Artisanal Music

From Wikipedia:

An artisan (from French: artisan, Italian: artigiano) is a skilled craft worker who makes or creates material objects partly or entirely by hand. These objects may be functional or strictly decorative, for example furniture, decorative art, sculpture, clothing, food items, household items, and tools and mechanisms such as the handmade clockwork movement of a watchmaker. Artisans practice a craft and may through experience and aptitude reach the expressive levels of an artist. 

The adjective "artisanal" is often used in describing hand-processing in contrast to an industrial process, such as in the phrase artisanal mining. Thus, "artisanal" is sometimes used in marketing and advertising as a buzz word to describe or imply some relation with the crafting of handmade food products, such as bread, beverages, cheese or textiles. Many of these have traditionally been handmade, rural or pastoral goods but are also now commonly made on a larger scale with automated mechanization in factories and other industrial areas.

I've been away from the blog over the holidays, but I'm back and it feels like a new phase in culture so let's talk about it. I've made critical comments about a lot of the trends in popular music such as miming in concerts, industrial production, songwriting by committee and just generally a decline to repetitive mediocrity that we can see in rhythm, harmony, melody and lyrics.

In classical music the criticism clusters around accusations that it is elitist, obscure, outmoded and just generally irrelevant. And when artists like Yuja Wang try to make it more relevant by, frankly, dressing like a hooker, it becomes a caricature of itself.

So it feels like time to refresh and renovate both popular and classical musics. Before I start sounding like a caricature of Ted Gioia (who by the way did an interesting post recently on Anna Akhmatova) let me get to the specifics. The fine arts and the marketplace always have an awkward relationship. I genuinely believe that producing music for entirely commercial purposes is a mistake--at least I am quite certain that it holds no interest to me whatsoever. This is why my career as a concert guitarist was never entirely successful. Careerism, the single-minded focus on advancing one's career, never seemed to have anything to do with music as such.

Of course, musicians live in the world just like everyone else and they have to pay the bills. So one does need some financial security as an artist. In the past, patronage was common, but today, apart from the unreliable support of government, artists find they have to enter the marketplace or an educational institution. For many, it seems this results in a kind of endemic mediocrity.

What still attracts me to classical music over popular music is that so much of it is still artisanal. Aspiring musicians still have to, in nearly all cases, apprentice themselves to a maestro to learn the trade. Often these maestros are found in musical institutions though those are also inhabited by many careerists as well. Playing your instrument is a lifelong hands-on task as is being a scholar or historian. Composers may find themselves seduced by the myriad technologies of music production available today, but that feels to me very like the deal Mephistopheles offered Faust: infinite knowledge and magical powers at the cost of your soul.

A musical experience is for me is one where one hears a performer playing an instrument with no technological processing. This rules out nearly all current popular music, which is ok with me. The reason one wants to exclude technological processing is that it reduces (almost to nothing in some cases) the actual human agency of the artist. A music performance, in order to be aesthetically valuable, has to involve all the subtle shades and nuances that come directly from the artist. Popular music also used to be largely like this.

I feel that one of the strongest urges behind the growth of early music performance is precisely this: it puts the individual human artist at the center, playing instruments that are themselves handmade. The total opposite of this, of course, is the use of Artificial Intelligence to compose and perform music. For human listeners, let's have human performers and composers.

Speaking of Anna Akhmatova, years ago I set this poem of hers:

Music

There is a magic burning in it,

Cutting its facets diamond clear,

And it alone calms me in minutes

When others do not dare come near.

When my last friend cast down his eyes,

It was at my side at the grave,

It sang as thunder in spring skies

As if all flowers started raving.

Here is one of my favorite examples:

A Bach Film

I haven't been able to watch all of this film, but judging by the first part, it seems quite good.

 

Curate yourself!

