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papsrus
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This is interesting:
REPRODUCING CLASS? CLASSICAL MUSIC EDUCATION AND INEQUALITY
If you are inside the system everything looks classless. An outreach programme here, a family concert there and everything is hunky dory.
It's interesting that one possible solution offered at the end of the article linked above is to change the music to fit the needs of the student, if I understand him correctly:
In order to shift these ongoing inequalities, I would suggest that we need to change the musical practice itself by letting the music evolve and change more. While some music conservatoires are still following the same formula they did a hundred years ago, others are changing their practices by getting students to play with musicians from other genres, improvise, and learn how to use music technology.
... presumably because these sorts of practices would be more readily embraced by students outside the middle class.
But what would they be learning? Something cross-genre with more improvisation and possibly a light show or sound effects. Probably interesting but probably not classical music.
The very success of the program in Venezuela for disadvantaged children argues against this, doesn't it?
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Those perceived formalities are often just that, and orchestras these days seem more and more intent on presenting music in settings that are informal in order to dispel those myths.
I may have read about it here, but one such experiment involved setting up the NYPO, I think, in a public space in New York and inviting members of the public to conduct. I think the arrangement was the orchestra would sit silent until someone stepped up to the podium and grabbed the baton, and away they went. Ingenious (and inviting) way to extend a welcoming, informal hand.
The slogan on the cover of this season's guide to the Sarasota Orchestra is "Come as you are, leave different." Illustrates the point. We want you no matter who you are or what you wear. Just come listen to us.
As for the penguin suits (or all-black attire), while the custom was certainly borne of a formal tradition, I agree with an above comment that today it probably just relieves the musicians from having to think about what they'll wear and kind of gives the orchestra a unified, nondescript look. What the musicians wear shouldn't be a distraction. That's the intent, I think.
And for a new concert hall in London, I've no doubt they'll build one. It seems every article I read about a concert in London includes the disclaimer that Royal Festival Hall, Barbican (take your pick) are deficient. (Although some of the chamber music halls in London are said to be excellent). I just read something tonight about the Berliners' residency at both houses and there it was -- copy and paste -- the halls did not complement the orchestra's strengths. Pity, etc.
Anyways, no doubt there are certain perceived formalities that the keep the hoi polloi from attending concerts, the opera, recitals and the like. No doubt orchestras and music organizations are trying to dispel those myths.
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Yeah, we've subscribed to two chamber music series here, one "established", the other a bit "maverick"-y, and both are very good at presenting their programs in comfortable surrounds and avoid intimidating "class-preferential" trappings, at least as much as possible. What both series offer though, is an opportunity to hear more modern musics as well as the old standbys. This is by design, obviously,
The DSO, otoh, is pretty much forced into being what they are, and we'll go when there's something playing we real want to hear, but the chamber music presentations are definitely more about getting good music to anybody who wants it than it is creating/sustaining an "institution".
Do you think that chamber music, or classically oriented small ensembles -- the music itself, from baroque to modern -- has perhaps more similarities to jazz than large orchestral music? And that that is part of the appeal? That sort of small ensemble, clear interplay of the instruments, highly ornate or detailed, call and response kind of thing that is a feature of both jazz and small ensemble classical?
Large orchestras have their own big-wallop appeal. And I've no particular aversion to the concert hall but I think there's a lifeline there between jazz and small ensemble classical that probably strikes a chord, pardon the pun.
And I agree the kind of settings where these small ensemble performances tend to take place are often more inviting / casual / intimate than the concert hall and therefore more enjoyable in some respects. But at the same time, it seems concert halls, opera houses are trying to be more inviting. You still get the fur coat crowd but seems just as many slap on a sport coat and khakis.
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First Robert King, now Pickett. FWIW, I've heard that William Christie's behavior toward members of his HIP ensembles can be off-the-charts abusive, though not sexually abusive AFAIK. And how eager is Egarr? Quite clearly there's something askew about the HIP movement.
