program notes in sixty minutes or less (vol. 1)

I think the title essentially sums up what is to come.

Excerpt from program for Mozart, Bach, and Brahms. August 15, 2010
Mozart’s 1783 Duo exemplifies the late eighteenth century classical style, specifically with respect to the salon: in its original eighteenth century context, K,423 would have been performed by amateur musicians in an informal setting as a facet of their classical education and cultural socialization. Indeed, in conjunction with the general characteristics of the salon (performances by dilettantes in a setting raucous and radical), a dialectic listening model can be applied to better understand the work. There are numerous moments throughout the work’s three movements wherein musical gestures signifying a conversation between violin and viola could also be understood as Hegelian dialectic (thesis/antithesis/synthesis) or Aristotelian logic (major premise/minor premise/conclusion).

Bach's English Suites offer the contemporary listener further evidence of Bach’s skill in synthesizing elegance and truth from ostensibly antithetical elements: lewd dance forms, and so-called “learned” counterpoint. Often misunderstood as quintessentially baroque, Bach’s music is indeed rife—but, importantly, not wrought—with counterpoint and it is this quality that contributes to the composer’s undisputed place at the front of the early eighteenth century avant-garde. Thus in this sense, the composer can be labeled as baroque, but we must also acknowledge his innovations. The aforementioned “synthesis” could be seen as a subtle signifier of burgeoning revolution: the interaction of “low” dances (the Sarabande and the Courante, for example) with learned musical forms symbolizes the erosion of class distinctions and the onset of the Enlightenment.

jottings, chiefly on visual + musical egalitarianism*

So I'm working on a short little flurry of a paper about what I'm calling "visual egalitarianism" in Jackson Pollock and his Abstract Expressionist colleagues. Thinking critically about the lack of a focal point or any sort of representation** in their work brings me back to this idea of equality and absolutism expressed in artistic forms. Considering the former, a few examples come to mind: Schoenberg and the Second Viennese School, Kandinsky, the AbEx'ists, Boulez, and Cage. With regards to the latter, I'm thinking of the First Viennese School, and the general "academic" style of Western Europe (anyone from Michelangelo to Titian to David, even Gerome).

Indeed, before we get to Kandinsky and the Second Viennese School [of Rock] and their descendants (Boulez/Pollock et al), we have to first look at their predecessors: the First Viennese School [of Rock]. The musical forms and aesthetic of the eighteenth century really offer a fantastic aural analogue to the socio-political milieu of the era. I'm specifically thinking about the disparity between the aristocracy/ruling class and everyone else. Essentially, musical hierarchies in the form of tonality (ie the tonic, dominant, and leading tone are the "important" scale degrees. An oversimplification, but you get the idea) mirror social structures (class). I'd really like to know a whole lot more about the French Revolution, but for now I'll just say that it is completely compelling the way that strict musical forms and harmonic structure begin to erode around the beginning of the nineteenth century, following various political upheavals (the French Revolution being just one example). Beethoven's Eroica is actually a great example of this in that the sonata form of the first movement is, well, jumbled. By reorganizing a then-familiar form, the composer challenges our expectations, thus subtly implying social change. Maybe. This is all pretty speculative.

So with this in mind, Schoenberg's Pan-Tonality (that is what he said) takes on a new social meaning. When he literally refers to it as an emancipation--how can we not read a kind of "liberation narrative" into the work? Considering also what we know about fin-de-siecle Vienna, Schoenberg's musical freedom-fight gains more complexity. At once, the composer is a member of the political minority (Christian socialist Lueger is in power) while also participating in a (sometimes violent) patriarchy. That is not to say that he was a misogynist (as far as I know, he wasn't), only to note the often complex relationship of minority to majority(ies). In a very real sense, the emancipation represents not only a break from the musical past, but also implies a kind of Utopian ideal--not surprising given Schoenberg's own biography and what I can imagine would be a hell of a time living in Vienna around 1900.

With regards to the visual arts, I'd like to discuss Kandinsky and the AbEx'ists. Taking the example of Kandinsky, we can notice a break down of visual hierarchy, something like Composition IV (1911) is tottering on the brink of non-representational art.

Figure non-representational: Kandinsky's Composition IV

Although that is a sort of "well, duh" analysis, the aforesaid connection between abstraction and equality is what makes this sort of thing compelling. Recently, I was speaking with one of my mum's friends (a visual artist) about Schoenberg and this idea of pantonality as a representation of equality; being an awfully sharp tac, she brought up Kandinsky's work--for her, the musical analogue in that when art is non-representational, all shapes, colors and lines are equal. This conversation still fresh in my mind, I began to mull over the notion of representation as being inherently unequal with regards to the AbEx'ists.

