Over at aworks—just in time for Columbus Day—Robert Gable had an interesting comment this past weekend, a gloss on Steve Smith’s reactions to winning the Deems Taylor award (congratulations, by the way—anyone who can go from death metal to King Crimson to Korngold [as he did recently] and maintain not only sanity, but a high level of intelligence and empathy, deserves as many awards as there are). Steve wrote:

And truthfully, it works both ways: Knowing Mozart’s music doesn’t require me to know Schnittke’s, but knowing Schnittke’s music enriches my engagement with Mozart’s.

And Robert responded:

This is so wrong *grin*. Every year that I listen to Ives/Cage/Reich, I lose my ear for European music. I need to be precise here; I’ve probably listened to Sibelius more recently than any other non-American composer but it’s all those German/Austrian guys, circa 19th century, that I no longer relate to. I never expected that.

They’re both right—the more you know about Mozart (or Mendelssohn, or Beethoven, or whoever he’s channeling at the moment), the more you appreciate Schnittke. But enjoying Cage or Reich doesn’t really require any knowledge of past repertoire. (I’d disagree slightly about Ives, who was more engaged with 18th-century Romanticism than he likes to let on.) I don’t think this is just a function of quotation or stylistic games, either; I think it’s an American/European thing.

Think about it: the experience of most European music is enriched by a knowledge of their predecessors, even when there’s not an overt link. You know Chopin better if you know Bach. You know Debussy better if you know Wagner. You know Mahler better if you know, well, just about everybody, really. In the modern era, too: Britten and Purcell, Webern and Isaac, Barraque and Beethoven, to name a few. But most recognizably “American” composers never really fall into this category. (The one obvious exception is Bernstein, an omnivore of Mahlerian dimensions. Copland and Stravinsky? Nah.) Consciously or subconsciously, both the composers and their listeners are continuing this country’s long tradition of trying to surpass the old world by ignoring it.

In Europe (WARNING: large but entertaining overgeneralizations directly ahead), the usual path to cultural innovation is to first engage the past head-on and demonstrate its alleged obsolescence. Manifestos denouncing the present state of artistic affairs are common. Scandalous premieres abound (point being, they wouldn’t be all that scandalous if they weren’t being presented as the modern equivalent to the great works of yore—to have a scandal, you need a crowd that can be scandalized). The goal is to challenge and defeat the history of art on its own turf. Over here, though, the usual way is to pretend that the past doesn’t exist, that the culture is an empty page on which the artist can inscribe anything. Cowell’s early music comes out of left field with regard to the musical culture of its time. Cage as well—there’s no effort wasted on explaining what he did and didn’t learn, or unlearn, from Schoenberg. He just starts putting music out there. Think of Philip Glass: trained in a European vein, he completely erases that aspect of his musical thinking when he turns to minimalism, withdrawing and trashing his entire catalog. What’s interesting here is the blank-slate aspect: the ideal seems to be that of the fait accompli, sprung full-grown from the forehead of new music, as it were.

There are plenty of American composers that don’t fit this description, of course, but they tend to be thought of as more “European” than the others. Elliott Carter, for instance: even now, in his grand-old-man-of-American-music phase, I never read anything about him that doesn’t see fit to mention how much more popular he is in Europe. Given the relative cultural landscapes, I’d bet that Steve Reich is more popular in Europe than he is here. But it’s not pertinent to Reich’s music, which is perceived as more authentically “American.” The difference? Carter’s music engages the European “modernist” past (albeit from an American perspective). Reich’s ignores it. It’s the American way.

I’ve been reading Henry Adams’ huge History of the United States during the Jefferson and Madison Administrations. Most of it has to do with foreign policy—specifically, in the midst of the Napoleonic upheavals in Europe, America’s struggle to remain neutral and above the fray. It wasn’t just a tactical move, or an economic concern. Government officials saw the United States as historically beyond the old European ways, and were afraid that any contact with European quarrels would somehow taint and infect the ideals of the new nation. Old habits are hard to break: witness our long-standing and, unfortunately, current addiction to isolationism followed by rash unilateral action. But it’s the same tendencies that give rise to the American artistic habit of staking your claim out on the aesthetic frontier and not looking back. Me, I’m a backwards-glancing omnivore; if anybody ever sees fit to write about my music, expect qualifications about my relative popularity here and abroad. But my appetite happily encompasses Reich and Cage and Feldman and all the rest. It’s too bad we can’t make sure people with an ahistorical bent go into music instead of government.

Today’s news round-up: now with pictures!