But then the late Johannes Somary ran into big trouble along these lines, and Somary wasn't into HIP.Wasn't aware of any of this. But I am astonished that King in particular was A) handed such a light sentence upon conviction; and B) that writers such as this one seemed more concerned with the fate of the King's Consort and his recordings than the victims, going so far as to say that society should extend artists sympathy when they are convicted of such crimes. The writer -- James Fenton -- was relieved that the judge didn't bar King from working with children in the future, as this would rob us of some future artistic works.
I'm finding it difficult to reconcile the crime here with the punishment (3 1/2 years for King). Even more confused by the sympathy extended to him by the writer linked above. I assume Fenton was not alone, or at least elicited some nods of agreement in certain circles.
Am I missing something?
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From the report: "After he was convicted, Pickett's defence team tried to delay sentencing to accommodate his commitment to arranging three music festivals."
That takes some gall.
An 11-year sentence seems rather light as well. I assume they have early release in the UK also (prison overcrowding, etc.), so he may not even serve that much time.
This Jimmy Savile sounds like a piece of work, too.
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Look out for 'Der Rosenkavalier' (Strauss - Dicky, not Johnny) - different style but has a similar 'feel good' nature to it. And some of the most liquidly beautiful melody you'll hear this side of The Carpenters!
Seems to be plenty of Der Rosenkavalier on Spotify, so I am starting to investigate Bev. Thanks.
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This question related to jazz has generated a few threads. Given the discussions going on in the 'what are you listening to' thread, I'd be interested to hear how people developed an interest in a music that is only marginally more popular than jazz.
Three questions (no need to answer all or any...just thought joggers)...
1. Did you grow up in a household with classical music around you?
2. Did you learn an instrument and experience classical music that way?
3. How does classical music relate to your love of jazz? A secondary interest, a primary interest (with jazz in second place) or part of the seamless web of music?
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1. Yes. Dad always has been an enthusiastic classical music lover. He's 90 now and currently taking an online music course through Yale University. Amazon packages arrive regularly at his door, he's a Spotify subscriber, attends Met broadcasts at the local theater, a Berlin virtual concert hall subscriber. He's always been all in.
He had a study up on the third floor in the home I grew up in and would retire there after dinner most evenings to listen to music. It was a solitary enjoyment for him. We didn't have it piped through the house or anything like that. It was his time to enjoy his music. Door would close, mysterious sounds would drift down the stairwell. We'd leave him alone to enjoy. He would invite me in from time to time and he'd play one of his records and then play one of mine that I'd selected. And we'd go back and forth like that. Fond memory. He would suffer through Cat Stevens or something and I'd suffer through Sibelius.
I think it was his way of trying to gently lead me toward classical music but I had my own ideas, of course.
Both my parents enjoyed the opera, my dad more than my mother. In music, there were things she really loved and other things she couldn't tolerate. Seemed to have something to do with the loudness of the music --1812 overture was not her favorite.
2. "Learn" an instrument is a much too generous way to describe it. My dad tried to learn violin (I still have the violin he used back in the '60s and '70s, (recently buffed up at a local music shop). He wasn't that successful, but he gave it a good go.
I took piano lessons, played trombone in the high school band, taught myself to strum a guitar, made some horrible noises through a trumpet, learned to play scales on the violin, took 20 years off, took saxophone lessons, then clarinet. None of it oriented toward classical music and none of it suitable for public consumption (except the trombone, marginally, where I was safely hidden in the back row of the band.)
3. Currently not listening to much jazz. Mostly classical.
Classical music didn't really click for me until fairly recently. Not sure what it was but everything just kind of fell into place and (as with jazz years ago) the floodgates opened.
I'm fortunate enough to live in a place where the arts in general are given great emphasis. So opportunities to enjoy classical music, chamber music, opera, recitals, etc., are everywhere. And I don't recall attending a musical event here that wasn't very well-attended. An enthusiastic bunch, these Midwestern retirees.
So while I was certainly exposed to classical music from a very young age, I wasn't necessarily encouraged to investigate it. Left to my own devices I stumbled off in other directions. I took the scenic route, but eventually arrived.
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Not a concert, but ...
