for this art be assured and perception made possible.
No one likes for their words to be removed from their context and their meaning changed. Statements taken out of context can be twisted so that they appear to mean the opposite of the speaker's intention, or at least in conflict with the speaker's beliefs.
As much as we often want to say we hear pieces of music on their own terms, it is all but impossible to listen to music without putting it in a context of some kind, be it an aesthetic, historical, or social context, or some combination of those. (As an aside, I don't think it would be especially desirable to be able to experience works of art in such a vacuum, but that's a different post.)
What might it mean for a piece of music to be taken "out of context"? What does "context" even mean in this, well, context? If the groundwork has been laid for a piece in a new or locally-unfamiliar style, then the piece has a context in which to be heard. Even if a piece is radically new, the presence in a culture of other artifacts related to the radical piece provides a context for an audience's understanding.
A piece can be played, of course, even if there is no such context, but I have my doubts as to whether it can really be heard as music. The syntax, materials, structure, everything about the piece may be incomprehensible to the audience, even the performers. It's very important, then, for composers, performers, and presenters to help create an infrastructure for their art. Only then can a context for this art be assured and perception made possible.
7.2.07
2.2.07
31.1.07
Around the 'sphere
25.1.07
Words of Caution
Clement Greenberg:
These words should give pause to anyone contemplating engaging in Style Wars criticism. (h/t to Leonard Pierce)
One cannot condemn tendencies in art; one can only condemn works of art. To be categorically against a current art tendency or style means, in effect, to pronounce on works of art not yet created and not yet seen. It means inquiring into the motives of artists instead of into results. Yet we all know — or are supposed to know — that results are all that count in art.
These words should give pause to anyone contemplating engaging in Style Wars criticism. (h/t to Leonard Pierce)
22.1.07
18.1.07
Electric Now
Stirling Newberry has written a telling introduction to George Crumb's Black Angels and posted it on the Crooks and Liars blog. Crooks and Liars is a center-left political blog that chronicles the top down media's treatment of politics. I've posted about my mixed feelings concerning political posting on cultural blogs, but I think posting on political blogs about cultural matters and artifacts is a spectacular idea, especially when the two realms meet as they do in Black Angels.
I also want to add my conratulations to Alex Ross for completing his book on 20th century music. It appears, though, that the critics are already being catty.
I also want to add my conratulations to Alex Ross for completing his book on 20th century music. It appears, though, that the critics are already being catty.
14.1.07
Lee Hyla
Jeremy Eichler of the Boston Globe writes about Lee Hyla (registration may be required to get theough the whole article).
Here's my take on Mr. Hyla, from The High Hat.
Here's my take on Mr. Hyla, from The High Hat.
8.1.07
29.12.06
Year-Enders
The High Hat year-end supplement is up. My review of news in the concert music world is here.
23.12.06
And to all. . .
a happy holiday seaon. Posting will be sporadic, if that, while I am traveling over the next ten days visiting family.
22.12.06
18.12.06
The Beginning of Things
A recording of the Alazan Trio performance of The Beginning of Things (2006, piano trio) is posted on my page at Classical Lounge. They did a fine job on the piece, especially considering it was the first performance.
11.12.06
Elliott Carter
Today is Elliott Carter's 98th birthday. I posted on his birthday in 2004 and in 2005. Matthew Guerrieri's list of recipes named for composers includes this:
Eggs Carter: Break an egg into a pan with a multitude of other ingredients, and place on the stove. Continually and simultaneously vary both the temperature and the cooking time. The dish is done when the aggregate intervals of the other ingredients allegorically crush the individuality of the egg.
10.12.06
5.12.06
Links and Listening
Scott Spiegelberg links to an online music dictionary maintained by Virginia Tech.
Matthew Guerrieri on the value of whimsy, magic, and serious lightness in literature and music.
Listening:
Max Levinson, piano. Music by Brahms, Schumann, Schoenberg, and Kirchner.
The Lanier Trio. Music by Stephen Paulus.
Michael Boriskin, piano. Music by Lou Harrison.
Andrzej Wasowski, piano. Chopin, Mazurkas.
Dallas Symphony/Andrew Litton. Ives, Symphonies 1 and 4, Central Park in the Dark.
Bonus Tracks:
A compilation of seventies soul and R&B, featuring, among others, The Spinners, Earth, Wind, & Fire, Marvin Gaye, The Temptations, and Al Green.
Matthew Guerrieri on the value of whimsy, magic, and serious lightness in literature and music.
Listening:
Max Levinson, piano. Music by Brahms, Schumann, Schoenberg, and Kirchner.
The Lanier Trio. Music by Stephen Paulus.
Michael Boriskin, piano. Music by Lou Harrison.
Andrzej Wasowski, piano. Chopin, Mazurkas.
Dallas Symphony/Andrew Litton. Ives, Symphonies 1 and 4, Central Park in the Dark.
Bonus Tracks:
A compilation of seventies soul and R&B, featuring, among others, The Spinners, Earth, Wind, & Fire, Marvin Gaye, The Temptations, and Al Green.
Subscribe to:
Posts (Atom)