Around 1970 I became a listener to classical music rather than pop. After all, the Beatles had just broken up, so pop was obviously over (heh!). I also transitioned from being a rock/blues musician to being a classical guitarist. For about ten years I never paid any attention to pop music. But since the early 80s I have enjoyed checking in on the pop world from time to time. Lately that has meant watching some clips from Rick Beato. Here is one that went up two days ago and already has over 5,000 comments.

If we step back a bit and take a more historical view, we might want to ask how were previous musical eras characterized? It is fair to say that the "Classical" era which was centered on Vienna between, say, 1770 and 1830 was characterized by a certain kind of musical vocabulary that, influenced by Italian opera buffa, simplified the intricate counterpoint and chromatic harmony of the Baroque in favor of clarity, simplicity, rhythmic vivaciousness and dramatic harmonic contrasts. For the details, have a look at The Classical Style by Charles Rosen. By the end of this era and the music of Franz Schubert the vocabulary has become much richer and starts to show signs of the Romantic inwardness. Where did this style or genre come from? Pretty clearly from the explorations of people like Mozart and Haydn followed by the development and elaborations of Beethoven and Schubert. Was it influenced by publishers, marketers and record labels? Certainly not as none of these existed at the time (with the exception of publishers, but they had little influence on what composers actually wrote).

Throughout the 20th century the development of recording and broadcast technologies brought to the fore the influence of business people whose main interest was ensuring a profitable return on their investment. That is certainly fair enough, but the unintended consequence we see in the 21st century is that musical taste seems to be being shaped by algorithms more than anything else. Sure, the individual curating of micro genres is happening--the Music Salon is an example as I definitely tend to promote the music that I think is significant and ignore everything else. But honestly, there is a mainstream genre consisting of Taylor Swift and similar acts with much of the songs written by that committee of guys in Sweden. To me this feels rather like the tail is wagging the dog. I think it is better that we develop our own musical taste rather than have it curated for us.

How do we do this in the current environment? Now that's an interesting question!

Music to meditate with, the Piano Sonata No. 21 in B-Flat Major, D. 960 by Franz Schubert, first movement, played by Sviatoslav Richter.

Random Thoughts

Puebla, Mexico

That remarkable photo is of a convent that the Spanish built on a hill near the town of Puebla. In the background is the active volcano Popocatépetl. Hundreds of years after the convent was built, it was discovered that the hill it was sitting on was actually a huge pyramid, seriously overgrown. Here's another photo:

While we are on Mexico, this past Thursday was the day celebrating the Virgin of Guadalupe, the patron saint of Mexico who appeared to Juan Diego in 1531. Each year there is a pilgrimage to the Basilica of Our Lady of Guadalupe outside Mexico City. This year over eleven million people visited the Basilica. When I saw that number I thought it had to be a mistake: 11 million! But I asked my friend and she said, no, this is normal, her parents took her when she was three years old. The tradition is to dress your child up in indigenous costume, put them on a burro and take pictures.

Some musicians that particularly impressed me this year

The Norwegian Chamber Orchestra whose performance of Verklärte Nacht by Schoenberg from memory was remarkable:

Patricia Kopatchinskaja doing almost anything:

Thomas Dunford and the Jupiter Ensemble with Lea Desandre:

The young French (Russian) pianist Alexandre Kantorow:

And still, Grigory Sokolov playing Bach with crystal clarity:

The Three Taboos

Alongside the three transcendentals, the Good, the True and the Beautiful, we might set the three taboos: politics, religion and sex. This goes back a long way; the Royal Navy prohibited discussion of politics, religion or women at the officers mess going back to early in the 19th century. I'm not sure of the current etiquette in this area. Here at the Music Salon we avoid politics with the single exception of when politics threatens to invade the world of music and the fine arts. But I would like to just put a toe onto the dangerous waters of religion.

I recently had a discussion with two colleagues about religion. I'm afraid I rather heatedly pronounced that in my view this whole climate crisis was nothing but an ideological scam and it was "insane" for Germany, for example, to deindustrialize its economy trying to achieve net zero carbon dioxide. I will mercifully spare you the details. One of my colleagues, both of whom are very committed Christians, retorted that in her view it was equally insane not to accept Jesus Christ into one's life. Woo-hoo, that energized the discussion!