Went to the Sarasota Opera performance of Marriage of Figaro last night. Enjoyed it so much I snapped up one of the few remaining tickets to see it a second time in March.
Although things seemed to start a little slow with lots of accompanied recitative as the stage was set, so to speak, for the follies that were to follow, by Act III we were solidly in soaring arias and enthralling music. I have to admit, I tend to spend a lot of time with my eyes closed just listening.
The women stole the show here IMO. Soprano Maria Antunez as Countess Almaviva made a particular impression. Strong voice that filled the house, hit all the high notes with confidence, had some lovely arias and duets with Maeve Hoglund (who also sang great in the role of Suzanna, Figaro's girl.) The other standout was Kristen Choi as Cherubino, the court page. She is a studio artist, graduating from apprentice in 2013. Not a lot on her resume, according to the program, but definitely had some strong moments in mezzo soprano. Good stage presence for the sort of slap-stick character she played. Really enjoyable.
While baritone Sean Anderson, who played the Count, has among the longest list of credits on his resume as anyone in the cast, he came off as less impressive than the two leading women, to me. Likewise Philip Cutlip as Figaro. Solid, certainly, but their voices did not impress as the sopranos did.
The audience (a packed house) was thoroughly engaged and the performers elicited plenty of laughs.
A word about the Sarasota Opera Orchestra: They are recruited each season from around the country (and a couple of members from Italy, the conductor from Germany) and come to Sarasota to play at the opera house. Many of the members keep coming back year after year; it's not uncommon to see members with between 6 and 10 years service in the orchestra. They are excellent. When engaged with an inspired singer such as Antunez, they are quite impressive.
Enjoyed it.
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Yeah, I went over to amazon after reading your post and that's the one that caught my attention also. Not much there with the Fort Worth orchestra that I could see.
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If you have a 5.1 system, you can significantly improve the quality of a lot of the recordings in this box by using a DSP. Toscanini recorded in a dry shoebox of a recording studio. If your AV receiver has hall ambiences, try adding one and you'll be amazed at how much better these recordings sound with a little bit of life in the room. My Yamaha receiver has a DSP based on acoustic measurements taken from the Vienna Sofiensaal. When I use that, it sounds almost as good as stereo.
I've never heard of this, which shouldn't be a surprise.
What do the purists say? Are these sort of electronic overlays -- for lack of a better term -- considered a real enhancement, or a distortion?
(Well, I guess I know what the purists would say, but nonetheless. ...)
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Grigory Soloviov as King Dodon in the Golden Cockerel.
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Starting next week I've got three weeks in a row: Marriage of Figaro, Golden Cockerel and Tosca. Then Don Carlos in March.
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Nice article in today's paper taking the pulse of my local Sarasota Opera.
Things seem to be on reasonably firm footing here; elsewhere across the hinterlands, there are some issues.
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Yesterday I discovered a faulty disc; Iberia, disc 28, Reiner box.
It chattered for a few seconds and then stopped dead.
I tried it on 2 other players in the house and they played through, but with large clicks.
I went to the Amazon site to see about a return and discovered my window closed on Jan 31.
I burned a copy on my computer and the cdr plays on all machines with no problems.
Anyone have the same problem with this disc?
Anyone have any success communicating with any of the gigantic "music" companies lately?
I must have a couple hundred unplayed discs in boxes like this.
Playing the disc now and it's tracking fine so far.
No clicks, just castanets.
I recall you may be using an inexpensive, so-called "disposable" player; I think it was you who advised me to get a cheapo player when my Cambridge started acting up a few years ago with the reassurance that you used such a device as well. Is it possible your player is at fault? This wouldn't explain the clicks you hear on the other two players, unless the first player somehow damaged the disc when it ground to a halt.
Do the clicks appear at the spot it stopped playing, or elsewhere?
Damn disappointing.
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Sunday afternoon:
Sarasota Orchestra
Part -- Cantus in Memoriam to Benjamin Britten
Beethoven -- Piano Concerto No. 4 (with Steven Hough)
Elgar -- Enigma Variations
Another packed house for the Sunday afternoon concert, the last of three straight performances of the same program -- Friday, Saturday, Sunday.
