shortest webern piece
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Archive for wagner
shortest webern piece
This is very difficult, isn’t it? We really want the composers whose work we admire to be admirable on a personal level too, even though we have no right to expect them to be any different from the rest of us. Speaking for myself, I’m afraid their perceived personalities do affect my ability to enter wholeheartedly into their music. I’m not happy about this: even though I reject all that old structuralist stuff about the sanctity of the text, as if music didn’t have a human creator behind it, I find myself quite conflicted over some works that I would otherwise love, because some reported awfulness in the composer gets in the way.
Just as one example, because I have the book to hand here, Michael Kennedy’s Portrait of Elgar refers to him as an “often dislikeable man, a flawed human being but a blazing genius as a composer”.
I think very few great composers are or were “nice” people, however lovely their music. Beethoven was notoriously volatile and moody (well, he was deaf), I’m sure I’d have found Mozart rather tiresomely rude, Wagner was probably tolerable as long as the subject of the conversation was how great his music was, Schoenberg’s difficulties with just about everyone are legendary (some of his replies to American students who wrote to him about his music are dripping with sarcasm), and although Otto Klemperer said Stravinsky was always courteous and polite, that doesn’t seem to have extended to anyone he regarded as his social inferior.
This can be explained by the need of a composer to exclude distractions, I suppose.
Sir Arthur Sullivan was a very easy man to get on with, by all accounts. He made friends easily and would do anything to avoid an argument. Some composers went to extraordinary lengths to avoid distractions (think of Mahler in his hut being driven mad by cowbells, finally demanding that they be removed), Sullivan would compose at his desk, with a large gin, away from the piano, pen in one hand and cigarette in the other, and hold conversations with people who came and went all at the same time.
I’ve always found musicians (great and small) to be very pleasant. The one exception was Sally Beamish. She was having a work premiered by the Scottish Chamber Orchestra and was very off-hand when I attempted to talk to her. She also, when she was a mere violinist, ballsed up a piece of mine back in 1985.
As a result I’ve ignored her music as much as possible. Petty, I know.
Old school conducting. Great. The LPO never sounded better. A member of the audience even shoots himself @ 5:50.
Meyerbeer – like Halévy, Auber, and several other contemporaries – has mostly disappeared into a black hole. Even in France he is mostly ignored (although he worked primarily in France, he was German by birth).
Richard Wagner had personal differences with Meyerbeer (mainly rooted in private jealousies that Meyerbeer’s music was so successful by comparison to his own works at the time – and his perilous financial position for much of his life). However, this does not completely explain the disappearance of Meyerbeer’s works from the repertoire in the 20th century, which seems to be also related to fad and fashion. It’s the entire genre of French grand opera which has fizzled out.
It can be claimed – but without any real justification – that Meyerbeer and Halévy were discriminated against as Jews, but this doesn’t explain why Auber (who had been enormously popular) has dropped off the radar entirely … why Gounod’s works are rarely performed (except for Faust) … why Bizet’s other operas (except Carmen – does anyone even remember them, except for their overtures?) are never staged … why Delibes is utterly ignored … why even Massenet is relegated to the Johnstone’s Paint Trophy League.
For me, I’m afraid, the axe-grinding excuse of anti-semitism doesn’t explain any of this … there are too many non-Jewish composers in the same genre who are ignored too. Nor does the word of Wagner, which is a red herring – what opera manager takes Wagner’s views into account when programming a season nowadays?
In short, Meyerbeer’s French grand opera is clearly out of fashion these days. Vast amounts of utterly bloated bombast, a dearth of melodic imagination, and the most ludicrously melodramatic plots, reedemed by the odd inspired moment and a certain dramatic sense. L’Africaine is probably the best (or least bad) and has a few genuinely striking sections. Robert le Diable, the opera that truly established his reputation, was a massive success in the Paris of the July Monarchy; nowadays it works as an unintentional comedy (try the scene in Act 3 with a chorus of dead nuns rising out of their coffins). There’s a pretty good section on Meyerbeer in Charles Rosen’s The Romantic Generation; also worth reading for those interested to know more about the composer are Jane Fulcher’s The Nation’s Image: French Grand Opera as Politics and Politicized Art, Heinz and Gudrun Becker’s Giacomo Meyerbeer: A Life in Letters, and Mark Everist’s collection of essays Giacomo Meyerbeer and Music Drama in Nineteenth Century Paris.
The whole genre of French grand opera (encompassing the works of Meyerbeer, Halévy, Auber and some of the later works of Rossini, and becoming influential on the work of Donizetti, Verdi and even Wagner) is certainly of great interest to those wanting to understand better the cultural history of the period; the works are worth hearing a few times, but I’d be very surprised if they would stand up to the numbers of repeated performances and productions that would lead to their being incorporated into modern standard repertory.
A survey reveals that Britons are clueless about classical music. A third of participants have never listened to the genre and 4% wrongly identified a type of Italian cheese ball as a composer.
One in three people (33%) have never listened to classical music and 4% of those surveyed wrongly identified Bocconcini – small Italian cheese balls – as a composer. The Reader’s Digest survey of 1,516 people also found that most were unable to link composers to their masterpieces. Three out of four (75%) did not know that Elgar wrote Pomp and Circumstance, and 27% did not even know he was a composer. Sixty-eight percent did not know Tchaikovsky wrote the 1812 Overture.
The Welsh were more likely to own some Vivaldi or Wagner, with 72% possessing at least one classical CD compared with the British average of 59%.
Most participants (61%) said they liked classical music, with the older generation much keener than the younger generation.
Gill Hudson, editor-in-chief of Reader’s Digest, said:
As our survey shows, there’s clearly an appetite for classical music. I suspect that a combination of uninspired teaching and the elitism that surrounds much of the genre has alienated many people, hence the lack of knowledge of some of the greatest classical music and composers of all time. Classical music at its best can be moving, life-enhancing and uplifting. It should be accessible to all.
Anthony Tommasini reports from Bayreuth:
There is a general and well-founded perception of the Bayreuth Festival as an elitist stronghold for opera, as much a shrine to Wagner as a festival of his works. And there is no ticket harder to come by. Wagner lovers wait an average of 10 years to get a coveted ticket to the Festspielhaus, which seats only about 2,000.
The new co-directors of the festival, Eva Wagner-Pasquier and Katharina Wagner, who are half-sisters (and Richard Wagner’s great-granddaughters), are determined to make it more people-friendly and open. On Tuesday afternoon, a couple of hours before Lohengrin began at the main house, the festival presented the last of 10 performances of this summer’s Wagner for Children offering: a 70-minute, irreverent and charming production of Tannhäuser, directed by Reyna Bruns. It took place in one of the rehearsal halls for an audience of roughly 200 people, mostly children, including many very young ones.
(Source: New York Times)