Lauridsen and Faure

Tallahassee (FL) Community Chorus review.

Top 10

This blog has been selected by the editors of Top 10 Sources for their group of 10 classical music resources. The site includes top 10 sources in a wide array of subjects from "Business & Money" through "Life" to "Television".

I appreciate the editors adding listen. to their site, and I welcome visitors directed here from there.

I've added Top 10 Classical Music Sources to the "Links" on the sidebar.

Chicago Classical Music

Several arts organizations in Chicago have started a blog/forum called Chicago Classical Music. It is billed as "An Online Community for Classical Music Enthusiasts". Despite their questionable judgement in listing this blog on their blogroll, the site looks promising.

I've added it to the Links section.

Confusion

An article from Bloomberg.com about Finnsh composer/conductor Esa Pekka-Salonen and his travails with the postponed-then-performed world first of Kaija Saariaho’s Adriana Mater includes this:

Also unusual is the clear narrative form of "Adriana Mater,'' in a continental context where new operas are generally modernist deconstructions.

"This is not a post-modern, distanced view of the very idea of opera,'' says Salonen. "It's an opera which absolutely believes in the art of opera, a simple story told in a linear way. It is a statement of faith in the fact that opera is an art form which can deal with big emotions and huge subjects. I'm very tired of the modernist idea that there are things you should not do because they are against the historic determinist paradigm or the Hegelian dialectical idea.''

Note that the writer of the article says that AM is not “modernist” because it has a “clear narrative form” and Mr. Salonen says it’s not “post-modern” because it’s a “simple story told in a linear way” and that he is tired of the "modernist" view of opera, which he says rejects linear story-telling. Mr. Salonen doesn't say he is also tired of modernism. His disavowal of modernism for AM seems like a continuation of his disavowal of pomo.

The issue here for me is not whether Ms. Saariaho’s opera is “modernist” or “postmodernist” but rather the use of those terms as a shibboleth to identify one as being among friends or as club with which to beat upon one’s enemies. In any case, it’s clear that there’s not clarity about what modernism is and what post-modernism’s relationship to it is.

And vice versa.

* * * * *

While we're on the subject of postmodernism, I recently read Christopher Butler's Postmodernism: A Very Short Introduction and am now reading Glenn Ward's Teach Yourself Postmodernism. The two authors take very different approaches, with Mr. Butler adopting a very skeptical stance and Mr. Ward a more sympathetic yet questioning posture.

Neither writer has much to say about music. Even given that, I can highly recommend them both.

Reading both of these books and thinking about the ideas and issues involved made me thinkof this story from Silence:

Before studying Zen, men are men and mountains are mountains. While studying Zen, things are confused. After studying Zen, men are men and mountains are mountains. After telling this, Dr. Suzuki was asked, "What is the difference between before and after?" He said, "No difference, only the feet are a little bit off the ground."

Conversation

Alex Ross, A. C. Douglas, and Lisa Hirsch are having a spirited discussion of some issues raised by Steve Metcalf on increasing the audience for concert music. The ground has been covered pretty well, so I don't have any big points to add. I do think the iPod/soundtrack-of-my-life model of music consumption/listening does need to be addressed by concert music folks; I'm just not sure how.

On the idea of a need for a superstar composer or a composer as a household name cultural hero, it's not going to happen. If the hype around the user-friendly music of John Adams and Osvaldo Golijov hasn't made it happen for them, it isn't going to happen for anybody. I'm not sure it would be so good if it did.

On the other hand, I'd like to see some performers who excel at a variety of contemporary styles become big name cultural heroes. Dawn Upshaw immediately comes to mind. Are there others?

Polyphonic.org

I've added what is supposed to be a mini-banner leading to the just-launched Polyphonic.org, a website whose aim is to provide orchestral musicians with information about the business. listen.'s crack technology staff is working overtime to fix the picture banner. In the meantime, the link works.

[EDIT: The banner is fixed.]