The Memoriam to Britten was stirring -- all strings (plus a mournful bell). The lonely ring of the bell starts this piece, which if played in a moment of true sadness, I'd end up bawling. What emerged from the sumptuous strings, with long, slow bowing technique, is a solemn descent into wrenching mournfulness. It's a sad piece. Beautifully played. Loved it.
The Beethoven concerto was fine, but came off a little choppy, a little unfocused perhaps, or tired. I don't know exactly what it was but it lacked the pizazz I'd hoped for, or anticipated. Clinical, maybe. Technically fine, I'd guess, but emotionally just not there. Kind of like, "I'm playing the flashy bits now. Strings you're next."
The Enigma Variations followed intermission. These were excellent. You can sense when the music is beginning to really grab the audience -- and as I've mentioned before, particularly the quite elderly audience typical of the hall here. They become noticeably more attentive. Such was the case with these tributes to 14 of Elgar's friends. I'll have to listen to these more closely, but Variation IX (Nimrod) certainly stood out, among others. Very pleased with the orchestra's hold on these.
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Sunday night:
The last of my little four-day binge may have been the most beautiful.
Adrian Anantawan, violin; Amy Yang, piano.
Mozart -- Sonata for Violin and Piano in F major
Brahms -- Sonata No. 1 for Violin and Piano in G major, Op 78
Intermission
Ravel -- Sonata for Violin and Piano, No. 2 in G major
Held at the Historic Asolo Theatre, which I've mentioned before. A charming little place perfect for these kinds of recitals.
I was in the first little slightly elevated tier, front row, center. Perfect seats in this venue.
Because of the Super Bowl, it was lightly attended, which was fine. Anantawan and Yang have been playing together for about 10 years, Yang said. This concert was part of the Artist Series Concerts that have grown here over the last 15 years from soirees held in private homes to what they are today: out of town talent brought in for a series of concerts in this intimate, beautiful little theater.
Great acoustics, great atmosphere, rapt audience, sparkling performance.
One other thing that was special tonight I did not even notice until about halfway through the Mozart: The violin player, Anantawan, was missing his right, bowing hand; most of his arm below the elbow, actually. He had the end of the bow attached somehow to a sort of plastic fitting where his arm ended. And he played beautifully throughout. Pianissimo, forte, vibrato, the whole shooting match. Was able to pluck the strings in an amazing way, using just his left hand -- he would use his forefinger and middle finger to hold down the notes and pluck with his last two fingers. Really impressive. He and Yang had that special rapport that always yields beautiful music. A joyful performance start to finish.
So, four concerts in four days. I will enjoy revisiting over the coming weeks all of the music I've listened to the past few days.
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Sounds like great time.
Indeed. Not quite the pagoda in Pensacola, another favorite venue for other reasons.
Later this afternoon:
Sarasota Orchestra
Van Wezel Performing Arts Hall
Part -- Cantus in Memoriam to Benjamin Britten
Beethoven -- Piano Concerto No. 4 (with Steven Hough)
Elgar -- Enigma Variations
And if I have anything left after that, I may go tonight to the Historic Asolo Theatre for a piano-violin performance with Adrian Anantawan (v) and Amy Yang (p).
Brahms -- Violin Sonata, Op. 78, No. 1 in G minor
Ravel -- Sonata for Violin and Piano, No. 2 in G major
Mozart -- Sonata in F major
We'll see which way the wind blows for that one.
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Time (and money!) well spent, my friend. Thanks for the write up.
I could write you a page or two on where to sit in the London concert halls. The Barbican can be bad; more than half of the Royal Festival Hall is hopeless.
The story is that Simon Rattle has asked for a new concert hall in London to meet modern standards, as a condition for signing up as Principal Conductor for the LSO. I hope we get it.
Yes. Well, I would like to know where to sit in London halls! May be helpful, although no need for a page or two
The trick is to know where the good seats are and, if available, sit in them -- particularly for places like Avery Fisher and, as you say, Barbican or Royal Festival. I would assume that orchestra level, center, mid-way back or closer is a pretty safe bet just about anywhere.
