Globe Articles

Wish I Was Here

I’ve been terribly remiss on linking to Globe stuff, so here’s a month’s catch-up:

Classical Notes.
Boston Globe, July 23, 2010.

Subbing for David Weininger with my usual terminal obliqueness. (Yes, I did play a lot of deep left field during my brief and thoroughly undistinguished career as a Little Leaguer. Why do you ask?)

Reviewing Audra McDonald.
Boston Globe, July 20, 2010.

Damn, this was a good recital.

Reviewing the SICPP Iditarod.
Boston Globe, June 22, 2010.

Summer doesn’t really start for me until the Iditarod. Tricks of the trade: how do you make it through a seven-hour concert? You smuggle in iced coffee and gummi bears.

Reviewing the Boston Trio.
Boston Globe, June 19, 2010.

Joe Barron sent me a nice note wondering why the Ives Trio doesn’t get more love, and I’m inclined to agree with him. It might be the perfect Ives piece for people who think they don’t like Ives—he does all his usual Ivesianisms, but the context makes the connections to his recurring underlying worldview unusually clear. (The new Rockport hall really is as gorgeous as everyone says.)

Reviewing Blue Heron Renaissance Choir.
Boston Globe, June 15, 2010.

An unusually smart program, this one, one of the only musicological-connection-type early-music concerts I’ve heard where the connections were all absolutely audible.

Anyway, it’s still going to be bare-bones links for another couple of months around here, but the end of the book is in sight. I’m currently in a tag-team wrestling match with, alternately, August Röckel and Walter Murphy. Funny, I don’t remember them making it into Grout and Palisca.

Large and in charge [plus an Ivesian ramble]

Reviewing the Boston Modern Orchestra Project.
Boston Globe, May 31, 2010.

Also, I forgot to link to this one over the Memorial Day weekend:

Hailing the 54th With Monumental Works. The joined Civil War memorials of Augustus Saint-Gaudens and Charles Ives.
Boston Globe, May 28, 2010.

Ives’s original proposed context for his “St.-Gaudens” movement is a little mysterious. It was to have been the third movement of a triptych—the second being his Wendell Phillips piece, the piano study known as “The Anti-Abolitionist Riots.” It’s the first movement that’s a puzzle. Ives’s memos refer to something called “The Common (Largo) (Emerson & Park Ch)” (scroll down here to x683). Most Ives biographers have taken this to mean “Emerson and Park Church,” a reference to Park Street Church, across the street from Boston Common—but that doesn’t actually make a whole lot of sense, Park Street Church having been (and still being) an outpost of rather conservative Congregationalism, and one that, in the 19th century, was not very sympathetic to abolitionists. The best possibility of an Emerson-Park Street Church connection would be the 1846 funeral of Charles Turner Torrey, an early anti-slavery activist who died in a Maryland penitentiary; Park Street Church withdrew their permission to host Torrey’s funeral, after which it was moved to Tremont Temple (Emerson attended the funeral but did not speak at it). James Sinclair raises the possibility that Ives really meant Park Square, not Park Church—and Boston’s Park Square does still have its copy of Thomas Ball’s Freedman’s Memorial, the original of which is in Washington, D.C. One other far-fetched possibility—well, maybe not so far-fetched, given the way Ives abbreviated names in his memos—is that “Park Ch” refers to a pair of Emerson’s fellow abolitionists: Theodore Parker and William Henry Channing. That reading could circle back to Torrey as well: Channing did speak at Torrey’s funeral, and Emerson’s subsequent “Ode to W. H. Channing”—

Virtue palters, right is hence,
Freedom praised but hid;
Funeral eloquence
Rattles the coffin-lid

—has often been interpreted as a reaction to that event.