These guys were, in my mind, both ideological and stylistic descendants of Kandinsky. Similarities abound, the most obvious being the non-representational style and a sort of spiritual relationship between artist, canvas, and material (the material being much more important for the AbEx'ists). However, more intriguing is the American public's reaction to Pollock and his pals. Upheld as arbiters of a quintessential American art, their works and personae were used as a cultural weapon in the cold war: they were celebrated as visual symbols of democracy. Certainly, you can discuss the movement of the avant-garde from Paris to New York; the American adoration of the "new," but from my perspective the notion of visual egalitarianism is the most "American" aspect of their work.

Figure visual egalitarianism: Pollock's Autumn Rhythm

*that is a little Aristotle jokey-joke(!) Yay Poetics!
**I'm thinking here about formal hierarchy: there is an inherent value judgment in notions of foreground versus background. Indeed, one might argue that a line that implicates contour is more important (valuable) than one that participates in say, a cross hatch. The main idea being that in representational art, one line can have more meaning than another.

a successful conclusion + an exciting future

I've said before that this season was "the best ever" and in its already fading wake, I can say that indeed it was. The performances were polished and captivating, and our audience base has grown considerably. Seeing children and young families at our last concert, I realized that slowly but surely, we are beginning to achieve the goals set out in our mission statement. And, we received a standing ovation on Saturday! How cool is that?!

So. On to season four: Poetics(!). The subtitle has several layers of meaning, one of which is a reference to Aristotle's Poetics. I've been looking quite a bit at the text recently and the way diverse artistic movements interact with it over time. Of course it is referenced in the Enlightenment, but I was reading Greenberg's mid 20th century essay, Art and Kitsch, today and there was a reference to imitation "in the Aristotelian sense." Aristotle, in response to Plato, is primarily concerned with the problem of mimesis in art. Is imitation good? Is it bad? How does it operate within an artwork, and what does that mean for the artist? In addition to these basic questions, there are innumerable issues that arise from the discussion. I find myself drawn to the problematic relationship of Poetics with a contemporary society that no longer reads the classics: on the whole, the citizens of the world are unaware of the text, yet its prevalence in Western culture until this moment subtly shapes our own concept of what is "good" and "bad" in the arts. Mimesis is easy; abstraction is not. My current contention is that this attitude has been a part of our historical conditioning and thus results in a phenomenon I like to think of as "pre-conditioned taste." I have a lot more books to read and ideas to explore over the next year (obviously), but I'd like this discussion to be a part of CMM4. From the start, CMM has championed music that is perhaps more challenging to the ear than Mozart, Bach, et al. and I think the above discussion is REALLY helpful for looking at this stuff: if we are cognizant of our historical conditioning (ie preconditioned taste), we can understand it and eventually move beyond it. That is to say, things like Mark Rothko won't seem so "meaningless" (the old, "my kid could do that!" argument); Schoenberg's imitation will gain clarity.

The above is just one facet of next season, the more obvious one is music and text. We're talkin' song cycles people. I'm completely nuts for the art song, and if we're going to discuss mimesis, there is not a better place to start than so-called "word painting." We're looking at Schoenberg's Book of the Hanging Gardens (!!!!!), any number of cycles/songs by Schubert, Schumann, Debussy, Ravel...the list goes on. It would fulfill a dream of mine to program and perform Pierrot Lunaire, but we'll see.

Lastly, I'll mention that we're hoping to program some Helmut Lachenmann. From what I've listened to, his music is not at all mimetic, in that it is like nothing I have ever heard before. The Kinderspiel, for example, explore sonic possibilities of the piano in the same way that Pollock explores the possibilities of raw materials (house paint, for example). I could certainly see where Lachenmann's music would be threatening to the American musical avant-garde (such as it is); I'm recalling something James Dillon (an advocate of Lachenmann, and another excellent composer) once said to me about Lachenmann's reception in the US. If I am remembering correctly, Dillon implied that Lachenmann was perceived by the US as a "de-composer" in that by redefining the means by which classical instruments were to be used, he was writing "anti-music." The pejorative connotation of these statements ought not to be ignored; it is a real shame, actually, as I think the music is quite good. Below is a video of Kinderspiel as played by pianist Seda Roeder. When you listen, try to notice all the sounds--in these pieces the residual is just as important (if not more so) as the initial sound. Though I must say, as wonderful as YouTube is for this sort of thing, to fully appreciate these pieces, you really have to hear them live (enter CMM4....).