If I lived in New York I would be spoiled by Carnegie and probably not bother with AF much, although the newly refurbished Alice Tully at Lincoln Center (for chamber and smaller performances) is said to be great.
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Just back from two great nights in New York.
Thursday:
New York Philharmonic; Emanuel Ax, piano; David Robertson, conductor
Avery Fisher Hall
Rachmaninoff - Vocalise
Chopin - Piano Concerto No. 2
(intermission)
Stravinsky - Firebird Suite (substituted for the originally programmed The Song of the Nightingale)
Bartok - The Miraculous Mandarin Suite
OK, I don't feel qualified to comment on the interpretations given or the strengths of the orchestra, beyond saying that the NYPO and Ax were both excellent. I was most interested in the Chopin, as the concerto's exquisite lyricism and melodic beauty captured me from the first time I listened to it. I enjoyed it with the following caveat:
My ticket was for first balcony, center, last row (that's about 6 rows back). And this is where I sat for the first part of the concert (Rachmaninoff, Chopin).That was a mistake in the acoustically prickly Avery Fisher. I should have known better.
While the articulation of the orchestra and Mr. Ax were clear not blurred, the music sounded as though it was being played on the other side of a pane of glass. Weak and distant. This due, I'm sure, to the large overhang above the first balcony in the rather large hall. The young couple sitting off to the right of me one row forward texting away on their phones didn't help. Despite the repeated glares from other patrons, they continued on unconcerned. Assholes. I just closed my eyes and ignored the whole thing as best I could.
At intermission I asked an usher if I could move down to one of the open seats at orchestra level (the hall was about 3/4 full, so there were plenty of good seats open down there.) She said that was fine, and advised me to just wait for the two-minute bell and snag whatever seat was open at that point. So I did, situating myself dead center about 3/4 the way back. The difference in the acoustics was quite pronounced. I could hear the orchestra in both pianissimo and forte quite clearly and fully; the sound was louder and right there in front of my nose when I closed my eyes (not behind a pane of glass somewhere) and so I obviously enjoyed the two latter pieces much more than the Chopin I had primarily come to hear.
Not really a disappointment, despite missing Chopin in full bloom, as I was pleased to hear the NYPO in distinctly fuller force in the second half of the performance.
Keep in mind I'm used to my local band, which is skilled and really enjoyable. But hearing the seamless, shimmering strings and the power of the NYPO there at Robertson's command anytime he asked for it was really impressive. Likewise, to hear them in delicate pianissimo with full, clear articulation was thrilling.
My advice for Avery Fisher: Get orchestra level seats in the center. The closer to the front the better, I assume. Although rear was great. And the folks down at orchestra level are there for the music, not to text their friends, "OMG I'm at the Linkin Cenner."
Friday:
Chicago Symphony Orchestra; Richardo Muti, conductor
Carnegie Hall
Mendelssohn - Calm Sea and Prosperous Voyage Overture
Debussy - La Mer
(Intermission)
Scriabin - Symphony No. 3 "The Divine Poem"
Now for this performance I originally had seats again in the first balcony, center, which by all accounts are fine, perhaps even the best, at Carnegie. But given my previous night's experience, I upgraded the day of the performance to orchestra level, center, 6 rows from the stage. It was perhaps the greatest musical experience of my life. No shit. The Chicago orchestra with Muti is an incredible force. Forget the famed brass, the strings on all sides were sublime. The hall radiant. The audience quiet and attentive. You still can't wipe the smile off my face today.
The first violinist, or concertmaster, Robert Chen was exuberant, bouncing forward in his chair as he would dig into particularly vigorous passages. And Muti was thrilling to watch, the way he teased out or forcibly willed various sections of the orchestra, turning to face the violins or standing on his toes to direct the oboes or brass.
Absolutely thrilling orchestra.