Opening this weekend: Dvořák: The Musical! “Young love, mature love and illicit love are all a part of the summer in this new world.” A bushel and a peck, and a hug around the Czech….

Remember this painting? The one expropriated by the Nazis? The one recently returned to the family of its one-time owners and then sold for $135 million? Know who’s getting a forty-percent cut of that? Arnold Schoenberg’s grandson.

Speaking of which, I suppose if the Pentagon ever extends “don’t ask, don’t tell” into the realm of compositional proclivities, at least Salvadoran serialists will still be able to serve their country. (Seriously, every Spanish-English dictionary I have says “atonal” is the same in both languages. Can somebody enlighten me on this? And where do I get one?)

“Tom sure gets around since he learned to play the accordion.” Hey, they don’t call it a squeezebox for nothing, honey. (With special thanks to Lisa Boucher and Katie Hamill.)

The piece I’ve been working on (yep, same one—who do you think I am, Dennis Báthory-Kitsz?) is for two instruments, and in the movement I’m looking at, one of the instruments is working a lot harder than the other one. This wasn’t by design, but it got me thinking about what a piece that was designed that way would be like. I mean a piece where the technical demands of each respective instrument were so divergent that it was noticeable to the listener.

I’m not counting didactic pieces, where one part is for the student and one for the teacher, or occasional pieces written for amateur performers (like Barber’s “Excursions”)—with that type of music, if it’s done well, the contrast in skill is mediated, rather than exploited. I want music where the disparity is part of the drama. I’ve only ever heard one piece like this: a Charles Wuorinen song called “Christes Crosse,” really a recomposition of a song by Thomas Morley. (There’s an mp3 sample on Wuorinen’s website.) The soprano sings a simple hymn-like tune over and over again; with each repeat, the piano realization becomes more dense, complex, and frenzied. I’m not sure what effect Wuorinen was aiming for, but in performance, the result is a Beckettesque comedy of desperation. The pianist struggles mightily, while the singer grows ever more alienated from the collaboration, ultimately oblivious to the accompanist’s suffering.

There must be other examples—I can’t imagine that Cage or Berio (two likely suspects) never thought of something like this. The effective possibilities are intriguing; I could imagine using the idea to allude to narratives of cruelty, indifference, political disenfranchisement, stoicism, or slapstick.

What’s really interesting to me is that there was a time when I wouldn’t have even been able to come up with this idea. I remember a couple of years where my compositional thinking became so divorced from the physical necessity of performance that I was writing abstract sound, without any thought of how it would be produced. My guess is most composers go through a phase like this. I can’t imagine they stay there for long, though: we need performers, or else we perform the music ourselves. But I’m only realizing now that one of the main tenets of my aesthetic view of the world—the wonderful messiness of life—makes that materialist side of creating music a particularly enticing playground.

One of my several jobs is accompanying singers. (Composer? “Job” implies money to me.) I’ve been at it on and off since high school; I like singers (I even married one in one of my smarter moments), I like the repertoire, I like the fact that, in performance, the audience is paying more attention to the soprano’s dress than to anything I do. But one of the things I’ve never gotten quite used to is the multiplicity of keys.

In song repertoire, singers never let their particular voice type dictate their choice of material. Most pre-WWII vocal works are published in two keys, high and low. In the old days, pianists would also be expected to transpose at sight up or down a step or two to accommodate particularly fussy divas. By the time I got into the business, that sort of thing was frowned upon—I’ve only ever had to do it a handful of times. But now, thanks to notation software and online services like Schubertline, it’s making a comeback. Which is how, last week, I was introduced to the dubious pleasure of playing Fauré’s “Mandoline” in F major.

“Mandoline” is a Verlaine setting in which the singer views a party from some distance; wry comments about the attendees are followed by a rhapsodic description of their elegance as they seem to dissolve in the moonlit air. Debussy set it as well, and he changes the musical material with the mood of the poem, but Fauré seems to do very little musically—a quiet, jaunty figure in the piano conjures the title instrument, and a returning rising scale between stanzas directs our view from detail to detail. A contrasting section introduces some whirling arpeggios to illustrate the turn of the dance; and that’s about it. But Fauré chooses just the right key: the mandolin starts to play in G major, bright enough for wit, but not so bright that it’s catty. And at the first scene change, the rising scale is suddenly in F#, all the black keys coming into play—a sudden bit of legerdemain that perfectly captures the swoon of disorientation in the dim light, not to mention the whole affair’s hushed choreography as perceived from without.

