Ecstatic Music Festival: what I didn’t say

My review of the Ecstatic Music Festival opening night is on Bachtrack. For the sake of journalistic objectivity, and their mission to attract more listeners to classical music, I kept it pretty neutral. But here’s more on how I really felt.

Before I offer criticisms, let me say that I did not think the music was bad. I was head bopping along with everyone else. I wanted to sit more comfortably with a drink in my hand.

But what I missed, is what I ordinarily seek in the concert hall: complexity. All the songs were about 3-5 minutes long, and followed the standard pop format of verse-chorus-bridge. The concert paired Jherek Bischoff with the Wordless Music Orchestra, and they soldiered on enthusiastically, but because they were amplified, the same could have been accomplished by a decent Casio. In fact, putting pop stars in front of an orchestra reminded me of old-fashioned pops concerts of show-tunes and gaffs. (Here’s the Boston Pops playing “Bohemian Rhapsody.”)  This is the new classical music?

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New gold from the vaults

With all the hand-wringing about the decline of the classical recording industry, it’s a pleasure to note that many radio stations, sound archives, and orchestras are offering free online broadcasts.  (Usually the bitrate is low, the sound is compressed, and you can hear digital artifacts, but beggars can’t be choosers.)  Just in the last few days, some treasures have come across our screens.

First: in a tribute to Paavo Berglund, who died a few weeks ago, Finnish journalist Vesa Siren wrote about the maestro’s last concert, with the Orchestre Philharmonique de Radio France in 2007 (relying on Google Translate here):

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L’Enfant et les Sortilèges – the movie!

Trying to find the evocative forest music from Ravel’s gorgeous child opera, L’Enfant et les Sortilèges, I came across the whole thing on video. So much dancing! And is there nothing more adorable than children singing in French? No live cat sex, unfortunately, but as always, I teared up when the child mourns his lost princess, with words by Colette that even resonate in English:

You, the heart of the rose, you, the white lily’s scent you, your hands and your crown, your blue eyes and your jewels…You’ve only left me, like a moon-ray, a golden hair upon my shoulder…and fragments of a dream.

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New Music Resolution

With the dawning of a new month (and because I didn’t get my act together to do this for the new year), I’d like to make a promise to myself that I will keep for a while and probably abandon: I’m going to listen to more new music.

This shouldn’t be a big deal. I’ve sung music by living composers and I’m eager to sing more. My new place of work is dedicated to new music, and I feel strongly that the classical canon must grow and expand.

Yet, how come I rarely make it to new music concerts?

In part, it’s because function follows form. I like Baroque music, and there’s not too much new Baroque music being written. I like opera, and new operas are much more infrequently performed than repertoire works. Still, if I really wanted to hang out in the world of new music, I could find ways to do it.

What’s been holding me back? Fear. Continue reading

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The Art of Listening: Elizabeth Bishop on Webern

I bought that Webern you had before I left and I’m listening to parts every day [The Complete Works, conducted by Robert Craft]. I think I’m so smart, because when you played me one piece I immediately thought it seemed like the musical equivalent of Klee. Now, according to the notes, Webern was actually a member of the Blue Rider group…I still can’t take very much of the songs. For one thing, those voices aren’t too good, even if accurate, but I am crazy about some of the short instrumental pieces.  They seem exactly like what I’d always wanted, vaguely, to hear and never had, and really “contemporary.” That strange kind of modesty that I think one feels in almost everything contemporary one really likes–Kafka, say, or Marianne [Moore], or even Eliot, and Klee and Kokoshka and Schwitters…Modesty, care, space, a sort of helplessness but determination at the same time.  Well, maybe I’m hearing too much. (–and admission of final ignorance!)

From one of Elizabeth Bishop‘s  beautiful letters to Robert Lowell, published in Words in Air: The Complete Correspondence Between Elizabeth Bishop and Robert Lowell (2008), which I have been reading as if it were my job.  Continue reading

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Hail and farewell, Paavo Berglund

Just heard that Paavo Berglund, Finnish conductor renowned for his Sibelius interpretations, died yesterday at the age of 82.  The one article with any details is in Finnish; one can at least discern that he died of pneumonia.

Berglund’s interpretations were profoundly unsentimental, straightforward, and severe.  In rehearsal he was said to be uncompromising in his efforts to get the sound he wanted (see below for videos of him rehearsing and conducting).  This interviewer noted, “It is easy to discuss details of the score with Berglund. On the other hand, any highfalutin discussion on aesthetics or the spirit of Sibelius’ music is totally impossible.”  Berglund said, ”I don’t know anything about a Spirit of Sibelius,” focusing instead on conducting “the whole score,” and all of its details.  He approved of Karajan’s Sibelius, but said, “his old recordings are too soft for my taste. I prefer hardness and vitality.”  And so he did, in all the repertoire he conducted, with often revelatory results.

I only heard him live once, conducting the Boston Symphony Orchestra in Shostakovich’s Eighth Symphony in 2005.

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Lost in the Brooklyn backcountry (Review: Messiaen, Tate, Hamburger Symphoniker)

Still from the film that accompanied this performance, by Daniel Landau

Everything about this concert was out of the ordinary: orchestra, conductor, venue, repertoire, and accompanying film (see above).  And it was a triumph—in spite of itself.

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