Quite a different audience at Carnegie as compared to Avery Fisher, as well. Or perhaps that impression was due to my choice of seating. I was up in what felt like the upper deck of a tourist bus as Avery Fisher, while at Carnegie many of the patrons I sat amongst greeted one another as familiar friends. They seemed more hip, more eccentric. And as I said, the audience at Carnegie was more engaged / respectful of the performance than was the balcony brigade at AF, certainly.
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This afternoon:
A chamber performance titled "Trumpet," featuring some of the principals of the Sarasota Orchestra -- although trumpets were featured only in the first, brief piece and the final piece. More on that below.
I sat dead center, three rows back in the cozy 250-or-so seat hall.
Program:
Britten -- Fanfare for St. Edmunsbury
Mendelssohn -- Piano Trio No. 1 in D minor, Op. 49
Strauss -- Serenade in E flat major, Op. 7
Vivaldi -- Concerto for Two Trumpets in C major, RV 537
The Britten is a short call and response piece. For this performance one trumpet was positioned center stage, one trumpet was in the upper right balcony at the side of the stage, the third was in the upper left balcony at the other side of the stage. Very effective for this brief intro piece, which also includes some nice polyphony with all three trumpets. Short, sweet.
The Mendelssohn was the standout. Piano, cello, violin. I've heard the violinist, Jennifer Best Takeda, in another string quartet she performs with in a local church here and she's wonderful. This was, to me, the best music of the afternoon, played with real sensitivity and passion. I was pleased but curious as to why it was included in a performance ostensibly devoted to trumpet / brass / woodwind pieces. Nonetheless, the packed house ate this one up, bursting into a brief, spontaneous (but frowned upon) round of applause after the first movement. Beautiful melodies with the melodic lines passed around among the instruments, then developed, then returned to again and passed around. I'll have to listen to this piece again.
The Strauss was performed by a 13-piece ensemble, all woodwinds with french horns. Particularly enjoyed paying attention to the bassoon and contrabassoon players as they provided what could almost be described as a little funk to the proceedings. Another brief piece -- perhaps 10 minutes.
They wheeled out a harpsichord for the Vivaldi, and a string ensemble of perhaps 12 players backed the principal and co-principal trumpet players from the orchestra for this piece. The principals played beautifully together. The one disappointment was that the harpsichord was barely audible. I had high hopes for this but they positioned the instrument so that it was pointing straight out toward the audience rather than sideways, as they typically do with a piano. And it was in the center-back of the ensemble. Maybe this is typical, I don't know. They must have thought about this, but the instrument was mostly lost behind the trumpets, certainly, and the strings on either side.
All in all, Mendelssohn's piano trio gets an A. The rest fell somewhere short that fine performance, but very enjoyable nonetheless.
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Those may be among the best insights Mr. JSngry has ever offered hereabouts ... and that's saying something.
Start with silence. Thank you.
(I'd edit out the introductory disclaimer; no need at all)
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Thanks for your impressions of the Konzerthaus performance.
I like the idea that you didn't familiarize yourself with the music before attending the concert. Listening to music live is (or can be) much more of a visceral experience than listening to recorded music, I find. You're very much in the moment. Part of the shared experience. And when the music is completely new to you, perhaps that sense of being in the moment is even more heightened.
Anyways, glad you enjoyed and thanks for your thoughts.
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I've been wanting to investigate his string quartets. The man's output was overall so staggering that it's hard to know where to begin.
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That is a feast.
As I've been veering toward Haydn lately, it's nice to see a smattering there. Not much, but that seems generally the case anywhere. Still welcome.
As well you'll have a generous helping of the old war horses alongside the unfamiliar -- a few premiers.
And you can stumble through the door for most of these concerts for very reasonable prices -- $15 equivalent. I'm lucky to pay under $50 to join the cattle call at my local barn to listen to an orchestra that, while fine, is obviously well below the standard for those that appear at the Barbican. Obviously. Even when an out-of-town orchestra makes a whistle stop here, it's usually a second- or third tier band. (The Royal Phil with Pinchas Zuckerman did touch down here for one night a few weeks ago, but I was unable to go.)
Damn you!
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How did you find your way to 'classical' music?
in Classical Discussion
Posted
Yes.