G major, though, is considered the “low” or “medium” key—the “high” key is A-flat. Now the whole piece sounds deep and subdued, like old wood paneling. The contrast of moods is diminished, the shift of focus now in a comparatively prosaic G. But the A-flat version is still better than F. Fauré took great care to make his accompaniments pianistically elegant; even the most technically demanding of his piano parts lend themselves to the illusion of suave effortlessness. A-flat sits on the black keys enough to allow you the flatten out the fingers and glide, but the F major transposition is impossibly clunky. Chords that are tossed off in G now require odd shifts of the wrist, and the thumb keeps landing just a little too hard. The whole thing sounds deliberate and turgid.

Which, of course, it shouldn’t, since we live in an equal-tempered world, and all those keys are supposed to sound the same, right? But they don’t, because each key still retains its own place in the sonic spectrum, and its own physicality, be it of the hand or of the voice. (If you think a half-step difference between a “low” key and a “high” key is trivial, you haven’t hung around singers very much.) On the keyboard, keys in which the root is a black key are always going to sound different from their white-key counterparts because of the way they fit under the fingers.

Some pieces don’t transpose for obvious reasons. (I once encountered some Duparc songs in the low key; they were so far down on the keyboard I couldn’t tell what I was playing half the time.) And sometimes you trade one evil for another: a few years back, I played the Schumann op. 24 Liederkreis in a transposition for “low voice,” and I was so horrified to find that the Peters edition didn’t maintain Schumann’s key relationships that I ended up writing out half the cycle myself. In retrospect, I wonder if the editor wasn’t sacrificing that aspect of the piece in order to choose keys that more closely matched the color of the originals. (On the other hand, the old Peters edition left out the last song of op. 24, which I can only attribute to insanity. Particularly if you know the penultimate song.)

Composers are more sensitive to this sort of thing now. The only major post-WWII composer I can think of who published most songs in high and low keys was Barber. I think the same concerns hold for atonal music as well—certainly Ligeti got a lot of mileage out of the white-key/black-key dichotomy of the keyboard, and for an older example, compare numbers 4 and 5 of the Schoenberg Sechs kleine Klavierstücke. But now that transposition is available at the click of a mouse, I fear an entire generation of singers is going to assume the license to try out different keys until they find the one that’s the most comfortable. And ultimately, it’s not about which key is the most comfortable; it’s about which key sounds right.

I was home sick all day yesterday. I hate being home sick. It’s one thing to be home all day and feeling great, just sitting around and doing absolutely nothing. But illness requires constant distraction from the fact that my head feels like a medicine ball full of hot mayonnaise. Luckily, there are economists in the world.

Specifically, economists Tyler Cowen and Gabriel Rossman, who both pointed the way to the 1993 General Social Survey. The National Opinion Research Center has been doing these every couple of years; they tabulate all kinds of opinions—cultural, religious, political—so you can cross-reference them. And in 1993, they saw fit to ask everybody how much they liked classical music.

So now I know that, for example, we classical music lovers are also avid campers (the more red the box, the more significant the correlation):

And that we want more trains and buses:

And that we’re a bunch of drunks:

By now, logical types among you are limbering up your fingers to post comments regarding post hoc fallacies and what-not. (“Your love of classical music has nothing to do with the fact that you’re drunk,” etc.) But if recent history has taught me one thing, it’s that, as an American, I have a God-given right to narrowly interpret ambiguous data to suit whatever conclusions I please. Besides, apart from repeated exposure to Peter Grimes, how to explain this?

What about Der Freischütz?

Madama Butterfly?

On the other hand, we seem to have forgotten how Don Giovanni ends.

How many sexual partners a year? Eleven to twenty. In Spain alone!

(Title courtesy of Mark Glickman, who has more silliness here. Click here to get all the jokes.)

Like all one-time Bostonians who have been chased west of town by the Wellesian extravagance of the housing market, I spend a great deal of my life on the Massachusetts Turnpike. As such, I see the Boston Symphony’s billboard right around Watertown every day. And here’s this season’s new marketing slogan: Defining tradition & innovation.

Ugh. Unless you’re going to follow that with the phrase “and letting them tear at each other like rabid dogs,” I can’t think of a worse, more forgettable tag for a performing arts orgaization. Even something like “Our audience is old, and our repertoire is older” at least has the virtue of clarity. So I sit there on the pike, wondering a) how I can get a nice sinecure in the BSO marketing department, and b) just what I’d do if I were serious about putting a civic arts organization front-and-center in its hometown’s consciousness. And I start to think: what this orchestra needs is a mascot.

Now, if the word “mascot” makes you think that I mean something like the San Diego Chicken and his Muppet-esque progeny, let me reassure you: yeah, that’s pretty much exactly what I mean.

