There's a new history of Western music in town: The Life of Music review – pushing at the boundaries of the classical canon
Nicholas Kenyon’s The Life of Music, a project long in gestation that he completed during the pandemic of 2020, generously embraces all, reminding us that “western music” began some four centuries before Bach and introducing us to composers, several of them women, born in the 1980s. The transformative power of digital music is central to his story. So, too, is that vital, ever-changing relationship between composer and performer: notes on the page are only the starting point.
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118 Years Later, Japan’s Earliest Sound Recordings Still Resonate:
IT IS FEBRUARY 28, 1903, and 12 musicians from the Imperial Household Orchestra are seated in front of a gramophone horn in a Tokyo hotel room. American recording engineer Fred Gaisberg carefully lowers the needle onto a spinning blank disc and the session begins. The fragile melody of a bamboo flute breaks the silence, followed by the slow beat of the conductor’s drum. As the song unfolds, Gaisberg’s chikuonki, or “sound storing machine,” records the ceremonial sound of gagaku. The oldest continuously performed orchestral music in the world, gagaku had been the reserve of Japan’s imperial court for over a thousand years. This recital is the first ever to be committed to disc. “Weird and fascinating indeed,” Gaisberg noted in his diary later that day.
Here are some samples of these recordings:
https://soundcloud.com/user-258102796/sf115-sampler
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Muti: Pandemic year silenced culture, leaving world stunned
Conductor Riccardo Muti comments on the strange year we have experienced:
Muti called the experience of the past year “an unnatural global experiment” that had “stunned” the world.
“If we truly took into account how we are living, we would all go crazy. We try to maintain the illusion that we are living a normal life. It is the only way to reach the end of this absurd path,’’ he said.
Muti is plunging back into concert life. He is conducting his much-curtailed 50th anniversary tour with the Vienna Philharmonic in Florence on Monday and at Milan’s La Scala on Tuesday, before returning to Ravenna to prepare for festival appearances of his Luigi Cherubini Youth Orchestra and for the debut of a piece of music written for the Dante anniversary based on the Divine Comedy’s Purgatory canticle.
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When Niccolò Paganini, around 1802, needed a powerful new violin, he found (or was given) an instrument by Guarneri del Gesù. It had been made in 1743, near the end of the great luthier’s career. Paganini called his new instrument “Il Cannone” (the Cannon) and used it for the rest of his life. After his death, it was given to the city of Genoa, where it is exhibited in the town hall.
Il Cannone has its original neck (though it was extended and reset into the body at some point in its life), the plates were never re-graduated, and the instrument has never been polished. The Sala Paganiniana, where Il Cannone resides inside the Palazzo Tursi, is monitored by scientists, experts, and bodyguards. The instrument is played monthly by curator Bruce Carlson and each year by the winner of the Premio Paganini contest for young violinists.
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Musicians Say Streaming Doesn’t Pay. Can the Industry Change?
Like musicians everywhere who were stuck off the road, staring into the abyss of their bank accounts, Shah — whose dark alto and eclectic songs have brought her critical acclaim and a niche following — began to examine her livelihood as an artist. Money from the streams of her songs on services like Spotify and Apple Music was practically nonexistent, she said, adding up to “just a few pounds here and there.” So she joined other disillusioned musicians in organizing online to push for change. Last fall, Shah testified before a Parliamentary committee that has been taking a hard look at the economics of streaming, raising the prospect of new regulation.
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Here is a book that looks at a topic we have often touched on here at The Music Salon: The Opportunists
Louis Menand’s big new book on art, literature, music, and thought from 1945 to 1965 instills the conviction that the 20th century is well and truly over.
Menand’s inclination is not really to debunk, nor to make or undo reputations. Yet guided by a fascination with the wayward paths to fame, he half-unwittingly sows doubt about the justice of the American rise to artistic leadership in the postwar era. In his erudite account, artistic success owes little to vision and purpose, more to self-promotion, but most to unanticipated adoption by bigger systems with other aims, principally oriented toward money, political advantage, or commercial churn. For the greatness and inevitability of artistic consecration, Menand substitutes the arbitrary confluences of forces at any given moment.
The paradoxical feature of the book is that its stylish, comprehensive retellings of some of the most famous stories of the most famous individuals, weaving connections between them, made me doubtful and weary of them, and much more interested in minor figures whom we barely glimpse. (Funny that in this book Josef Albers, Ralph Ellison, and Aimé Césaire become such “minor figures”—because the more peripatetic fame seekers like Rauschenberg and Baldwin are pushing their way in front of the camera instead.) As for the construction of art history in “schools” or “groups,” the effect of The Free World’s explain-don’t-judge perspective on canon formation is to leave many of the major art movements looking negligible or meretricious, floated on excesses of cash, power, and mass media.
Obviously a book worth a further look.
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Hmm, deciding on the appropriate envoi today is a bit of a stumper. Here is Riccardo Muti conducting the Orchestra Giovanile Luigi Cherubini in symphonies by Schubert and Dvořák. The program was given in March of this year.
