I wanted to link to a couple of lovely livestreamed performances that I listened to this week from the Frankfurt Radio Orchestra, but it appears that as soon as the concert ends they take it off the web. Too bad, because the concerts, conducted by a young Russian conductor (whose name I did not write down) were very good. The strings of the orchestra joined by a young Belgian violinist, played music by Arvo Pärt, Tchaikovsky and a Latvian composer. Keep an eye out for more of these livestreamed concerts.
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First encounters with memorable music: a personal scrapbook
If you think of Classical Music as a vast and imposing monolith, with both words capitalized, it isn’t an easy thing to take on within a single encounter. Individual pieces, on the other hand, are like people — each one quirky and distinctive, and each one carrying the promise of a lifelong acquaintance.
What strikes me about this list, in fact, is that just as with people, not all of those acquaintances panned out. In other words, this is not at all a list of my favorite music (although there’s some overlap). Some of the works here have been a permanent source of joy and sustenance; some were the subject of intense but short-lived passion; some I communed with once and then never encountered again.
Read on for his interesting selection of several pieces that continue to play an important role in his listening experience.
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Here is a pretty good discussion of just how revolutionary Philip Glass' opera was: Philip Glass and ‘Einstein on the Beach’: How one opera changed everything
Easily the most important opera of the last half century, “Einstein on the Beach,” at least at first, meant far more to those who witnessed it than to the art form itself, which couldn’t have cared less. Almost nothing about what composer Philip Glass and director Robert Wilson put onstage was opera.
“Einstein” has no narrative. “Einstein” has no Einstein, even though a great many onstage are dressed in the iconic image of frizzy-haired scientist. “Einstein on the Beach” has no beach. Glass’ relentlessly fast and loud score is four hard-driving hours of Minimalism. Spoken text comes from the sputtering of mid-1970s New York AM radio, cut up. Sung text consists of a chorus counting rhythms or the solfège syllables of pitches. Wilson’s images revolve around a train/spaceship, trial/prison and field, although at one inexplicable point, a revolutionary Patty Hearst, rifle in hand, finds herself in the action.
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The pickings are very slim this week and I was sick in bed for a couple of days so I didn't do as much preparation as usual. Here are a couple of nice envois. First the Vivace from the Bach Concerto for Two Violins in D minor:
And now the Symphony No. 6 by Tchaikovsky performed by Valery Gergiev conducting the Orchestra of the Mariinsky Theater:
5 comments:
Appreciated the Kosman piece. I can't imagine having been 'forced' in school or by necessity of work to sit down and study a particular school or genre of music-- maybe this has to do more with having been done with the university for more than thirty years than with anything else, though, rather than anything directly to do with music. An interesting list although I don't 'get' Monk, Berio, or Reich in the sense that I sit myself down to listen to works of theirs for pleasure-- out of curiosity at times, sure.
I read something of Mark Swed's once that put me off his writing. When I figure out how to get through the paywall (and one always does, ahem), however, I do want to read the article. Am in the middle of pre-Christmas belt-tightening, ha (ridiculous of course-- in what universe is that four dollars going to benefit anyone in any serious way, whether it is in my bank account or the LA Times's?).
Hope you recover your wonted good health quickly! Dresden for a month sounds lovely-- be done with your nonsense before that. :-)
Thanks Marc. I just cannot seem to get a decent night's sleep!
Free for the viewing (until 1000 on December 2nd) is the first of the Eugene Symphony's plague-time concert series 'Symphony Soundwaves', on YouTube. After Tuesday one has to be a donor. This first go (eventually there are going to be chamber music concerts etc livestreamed-- eventually! we are what? 8 months into this nonsense?) is a live concert recycled from April 2019. I was there! The gimmick (based on the second half's Prometheus and Scriabin's synesthesia) was local students/artists' video animations displayed on stage behind and around the musicians. The Scriabin had a special 'instrument' constructed to accompany it. I think we were meant to think of so and so's animation for Arvo Pärt's Cantus in memoriam Benjamin Britten and the Cantus itself as a coherent whole although I never made it beyond thinking of 5 pieces of music and 4 videos and a light show. I myself don't buy ESO tickets in order 'to be bathed in light!!' (as Francesco Lecce-Chong so giddily promises in today's video) but, eh, people enjoy the novelty, I guess. The technology is interesting in itself but obviously I have my doubts about its place in the concert hall. Watching today's video, I remember thinking that someone needs a) to tell the emperor about his tailor's incompetence or else b) to ask him if perhaps he ought not to reduce his dosings of LSD.
But it has been a beautiful afternoon here, late in Autumn.
Each night from Dec. 1 - 12, hundreds of dazzling, bright lights will be choreographed to entertaining music in a 15-minute Holiday Light Show, which will showcase the 40' Christmas Tree within Sugar Land Town Square Plaza. On a nightly basis, the Holiday.
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