A couple of months ago, critic-at-large Moe and I were down on Boston Common to hear the Boston Landmarks Orchestra premiere Julian Wachner’s children’s piece, Lifting the Curse. Since the piece had a Red Sox theme, the team sent over Wally the Green Monster to kibitz with the kids and take pictures before the show. Wally was a big hit with the kids, naturally; but his presence also was a great signal to the grown-ups that, yes, it was OK to treat the concert a little informally, and yes, it was OK to have fun.

I’m not saying that our friend Skippy here should be warming up the crowd prior to Il canto sospeso or the Penderecki Threnody. But for free concerts, kids’ concerts, etc., it’s just the sort of goofy yet festive touch you need to put the newbies at ease. And for parades, neighborhood festivals, and the like, well, it’s not like you can drive around the whole orchestra in an open-top car. But you can send over Skippy and a few brass players to serenade the crowd. The fact is, there’s so much competing for the average citizen’s attention these days, if you want to be a beloved local institution, you’re going to have to do some legwork. Besides, it’s the perfect comeback to all those complaints about how stodgy and uptight orchestras are. How uptight can you be if you’re willing to pay somebody to run all over town in a foam-rubber suit?

Friday’s listening list:

As the clouds roll by: on his blog, Jacob Sudol offers a movement from one of my favorites: Morton Feldman’s Rothko Chapel.

The Library of Congress has digitized a ton of field recordings from the 30’s and 40’s. Here’s “My Lord Is Writin'” as sung by the Cochran Field Singers in 1943. An unusually sly performance for gospel.

From the recesses of UbuWeb comes Musique pour les soupers des Roi Ubu by Bernd Alois Zimmermann, one of the best collage pieces to come out of that 60’s fad. Starts out funny, then gets rather disturbing, then ends up almost uncomfortably funny and disturbing. The juxtapositions in the final section are brilliant.

I stink, stink, stink at keeping in touch with people that I’ve known, but luckily, most of them are musicians, so I can at least pretend to keep in touch with them by visiting their websites. I went to school with baritone Stephen Powell, who was a fantastic singer and a nice guy (if I remember correctly, he also had a degree in composition, so show a little respect). I’ll assume he’s still a nice guy, and I know he’s still a fantastic singer, because there’s a page full of audio clips on his site. There’s lots of tasteful and serious stuff there, but you know what you want: pop the cork on the last of the summer rosé and scroll to the bottom for “Rondine al Nido.”

Paul at Aurgasm has two tracks by Bitter:Sweet (“Dirty Laundry” is my favorite). Imagine Christian Marclay as a member of Herb Alpert’s band. Or Spinderella doing a Bollywood soundtrack. Or… oh, just go listen to it.

You’re all reading Felsenmusick, right? And not just because Daniel Felsenfeld was nice enough to send his readers to me. Anyway, you might not know that you can listen to a few of his pieces on his other site. “A Dirty Little Secret” is particular fun.

And, just in time for the weekend, our anti-social friend Kid Seditious has a nice blast of pop for you. Follow this link and click on “Bridesmaid Revisited.”

You cannot be serious.

Hey, Mexico: next time? Do us all a favor and skip the siesta.

(Art.blogging.LA and Tyler Green are the bearers of bad news.)

Every art when first discovered seems to resemble a rough and shapeless mass of marble just hewn out of a quarry, which requires the united and successive endeavors of many laborers to form and polish. The zeal and activity of a single workman can do but little towards its completion; and in music the undirected efforts of an infant must be still more circumscribed; for, without the aid of reason and perseverance he can only depend on memory and a premature delicacy and acuteness of ear for his guides; and in these particulars the child of whom I am going to speak is truly wonderful.

From a little gem in the Philosophical Transactions of the Royal Society, 1779: Charles Burney pays a visit to the three-year-old William Crotch. Crotch, who is mainly remembered today for 1) a couple of pieces in various choral anthem anthologies, and 2) his unfortunately inappropriate name (I always threaten my church choir that we’re going to do a concert of William Crotch and John Blow), was one of the more famous musical prodigies: at 18 months, he began picking out tunes on an organ his father built (!), and within a year was enough of a phenomenon in Britain that Burney was sent to investigate.

[A]ccording to his mother, it seems to have been in consequence of his having heard the superior performance of Mrs. Lulman, a musical lady, who came to try his father’s organ, and who not only played on it, but sung to her own accompanyment, that he first attempted to play a tune himself; for, the same evening, after her departure, the child cried, and was so peevish that his mother was wholly unable to appease him. At length, passing through the dining-room, he screamed and struggled violently to go to the organ, in which, when he was indulged, he eagerly beat down the keys with his little fists….