I've made the aquaintance of Agustin Barrios at Mass this morning-- his Una Limosna por el Amor de Dios. Was entirely unfamiliar with the famous Paraguayan until an hour ago. Never cease to wonder at how many cathedrals of music I'm ignorant of.
ReplyDeleteWill certainly read the Menand, although the list is long and I often wander about.
Yes, Barrios is a lovely composer for guitar. If you had been reading the Music Salon back in the early days in 2012 you would have run across this post where I put up my recording of La Catedral by Barrios:
ReplyDeletehttps://themusicsalon.blogspot.com/2012/10/townsend-la-catedral-by-agustin-barrios.html
Ah, wonderful; just listened to someone named Lorenzo Bernardi performing this. I ought to get into the habit of searching here first of all. :-)
ReplyDelete8>)
ReplyDeleteThe gagagu recordings, though annoyingly short, are nonetheless quite curious -- thanks for posting. Japanese traditional culture never ceases to fascinate me; it has always seemed to me a magical country. To hear even snippets from its musical past is enchanting. I'm a great enthusiast of sumo wrestling, and as its origins are as a religious ritual not a sport, it still has primitive but compelling musical aspects: the ubiquitous woodblock, a healthy dose of folk songs, the way each match has to be announced by a sole yobidashi, dressed traditionally of course, who is trained to sing the names of those about to fight strictly in line with various traditions. And much of this has been continually done for well over a millennium. I can think of no country quite like it.
ReplyDeleteRe Barrios, just learnt Julia Florida, perhaps a rather saccharine piece but very pleasing to play.
I quite agree about Japan! A most remarkable nation with what might be the most civilized culture of all. Enormously interesting traditions that they guard zealously. And fascinating music.
ReplyDeleteJulia Florida is a lovely piece. I learned it and then rarely played it. Not sure if it was because of the scordatura or, as you say, it is a bit saccharine.
I guess I pay insufficient attention but imagine my pleasant surprise when I turned on the noontime concert from Wigmore Hall earlier and lo! a real audience was seated there. Lane County here in Oregon is classified by the state health and safety people in the most dangerous category of redness and so I reckon we will see such a phenomenon in 2022, maybe.
ReplyDeleteThe UK is well advanced in vaccination. I heard that Wigmore was going to open soon. I got an email from Salzburg that they are going forward with the summer festival and are giving me all my tickets except for the Chicago Symphony who cancelled their trip. So I am going to hear live music in Salzburg in August!
ReplyDeleteWonderful news!
ReplyDeleteYes we just opened up today -- well, sort of. I just had lunch inside a cafe for the first time in several months, though all the plexiglass, giant QR codes, one-way systems etc. are still in place. Capacity in halls is still much reduced and a ridiculous number of regulations and guidance still applies. For example, the local choral society is set to resume rehearsals this month but we must not mingle or chat, must sit 2 "metres" apart, must only walk around the room anti-clockwise, wear masks, no tea or coffee allowed, so on... Still, I'll grudgingly tolerate all of it to hear live music again.
ReplyDeleteI often think Japan is much like England was, and long to go there for that reason.
Yes, I'm giddy with excitement.
ReplyDelete@Steven: we have been dining normally in restaurants for months now, but still no public events like concerts. Mexico has a very low infection rate of around 1.5 persons per 100,000 according to the New York Times. I don't know what will happen with our summer chamber music festival, but as it is in August, I will be in Salzburg anyway.
Walking widdershins? Sounds rather more like witchery than science...
Here, we've had the restaurants and coffeehouses open for months. Oregon's mortality rate (which I derived from the number of deaths divided by the number of confirmed cases, numbers that appeared in the newspaper this morning-- no, nobody wants me managing health care statistics) is between 1.1% and 1.3%. We're no longer needing to wear masks indoors, e.g. in the grocery store-- if we've been vaccinated. I think the archdiocese continues to require 'em in church, regardless, so am not burning the damn things yet.
ReplyDeleteHave been listening to that Sound Storing Machine album, although my edification and entertainment is limited since I don't know what I'm hearing but a unique experience in any case-- they had already sold out of the LP (which comes with notes). Not quite sure how I thought a savings of $6 was significant, tsk, but I downloaded the album and of course now won't buy the CD (which presumably also has notes) because I've already bought the download and am stubborn. The music is indeed intriguing but it is not something I'm liable ever to listen to again, so will happily email the zip file to whoever wants it.
According to the NYT, Oregon has 14 daily cases per 100,000 as opposed to 1.8 in Mexico. Sweden is a real hot spot with 41 cases.
ReplyDeleteIs the Sound Storing Machine album the one with the gagaku?
I think it is a bit like the album of Pacific Northwest indigenous music I purchased and only listened to a couple of times.
Yes, 'Sound Storing Machine' is the title of that album. Exactly like PNW indigenous music: for the ethnomusicologist, fertile fields for research; for most of the rest of us, 'where's that Chopin CD?'.
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