The string quartet medium and the classical style are almost synonymous. They fit each other so perfectly that they appear to be two sides of the same coin, complementary aspects of the same musical impulse. At least that is the impression one gets from the core literature of works by Haydn, Mozart, Beethoven and Schubert, the composers discussed in Charles Rosen’s “The Classical Style” (one of the best books about music of any kind — a classic in itself). The two sides of the coin, however, started to pull apart in interesting ways after Schubert. By the later nineteenth century when Brahms and Tchaikovsky were writing their quartets, there were a number of ways that music could be matched to the quartet medium. The idea that a quartet is no longer simply a conversation among four players takes hold. Mahler thought that Beethoven’s late quartets are too large in their gestures for just four players; he transcribed several for string orchestra and programmed them on concerts which he conducted.1 Mahler’s view of the quartet as a miniature orchestral work may have been influenced by romantic quartets that appear to be bursting at the seams, straining against the limitations of a mere four instruments. For the romantics, emotional intensity could equate with thick, full textures and grandiose emotions. Chamber music for more than four instruments was popular throughout the century; both Brahms and Tchaikovsky made distinguished contributions to the literature of the string sextet.
My colleagues, Lloyd Schwartz and Larry Wallach, have already written extensively about Emmanuel Music’s performance of John Harbison’s third opera, The Great Gatsby, both at Jordan Hall and at Tanglewood. I won’t attempt a full review, but I would like to share a few thoughts about the opera and the performance, both of which I heartily admired. As performed this year at Emmanuel Church and Tanglewood, Gatsby embodied some of the best and most characteristic traditions of American opera—the setting of classic literary texts (a speciality of Mr. Harbison’s) and the mixture of popular musical and theatrical elements with an infrastructure of the most cultivated and rigorous compositional technique.
Pairing Britten (b. 1913) with Shostakovich (b. 1906) makes for good programming with lots of parallels and contrasts. Both composers were ‘conservatives’ who, by the 1950’s, stood alone at the pinnacle of the musical life of their respective countries. Both wrote accessible tonal music for most of their careers but had fruitful late-life ventures with dodecaphonic techniques (and for Britten, aleatoric ones as well). They could both be very dour and serious or light-hearted and entertaining (usually with a dose of irony). They both drew powerful stylistic inspiration from their own language and literature. And both led marginalized existences within their own cultures, Britten owing to pacifism and homosexuality, Shostakovich owing to a precarious position vis-à-vis official Soviet cultural demands, resulting in a kind of double gamesmanship in which his music appeared to satisfy official requirements superficially while remaining ambiguous regarding its added possible ‘meaning’ as protest. Britten risked much when he included the anti-war poetry of Wilfred Owen in his “War Requiem” since at the time of its premier, 1961, such a position was rarely taken in public. This was all to change with the Vietnam War, but that lay years ahead. Shostakovich seems to have protected himself by portraying historical events that would be politically approved, such as “The Year 1905” for the Eleventh Symphony which purports to depict the massacre of peaceful protestors by the military at the Tsar’s Winter Palace of that year.1 There is a clear possibility, however, that he was also inspired by more contemporary parallel events such as the Hungarian Revolution of 1956, in which Soviet Russia played the role of the oppressor (cf. note 3). Appreciation of this layer of meaning also lay years ahead, especially in his mother country.
Yesterday BSO officials announced the dismaying news that Andris Nelsons, the new Music Director of the BSO, suffered a concussion last weekend as a result of a collision with a Read more…
Well do I remember my first few days as a Tanglewood Fellow. The pace of it. Already in the first concert there were brilliant things from the 2013 Tanglewood Music Center. Gabriel Campos Zamora’s clarinet playing in Kodály’s Dances of Galánta was breath-taking. He commanded the time; he commanded the space. I can only call Maestro Fruhbeck de Burgos conducting of the Beethoven 5th Symphony with the Fellows a blessed occasion.
Wagner, Berlioz, Mussorgsky, Boito, Janáček, Schoenberg, Berg, and Tippett and Debussy all composed operas to their own libretti (or adaptations of spoken dramas). Now add the name of Harbison. While waiting for permission to compose an opera based on F. Scott Fitzgerald’s novel, Harbison began composing anyway. By the time it was appropriate to look for a librettist, too much music had already been written and Harbison took hold on that function himself. The result reflects the composer’s concept of the drama in its broad outlines (the choice of scenes, pacing of the story) and its minute details (the word-by-word unfolding, the rhythms and inflections of each character). Although Harbison had an early history as a poet, the libretto struck me as having a prose-like quality, sometimes quoting the novel verbatim and often sounding like it. The conversational tone brings verisimilitude but sometimes also a certain flatness that may illustrate the directionlessness of the characters’ existence, but can seem oddly out of place in an opera.
Mahler’s Third Symphony is a sprawling, evening-long monster of a piece. Nothing else can or should be programmed with it; once it is over, there is nothing more to be said. It is also the composer’s break-out work, despite the obvious power and accomplishment exhibited by his previous symphonies. In the First and Second Symphonies, Mahler focuses on himself: on his rebellions against conventions and stultifications of society in the First, and against the notion of mortality and the limitations of the human condition in the Second. All of this is expressed as the musical response of a deeply sensitive and conflicted individual. The break-out achieved by the Third is its transcendence of the individual; Mahler succeeds in identifying his compositional voice or musical persona with the entire cosmos, from the life forms of nature to the mysteries of humanity and of the divine to the transcendent force of love. Obviously, there is still a great deal in this that is personal, but the intensity of feeling which is so magisterially developed belongs to the composition, not the composer. For this reason, I also find this a more powerful and convincing work, despite some roughness in design: its intentions lack all traces of self-indulgence.
The BSO has kindly sent me a group of remarkable files spanning several decades of the Festival’s history. Let me say at the outset that the sound on these files is really something. I download them in FLAC format and convert them to AIFF files using a program called XLD. I then burn these AIFF’s to a cd and play them on my system. I have been amazed time and time again at the accuracy and presence of the sound. And this includes the older material. The superior FLAC files are more than worth the extra $10 in their cost ($60) over the MP3 files also offered. Perhaps my favorite of all is a performance of Strauss’s Don Quixote with Piatagorsky and Munch.