In his own time, the adult Crotch, in addition to composing, was well-known as a teacher, textbook writer, and music editor. He developed a theory of the evolution of music in which he divided the history of music into three sections: the sublime, the beautiful, and the ornamental—he regarded the sublime period as the golden age, and spent much of his life reviving, imitating, and encouraging the performance of early English church music.

His chief delight at present is playing voluntaries, which certainly would not be called music if performed by one of riper years, being deficient in harmony and measure; but they manifest such a discernment and selection of notes as is truly wonderful, and which, if spontaneous, would surprize at any age.

Nicholas Temperley, in the old New Grove, takes Crotch’s mother to task for dragging him hither and yon during his childhood in order to demonstrate his talents; Temperley blames the resulting “psychological damage” for Crotch’s “ultimate achievement as a composer” not living up to his early promise. I have always found this particular criticism, in general, to be largely meaningless—do any of us really live up to our initial promise? But Temperley does make the more interesting point that Crotch’s output seemed to reverse the typical pattern of those composers who excel in miniatures but stumble in the larger forms. Crotch’s shorter, smaller works are largely uninspired, but in his big statements—oratorios and organ concertos—he showed a real flair for drama, and a surprisingly adventurous compositional palette.

When he declares himself tired of playing on an instrument, and his musical faculties seem wholly blunted, he can be provoked to attention, even though engaged in any new amusement, by a wrong note being struck in the melody of any well-known tune; and if he stands by the instrument when such a note is designedly struck, he will instantly put down the right, in whatever key the air is playing.

Crotch was also a noted landscape painter, he wrote plays, and he dabbled in the sciences like a true English gentleman. As he grew older, he largely turned away from composition (the bulk of his later output is in the arid genre of Anglican chant), and became sharply critical of younger composers, particularly Samuel Wesley, who would succeed him as the preeminent English church musician. Crotch would come to regard as inappropriate much of the innovative vocabulary that the newer generation took from Crotch’s own works.

Into what the present prodigy may mature is not easy to predict; we more frequently hear of trees in blossom during the winter months than of fruits in consequence of such unseasonable appearances.

If there is any lingering effect from his precocious beginnings to be found in Crotch’s later music, I think there’s a case to be made for a certain devaluation of the craft of music. Burney pointed out that the young Mozart was surrounded by the best music and musicians of the day, whereas the young Crotch was largely left to his own devices. Crotch’s imagination was fired by the most dramatic and high-profile public projects, but the more everyday corpus of practical church music must have seemed to be hack-work. Apparently he lacked any formal training until the age of 10 or 11, by which time he had already toured the country and played at Buckingham Palace; it must have been difficult for anyone to instill in him a sense of discipline towards the act of creating music.

Premature powers in music have as often surprized by suddenly becoming stationary as by advancing rapidly to the summit of excellence. Sometimes, perhaps, nature is exhausted or enfeebled by these early efforts; but when that is not the case, the energy and vigour of her operations are seldom properly seconded, being either impeded or checked by early self-complacence, or an injudicious course of study; and sometimes, perhaps, genius is kept from expansion by ill-chosen models; exclusive admiration, want of counsel, or access to the most excellent compositions and performers in the class for which nature has fitted those on whom it is bestowed.

I had a real post for today, but I was forced to withdraw it due to threats of terrorism. Seriously, I love free speech more than Gummi Bears, but honestly, guys—beheading the Prophet onstage? It’s Idomeneo, not The Mikado.

In other news: As part of winning a grant from the Davidson Institute for Talent Development, 12-year-old composer and pianist Drew Petersen is meeting with members of New Jersey’s congressional delegation to “urge them to pass legislation requiring that classical music appreciation be taught in the nation’s schools.” More power to him—if anybody can explain a subject in terms that Congress can understand, it’s a 12-year-old.

The Amazing Things Arts Center here in my hometown of Framingham is having an online auction to raise some funds. The first item in the “Fine Dining” category: a $25 gift certificate to Honey Dew Donuts. I like their style. Think I can sneak a dozen into Moses und Aron? (Thanks to This Is Framingham for the heads-up.)

New for Xbox: Chopin’s death, the video game. In his delirium, “Chopin comes into contact with Polka, a young girl who resides with her mother in the village of Tenuto. Polka is near her death, and Chopin, Polka, and her young friend Allegretto… look for some way to make use of Polka’s great powers to help save her.” I’m hoping that all the cheat codes involve Schenkerian analysis.