There are times when I can’t decide if music is – or isn’t - a “universal language”. On the one hand, there is ample evidence showing the importance of music across the different cultures both geographically and chronologically (from ancient times to the present). Not all cultures placed equal value on music, but I’d reckon even the Vikings had some sea-shanties to sing on their frequent journeys between Europe and North America. On the other hand, what some cultures might call “music” could end up being experienced as “not music at all” by other cultures – or “pretty confusing sounds attempting to be music”. Check out this great clip of Bulgarian wedding music from the classic TV show “Night Music”:
This is one of my favorite performances ever – from any genre. I remember when it first aired back in the late 1980s. Exciting stuff then and now. Yet, this music does not have the same tonality as western music. There’s semi-tones all over the place! Pretty challenging vibrations for most westerners to navigate. The musicians also seem to know the significance of the different sections of the music in a way that is lost on anybody who didn’t grow up going to weddings in Bulgaria. Yet, I still love this music, as ignorant as I am about the intricate subtleties. I wouldn’t be surprised if most folks in this hemisphere found Bulgarian wedding music baffling to listen to though.
In some ways, even after a few good years of solid listening, I feel like I am as ignorant about “serious” (classical?) music as I am about Bulgarian wedding music. I reckon this is the difference between listening and studying. I get to do more of the former, not so much of the latter. Sometimes I wonder how long it could take to reach a higher level of appreciation for “classical music” at the rate that I am going. As much as my life schedule allows I do my best to hunt down some criticism / insight about the pieces of music I am listening to either on the internet, in album liner notes and/or the odd book or magazine. My inability to play a melodic instrument (such as piano) also limits my understanding to a degree (though, to be fair, there are plenty of examples of composers who did not excel on a musical instrument themselves).
Often times, composers will include musical quotes either from other composers’ works or from the folk music tradition from their country (or sometimes from a totally different country). If one isn’t exposed to those other sources in their original forms, the possibility of appreciating the music at its most sophisticated level is quite compromised. A few years ago I listened to Charles Ives’ Symphony #2 and I was immediately struck by how many musical quotes he wove into the work – quotes that I recognized from the American folk music tradition. In fact, I was really startled to discover how many of those musical quotes I recognized and that got me wondering about what I might be missing in other composers’ works.
In order to bridge that gap I would have to spend more time delving deeper into the folk traditions of lots of countries and cultures! Bela Bartok infused his music with the folk songs of his region. Dvorak, same thing. Sibeluis, Stravinsky, etc…..down the line. Which begs the question, “Who are these composers writing for?” If they are including music from their own country, are they nationalist composers creating works of art for their fellow countrymen? Or can their music be appreciated by those who might not get the “secret references”? This is the crux of the matter for me.
No matter how influenced by national or folk-based music a composer might be, I would have to believe that he / she would want the largest potential audience for their music while avoiding some sort of “sell out”. Plus I also believe that Beethoven threw down the proverbial gauntlet in terms of riding the balance between art and accessibility. Every other composer following in his wake will be caught up in his shadow whether they like it or not. Even if it comes to being the “anti-Beethoven”, he is still the “something” to be “anti” to!
Is any of this really important? Maybe not when it comes to enjoying great music. Yet, there are deeper levels to uncover – more profound levels of appreciation. I may be impatient, but I am looking forward to finding out how far I can go on this journey. Here are a few new acquisitions that inspired some of the burbling blather this month……
Here is an interesting copy of a Beethoven 9th performed by the Czech Philharmonic. The recording originated from a broadcast done as part of a benefit concert for a children's charity organization. I scored a bunch of Supraphon records from what was then Czechoslovakia a few weeks ago. I couldn't help notice Vaclav Havel on the front cover with the conductor and one of the featured singers (not sure which). The copyright date is 1990. Those were exciting times indeed with the fall of the communist bloc. The performance of Beethoven's 9th is enjoyable enough, if not definitive. Note how Beethoven, once again, is being performed for an event with "universal" appeal. For more nationalistic sentiments, a performance of this piece might be more appropriate:
Bedřich Smetana's classic Má Vlast, again by the Czech Philharmonic, is a totally enjoyable piece of music. Some folks like to focus on the part known as The Moldau - one of the more popular segments of this larger work. I really like the whole shebang. Need to check out other compositions by this great composer.
Here's another LP from the Czech haul. I really like cello music so this was an automatic purchase for me. Plus the composers are lesser-known, 20th Century composers from the region. Who knows how often this music has been heard outside the Czech region? Just give me cello or two and I'm a happy camper.
Vaclav must be a very popular name in this part of the world. Here is Vaclav Hudecek working out on a couple of Dvorak violin concertos. I was happy to hear really excellent intonation from this performer. I tend to be pretty picky when it comes to violin music so I lucked out here. Then again, I also have yet to hear a composition by Dvorak that I don't like.
Here's another one of those pink RCA Camden mono LPs probably sourced from 78s of a Brahms 1st Symphony. This was a piece I really hadn't warmed to yet until I heard this performance. I really wish I knew the real identity of the conductor and orchestra featured here. Leave it to a cheapo album to get me into a piece of music for the first time. I always felt Brahms was trying too hard to please with this symphony, yet somehow this anonymous conductor managed to wring the music out of the score here. I love these cheapo Camden albums.............
This album was a reissue of 78s that were recorded around 1905. This is even before the advent of "electrical recording" when sounds were amplified electrically for better fidelity. These recordings were "acoustic" - whatever noise you could make through a bullhorn was directly cut into acetate grooves. The singer - Lilli Lehmann - was about 60 years old when these recordings were made. She was born in the 1840s, dude! What did singers who were born before the Civil War sound like? For $1 I was gonna find out! Not bad, really............
I had never heard of the Mexican composer Carlos Chavez before I found this unplayed box set of all six of his symphonies. Great 20th Century music that leans more toward the interesting side as opposed to the obnoxious side. Very enjoyable and eclectic pieces here. Lots of percussion here as well as some ethnic, folk instruments added to the mix. This is the kind of stuff that keeps me going - I love discovering new composers. Chavez's music is highly recommended.
I also recently found this box set of the first three symphonies by Danish composer Carl Nielsen. I have some of his other symphonies on single LP releases, but I didn't have these. So far I've listened to the first symphony a bunch of times and I'm finding it hard to remember. The music is well constructed, but not terribly memorable. I am hoping to hear more adventurous vibrations on the other two symphonies here. Nice to have the first three in one place anyway............
Last up for this month is a Copland piece I had never heard before - the Clarinet Concerto written for and featuring jazz legend Benny Goodman. This is an excellent and totally enjoyable piece - moody and mysterious. Goodman's part doesn't involve a lot of pyrotechnics, but is a thoughtfully constructed voice that takes a lot of skill to perform well. The other side of the record compiles some American songs - some of which date back to before the Civil War. I have to say I always find it odd when trained classical singers perform what are essentially folk songs. Too often, the bombast of the operatic voice undercuts the charm of the original melodies with the results sounding like some sort of academic exercise that ends up sounding too forced to be taken seriously. Not my cup of tea, but then at least half the album is worth it.
So there you go - lots of listening in different directions. I'm not sure how focused I may ever be when it comes to my listening adventures, but for now I'm okay with that since I'm having too much fun just hearing new and exciting sounds. Keep 'em rolling and keep 'em spinning! Until next time........
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