Florida State University Symphony

Review

Out There

Charles T. Downey of ionarts has a round-up of the early reviews of Kaija Saariaho's Adriana Mater, which premiered Monday evening in Paris, after a four-day delay due to labor unrest. Alex Ross' take on the opera is still to come. EDIT: Here it is.

Marcus Maroney and Lisa Hirsch take on Bernard Holland of the New York Times, with examples and suggestions, while A. C. Douglas offers a defense-by-assertion of the critic.

I've added former Tallahasseean Tim Risher to the blogroll.

Elliott Carter

Here is my long-awaited review of discs of music by Elliott Carter.

Kaija Saariaho

Charles T. Downey of ionarts posts about the cancellation of last night's premiere performance of Kaija Saariaho's second opera, Adriana Mater. He includes some good comments about some of the composer's music that is available on discs, compact and digital video.

My understanding is that the premiere is scheduled now for Monday evening. Still enough time to get there.

Takács Quartet

Review

Opera Review

Julius Caesar in Egypt

This and that

Terry Teachout has provocative posts up, one about criticism and the other about the standard repertoire and multiple recordings thereof. I agree with the larger points of posts, if not with some of the particulars. For example, I agree w/r/t Gatsby over The Sun Also Rises, but not with the statement about accessibility in new music. The point being, of course, that opinion is what opinion writing is all about.

I've added M. Keiser and PWS to the blogroll.

Workshop note: I've finished a pair of piano nocturnes. If you would like a copy, drop me an e-mail.

Here and There

I've added Bart Collins and Adam Baratz to the blogroll. Enjoy!

Helen Radice notes connections between two 101 pieces, Britten's War Requiem and Mahler's Das Lied von der Erde. Connections between pieces of different styles are any important part of the 101 project, and Ms. Radice shows in her post how it works. Granted, the difference between Mahler and Britten is not all that large, but the gap in time and history is telling, and further connections, to styles more far afield, are waiting to be heard and remarked upon.

Review

Tallahassee Symphony Orchestra

For those of you in the Greenville, SC area, my for John Boda: What stays with me II (for flute, clarinet, and marimba) is being performed Wednesday evening at Furman University at 8 o'clock.

Magic, etc.

Far be it from me to speak for Greg Sandow, who is capable and willing to do so for himself, but I still think A. C. Douglas is misreading Greg's post about Brahms' orchestration. A. C. reads Greg's analysis of the practical reasons that may have motivated some of Brahms' choices as an attempt to deny the "magic" of the music, the "magic" of other composers of the past, and thereby to raise the composers of today to their level. It's very clear from this post and others that the only way contemporary composers can be on the level of the greats of the past (in A.C.'s ear) is to denigrate the past.

I don't find that in Greg's post. Not at all. He fully acknowledge's the greatness of Brahms' music. Hell, he spends a lot of time, thought, and virtual ink on a couple of measures of a symphony in order to show part of how it's done. A. C. writes that these the magical results of the masters of the past is part of the result of these practical choices, which is not substantially different from what Greg finds, though he comes at it from a different direction.

A. C.'s approach is essentially to use the past to bludgeon the present, but that only works if you accept his assumption that high quality, magical music isn't being written today, at least not by today's "visible" composers. If one listens and reads from that assumption, then one can find support for it, even if it isn't there.

Finally, A.C. criticizes Greg's analysis as "simpleminded at best, not to say approached from the wrong direction", which comment I find baffling. It was a narrowly focused article, treating it's subject in great detail, and from a variety of angles. It also inspires further thought, like the notion I've had for some time that one of the indications of a great tonal composer is how that composer handles the middle voices, which is one of Brahms' strengths (Mozart's as well, for that matter). As to the "wrong direction" comment, the house of art has many mansions, and many ways to approach. Any critical/analytic approach that helps you hear the piece or repertoire in question differently/more clearly is most assuredly not from the "wrong direction".