At one point, I made the slightly excessive claim that religion was nothing but a "category error" a technical term in philosophy taken from The Concept of Mind, a work of analytic philosophy by Gilbert Ryle. It is a category error to extend the idea of a personal deity to the universe. Well, maybe, maybe not. My real point was that the idea of an all-powerful, all-knowing God is simply beyond our ken.

But the truth is that my colleagues and I really are coming from two different traditions. When I am not engaged in an intellectual discussion, I have profound respect for my Christian and Jewish colleagues based on the view that anyone pursuing virtue is to be admired as it is not so easy in this world. I respect the traditions and literature of both those religions and have done a fair amount of reading of both.

I wanted to respond in a more thoughtful manner to the discussion so I got copies of the slim volume published by Hackett of the Five Dialogues of Plato (Euthyphro, Apology, Crito, Meno and Phaedo). I accompanied this by a brief note saying that I both respected and was acquainted with the sources of their beliefs, but wasn't sure that they had much knowledge of the sources of my beliefs.

UPDATE: For some inexplicable reason, I forgot to mention that I gave these copies to my two colleagues--but I guess that was obvious.

It is my understanding that Western Civilization really derives fundamentally from two places: Jerusalem and Athens. For some reason, my early experiences with Christianity were not too inspiring, but over the years I became more and more attracted to Ancient Greece. Judaism gave us monotheism and a profound sense of moral duty while Christianity added the virtues of mercy, love and administration (borrowed from Rome). Sure, that's a grotesque simplification, but bear with me! Athens, on the other hand gave us cosmology, geometry, ethical reasoning, logic, history, aesthetics, comedy, tragedy, democracy, political science and a bunch of other things.

I chose Plato because his dialogues are a wonderful entry to the thought of Ancient Greece and Aristotle is just too difficult.

A Box of Schoenberg

Pierre Boulez rather unkindly published an essay when Arnold Schoenberg passed away titled "Schoenberg est mort." But as a conductor he was a great contributor to very good recordings of the music of both Schoenberg and Stravinsky. And so, in commemoration of this being the 150th year since Schoenberg's birth in 1874, Sony has released a handsome box of thirteen CDs containing all Boulez' recordings of Schoenberg on Columbia and Sony. These were recorded in the 70s and 80s, but the sound is excellent. Here are the contents:

• Gurre-Lieder (two discs)
• Moses und Aron (two discs)
• Pierrot Lunaire
• Verklärte Nacht and Berg: Three pieces from the Lyric Suite
• A Survivor from Warsaw, Variations for Orchestra op. 31, Five Pieces for Orchestra op. 16 and Music for a Movie Scene
• Serenade op. 24, Lied der Waldtaube and Ode to Napoleon Buonaparte op. 41
• Die Jakobsleiter and Erwartung op. 17
• Die glückliche Hand, Chamber Symphony no. 1 and 2, Three Pieces for Chamber Orchestra and Four Orchestral Songs, op. 22
• Suite op. 29, Verklärte Nacht (sextet version)
• Choral Works: Friede auf Erden, Kol Nidre, 3 Volksliedsätze and 2 Kanons and 3 deutsche Volkslieder
• 4 Pieces op. 27, 3 Satiren op. 28, 6 Pieces op. 35, Dreimal Tausend Jahr op. 50a, Psalm 130, Moderner Psalm Nr. 1

Interesting omission: no concertos! I've only listened to the Gurre-Lieder so far. This, plus the piano music and the string quartets and you have Schoenberg pretty well covered. Oh, and the concertos!

UPDATE: Boulez did record both the violin and piano concertos, but it was on Erato.

Today's Listening: Haydn at Wigmore

 

This just sparkles with wit and intelligence.