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Posts Tagged ‘music’

The indie kid’s guide to classical music

In music, reblog on July 29, 2009 at 8:35 am

From The Guardian:

How do you listen?

What you need to do is close the curtains, take your clothes off, lie face down with your teeth sunk deep into the carpet. Then get your butler to sprinkle your buttocks with rose petals and put on the 16-plus hours of Wagner’s operatic tetralogy, The Ring, before he retreats, locking the door on you, until the bloody ordeal is over. Not really: what you need is peace, quiet and concentration. 

Music for kids: Muse and Chopin. Photographs: Yui Mok/PA/ Alfredo Dagli Orti/Corbis/Art Archive

Five downloads to get you started

Schubert: the Trout Quintet
Bach: Brandenburg Concertos
Mozart: Clarinet Concerto
Beethoven: Symphony No 9
Puccini: Madame Butterfly

Related post:
Music and Metaphysics

Five downloads to getyou startedSchubert: the Trout QuintetBach: Brandenburg Concertos

Against over-enthusiastic clapping during classical concerts

In Uncategorized on July 16, 2009 at 3:22 pm

Jonathan Lennie of Time Out asserts himself against over-enthusiastic clapping during classical concerts. Here is his open letter reblogged from this source:

Dear Loud Clapping Man Who Sits Behind Me At Concerts,

You know who you are: the one who insists on applauding at every opportunity and the clear winner of that solo competition to be the first to clap the moment a piece is over. Now, I’m not averse to audience members showing their appreciation, but this isn’t about the music or the performers, is it? It is all about you – showing off your apparent expertise, reflected by your knowledge of exactly when a work has ended, while others demure, lacking your certainty.

It’s good you have such knowledge, but don’t you realise that the music is not over when the conductor places the last down-beat? There is a silence that concludes the experience, both musically and emotionally. In his book ‘Everything is Connected’, pianist Daniel Barenboim explains: ‘…it is so disruptive when an enthusiastic audience applauds before the final sound has died away, because there is one last moment of expressivity, which is precisely the relationship between the end of the sound and the beginning of the silence that follows it. In this respect music is a mirror of life, because both start and end in nothing.’

So, having sat through a long and profound work, why do you have to start making a racket as soon as you perceive it to be over? Everybody hates you for destroying that moment of spiritual digestion. Pleasingly, I saw a clip of a well known maestro conducting Bruckner’s final symphony. As he lowers his baton for the last time, and the dying notes of that ‘journey of the soul to God’ begin to sink, there you are shouting ‘Bravo!’, shattering the spell, oblivious to what has been expressed. The conductor, though, in a fit of pique snaps his baton in half and storms off.

You don’t have to clap, you know, particularly between movements in a symphony, or songs in a song cycle. You don’t have to reward the performers halfway through (this isn’t opera): they do not expect it and most often resent the intrusion. Two weeks ago in a recital at the Royal Opera House, the baritone Thomas Hampson raised his hand in polite admonition when some members of the audience (were you among them?) felt compelled to applaud between the dark songs of Mahler’s song cycle ‘Lieder eines fahrenden Gesellen’.

The whole point of movements – something that seems to have escaped Classic FM – is that they form part of a whole. In fact, there have been occasions when the performer prefers that you do not clap at all. At the start of June, for example, Piotr Anderszewski played ‘Gesäng der Frühe’, Schumann’s last completed work before mental illness prevented his composing further. In the programme notes, and a broadcast announcement, the pianist requested that the audience ‘kindly restrain from applauding after the piece’. This is an extreme dictation of ‘appropriate’ behaviour but a good starting point for a debate about when an audience should clap. After it there was a respectful silence, though a few (no doubt, you were one) couldn’t desist from some appreciative coughing.

We live in an age in which everyone is encouraged to express themselves, from inane blogging, Twittering and voting in mediocre talent shows. Please, let’s keep this out of the concert hall. The apotheosis of great music is all about the art. It does not seek acclaim; it only demands that we engage attentively as it speaks to us. The moment of its closure is a shared profundity in which we commune with our humanity.

So, clapping man, please restrain your enthusiasm until the work is genuinely over, otherwise you are interrupting that intimate conversation.

Yours sincerely,

Jonathan Lennie

Related post:
Music and Metaphysics

Music and Metaphysics

In academia, philosophy on July 14, 2009 at 3:19 pm

Philosophers have such a high regard for music that even Arthur Schopenhauer, supreme pessimist of the West, ascribes to music the being of the Will. Friedrich Nietzsche, in his first important work entitled The Birth of Tragedy from the Spirit of Music, interprets this by saying that music is never just an expression — for that would reduce it into an appearance or phenomenon. For him, music is the thing-itself.

Metaphysics is the quest for this irreducible there-ness of entities. The simplest way to understand it is imagining a tree in the middle of the forest, and imagining you are not there — what remains in the forest, while one is absent, is the thing-itself unmediated by consciousness and perception. Any metaphysics is concerned about the tension between appearance (or mere “physics”) and this fabled thing-itself.

Professor David Jonathan Bayot’s 2007 Professioral Chair Lecture talked about music and ontology (a branch of metaphysics) in The Alter Egos of Music, Real Presences, or Being inside a Ripe Green Grape: A Rhapsody on a Theme of Pedagogic Interfaces. The article can be accessed on IDEYA, a journal of humanities published biannually by De La Salle University. The following excerpt develops the arguments of Schopenhauer and Nietzsche using the ideas of Heidegger and Steiner.

What is music, then? What could it be? Steiner, with Heidegger’s Sorge / care within the givenness of Being as Being-towards-Death, declares that “music would stand as the alpha and omega of Sein, of being itself.” Steiner’s allusion to Heidegger’s distinction of Sein as Being “the ‘thereness’ or ‘being of’ an entity, in contrast to Seinde as being that is there as an entity” is not a mere glib to skirt the subject of music out of rational sight. The allusion to such metaphysics of distinction enables Steiner to claim for music an ontic plane of existence that “demonstrates . . . the reality of a presence, of a factual ‘thereness’ which defies either analytic or empirical circumscription,” while, at the same time, an ontological level of existence that opens itself up to “the ‘thereness’ of what lies beyond it.” The ‘thereness’ beyond circumscription has the obstinate texture of Schopenhauer’s ‘will-to-live’ and the invincible aura and aural ‘lightness’ pointing to the ontology of transcendence. And to characterize to one that irreducible ‘thereness’ of music is, for me, to extend an invitation for one to traverse the inscape of a ripe green grape while one dwells on the ‘isness’ of that Being. To put Steiner’s thought in another set of expression, one can say that music, for him, is a phenomenon while, in simultaneity, a phenomenology. In Steiner’s words, in music, “there is a there there.”

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Heideggerese
Notes on Ulysses