Uncool

I may be wrong, but I think A. C. Douglas may be misreading me in this post about this post. In my post I praised Marc Geelhoed's use of the word "cool" to describe a piece after he had done a more traditional discussion of it. I then ended my post with a comment about pieces by Elliott Carter that are "cool" and "bitchin'". Mr. Douglas seems to read that as my definitive statement on the pieces. It isn't. That's coming in the review I'm working on for Sequenza 21.

I think Mr. Douglas is also misreading Greg Sandow's fine and fairly technical post on Brahms' orchestration. Far from belittling or diminishing Brahms' achievement (as Mr. Douglas clearly thinks he is), Mr. Sandow is showing how it's the details, often the very practical and seemingly mundane details, that reveal how great art works. Musical instruments cannot play notes outside their ranges (normally), and how composers handle that bit of craft/technique is revelatory of their greatness as artists.

Finally, I would like to amend yesterday's post regarding the Carter Dialogues: I meant to say that the piece is "totally bitchin'".

Cool

Marc Geelhoed, music critic for Time Out Chicago magazine and the proprietor of the blog Deceptively Simple, posts about how an art critic at the Chicago Tribune had objected to Mr. Geelhoed's use of the word "cool" in a review of a piano concerto by Marc-Andre Dalbavie:

the article[. . .]closed with the sentence, "Oh, yeah—and the concerto sounds cool, too." This was after a fairly detailed description of how Dalbavie alters the patterns that comprise the work and how he ties his style to [medieval composers] Leonin and Perotin.

This seems perfectly resonable to me. It's important for concert music to expand its audience (given the pay for play world we inhabit) and using language that is understood by the public-at-large is a perfectly legitimate way to communicate. I don't see how it cheapens our art in the least.

I'm working on a review of two recent Elliott Carter discs for Sequenza 21, and I'm happy to say that, while my personal jury is still out on a couple of the pieces/performances, the Boston Concerto is actually very cool, and Dialogues (piano and orchestra) is bitchin'.

Crumb

I've posted a review of music by George Crumb at Sequenza 21.

I listened to a lot of Crumb as an undergraduate. I kind of overdosed on it, but not before I was able to attend a great concert of Crumb's music by performers including the great Jan DeGaetani, Gilbert Kalish, and others. Eventually, it started to sound like strung together sound effects.

So it was with some interpidation that I began to listen to the two Bridge discs for that review. I wanted to be able to give it a fair hearing. It turned out to be a revelatory experience, and I'm glad I got the opportunity.

I overdosed on minimalism at the same time. Maybe I need some hair of that dog, too.

The Heart of the Matter

Alex Ross has a fine article on Puccini up at the New Yorker. In addition to a number of telling insights into the Italian master's ability to hold the stage, Alex touches on some issues of central importance in the ongoing struggle to keep concert music culturally viable and to regain its place in our intellectual life.

Two quotes in particular address this issue, and as is often the case, Alex sums it up well. After mentioning two crossover events held at important venues in NYC:

The idea is not to dilute classical music with crossover novelties but to move it back into the thick of modern life. The old art will no longer hold itself aloof; instead, it will play a godfather role in the wider culture, able to assimilate anything new because it has assimilated everything in the past.

Then after discussing a Puccini performance that emphasized what is unusual/challenging in Turandot:

Even composers may have something to learn from Puccini. “Turandot” becomes a different piece when it is removed from the colossal clutter of Franco Zeffirelli’s production at the Met; it begins to sound nearly avant-garde, because it assimilates an array of modern sounds while maintaining an inexorable singing line. Berio [whose completion of Turnadot was given in the performance Alex reviewed] also superimposed old and new, but the pieces in his collages remain alienated from one another. Many young composers still play the same glass-bead game with the past, upholding artificial differences in musical language rather than questioning them. Puccini might say: Don’t make it new. Make it whole.

(If I could write like that, I'd never leave the house.)

Exactly so. What we should be hearing in the music of the 20th and early 21st centuries are the ideas that hold the different styles together, not the stances that separate them.