Friday, February 24, 2012

"Composers don't borrow -- they steal!"

My title is a quote from Stravinsky that I read so long ago I forget the source. But I am reminded of it by a recent controversy that has appeared in connection with a composer whose music I greatly enjoy: Osvaldo Golijov. Here, from Alex Ross, is a brief account. While this may be correct as to the facts of this controversy, it gets a few other things wrong. Ross writes:
Golijov can be defended on the grounds that there is a long history of borrowing and outright theft in classical music. In the Baroque era, Bach, Handel, and other masters routinely recycled their own music and reworked the music of others; the idea of the composer as a singular genius blazing an original path was essentially alien before the advent of Beethoven.
The 'borrowing' that he mentions was not something that began in the Baroque era, of course. In my post yesterday I cited a number of composers who wrote versions of "J'ay pris amours" that used all or some of the original. Using music composed by others was not just an occasional practice, but a typical one from the birth of polyphony on to the present day. There is a notorious example I talk about in this post. Mozart took an entire symphony by Michael Haydn, added a short introduction, touched up the wind parts and passed it off as his own Symphony No. 37. As soon as music printing was invented, and there was money to be made, publishers started passing off music by all sorts of composers as being written by great ones like Josquin des Prez. Scholars have spent a great deal of time sorting out these "misattributions". Incidentally, one of the first composers who was regarded as a 'singular genius' like Beethoven was this same Josquin. Beethoven too is known to have re-cycled some of his earlier tunes from his Bonn period in later works while living in Vienna. And to close the circle, Stravinsky was a frequent user of Russian folk themes in his music, even in the Rite, despite his denials. Beethoven, too used Russian themes in the quartets op. 59. And Golijov, in the notes to an album of string quartets recorded by the St. Lawrence String Quartet says, in reference to his Lullaby and Doina that "The piece ends in a fast gallop, boasting a theme that I stole from my friends of the wild gypsy band Taraf de Haidouks."

I suspect that the whole concept of borrowing vs stealing is really not an aesthetic one at all, but purely an economic or legal one. Where there was no actual marketplace for the sale of music as some sort of commodity, before the invention of music printing, for example, there was no stigma whatsoever attached to using material from someone else. Even after the invention of printing composers hand-copied music by other composers and used it for their own purposes. As Ross says, Bach's re-working of Vivaldi is a famous example. As legislation was developed giving creators legal possession of the rights to their music, however, the stigma has grown. And so now poor Golijov finds himself chided for some behind-the-scenes collaboration. As Ross notes, "...the many orchestras involved in the “Sidereus” project may be miffed to discover that the work they commissioned is not exactly brand new."


"Not exactly brand new..." Does anyone else see the ideology lurking behind this? For the last hundred years the 'brand new' has been touted as an absolute good in itself. I've talked about this before, but let me say it again. 'New' is not equal to 'good' and 'good' is what is important. It was pursuit of mere novelty that led to much of the worst music of the last century.


Let's listen to that piece by Golijov, but first the Taraf de Haidouks version of the theme:




Now Golijov:




I think it is safe to say that if a composer steals a melody like this, it becomes a different thing, with new harmonies in a new context.


UPDATE: As this article seems to be attracting a lot of attention, I want to make a couple of things clear that I did not in the post itself. I do NOT condone passing someone else's work off as your own. I thought this would go without saying. What I was focusing on in the post was the interesting phenomenon that music theft only became an issue once ways were found, through printed music and later through recorded music, to commodify music. Before then, all through the long, long Middle Ages and early Renaissance before printing, composers would take chant melodies and use them everywhere. They would take entire polyphonic compositions and do what was known as a 'parody' of all the voices. In other words, before music could be commodified, it was not deemed to have a monetary value, hence the notion of copyright was simply inappropriate. Oh yes, and composers did this, typically, with no credit given to the original composer--supposing they could even be identified...

7 comments:

Nathan Shirley said...

Finally a rational take on all this Golijov plagiarism nonsense.

Golijov's cross-pollinated music is some of the ONLY original stuff being written by "composers" toady. Many "composers" think that writing a new tone-row (if such a thing exists) is the only way to come up with original music. Like bar codes they are all unique, but to the human eye all look the same... and NONE are really worth looking at in the first place.

All (good) music is "stolen" to a greater or lesser extent- it's called influence, inspiration. But then how many classical "composers" today even know the meaning of inspiration??

Mozart stole Twinkle, Twinkle Little Star. Stravinsky stole Pulcinella. Liszt stole just about everything we wrote! So what? This is how great art is born- artists steal things and make them different, and often better. This in turn is stolen and the process continues, for the benefit of humanity!

The copyright Nazi's have had such a backwards effect on culture and art...

Bryan Townsend said...

One of my earliest posts, way back in June, was on originality in music and how it isn't as important as it seems. Here it is:

http://themusicsalon.blogspot.com/2011/06/originality-in-music.html

When I am writing I am not so concerned about inventing a new musical 'language' or a new sequence of notes. But I would really like to capture a new feeling, a new expression, somehow. I don't quite know how this happens, but it is what I hope for!

Now, in the age of digital media and ease of copying, we may be returning to a time where actual 'ownership' of a piece of music will again be unenforceable and hence, meaningless...

Jim Ralph said...

This entirely misses the point and glosses over the fundamental fact that Ovaldo Golijov delivered a commission that he represented as his own (except for a "scale fragment") and it wasn't. Not only was the core of the work written by Ward-Bergeman (and used, by all accounts, with permission), Golijov used it for ANOTHER commission (Radio, 2009). No one is suggesting, seriously, that Golijov has plagiarized anything -- Ward-Bergeman is very clear that he and Golijov came to a mutually-satisfactory agreement regardin Golijov's use of Ward-Bergeman's composition. The issue is that Golijov has, quite eloquently, represented that Sidereus is HIS composition. Bluntly, obviously, it is not.

Nathan Shirley said...

Google 'golijov' & 'plagiarism'. You'll find plenty of accusations.

Bryan Townsend said...

Jim, thanks for your comment. When you say that "this" entirely misses the point are you referring to my post or one of the comments? And if my post, what part in particular? My post was not intended to be a forensic analysis of the composition--for that I would need scores and recordings. Instead, I was trying to situate the dispute in history and point out that this kind of dispute is more economic than aesthetic.

Perhaps Golijov should present himself as a 'brand', a kind of aesthetic packaging in which he oversees the work of a team of composers who generate commissioned works on demand. That would resonate nicely with the practices of the studios of some of the most known painters of the Renaissance.

Nathan Shirley said...

Golijov's clarification-

http://www.nytimes.com/2012/03/08/arts/music/osvaldo-golijov-fracas-over-sidereus-overture.html?pagewanted=all

Bryan Townsend said...

Yes, that adds some detail. Thanks, Nathan. I was just reading about Handel, who was one of the worst offenders. Not only cannabalizing his own previous works to complete new commissions, but flagrantly stealing from a number of other, mostly Italian, composers. And he caught quite a bit of criticism for it at the time.