At long last, and with hearts full of thanks for those who have helped us along the way, we invite you to begin this journey with us towards a new vision, a new renaissance, for live classical music. It is at once a journey of discovery and a journey home – much like music itself in that we can know a piece intimately, even all our life, and yet be astonished by some new revelation each time we hear it performed. We think this is one of the most magical and rewarding things about music, about our work, and about life. Closely behind it follows the joy of sharing such a journey. And we look forward to your company and conversation as we go.
New & Noteworthy
Serious composers must work on the rhythms of everyday life. Bach addressed listeners whose ears had been shaped by allemandes, gigues and sarabandes – dance rhythms that open the way to melodic and harmonic invention. The modern composer has no such luck.
Andrew Balio will be filling the barn at Silo Hill – and springtime’s night air – with virtuosic Italian music on the evening of June 4th. Join us for a special evening of music, wine, and friendship at Michael and Carolyn Sotir’s idyllic farm in Phoenix, Maryland.
It is at last clear that Schoenberg’s error was to ignore the inherently hierarchical nature, not just of Western tonality, but of pitched sound itself. This observation is controversial only because its application is potentially conservative.
The roots of dodecaphony are generally traced back to Wagner, and especially to Tristan und Isolde, which might with good reason be called the rough musical equivalent of Kant’s Critique of Pure Reason. As Critique of Pure Reason was a turning point in Western philosophy, Wagner’s score was a turning point in Western music: if, after Kant, there was no way to know “the thing-in-itself,” one might say that, after Wagner, there was no way to know “the key in itself.”
In a man who was famed for his “modernism”, Boulez’s faith in man’s eternal journey ever closer to perfection seems a quaint 19th century mindset. It is a way of looking at the world that was, for most of us, discredited by the nightmare of the 20th century’s totalitarian conceptions.
If we look back at Boulez’s presence in French culture, during the years around 1968 when he was the Gauleiter of the avant-garde, we must surely understand him as the instigator of a false conception of music – not only of the place of music in high culture, and in the civilisation that is our greatest spiritual possession, but of the nature of music itself.
London should think carefully about where to build its newest cultural venue. And Léon Krier’s Regent’s Park proposal beats Boris’s commercial opportunism, says Hank Dittmar.
With the appointment of Sir Simon Rattle as the new music director of the grandest of London's many great orchestras come the excited whispers about the possibility of a new concert hall for the city's brilliant but beleaguered classical music scene. It is not too early to begin the conversation about how to imagine and understand such a hall – or to late to assert how badly indeed it is needed. Here we will collect the thoughts and dialogues on the subject that we hope will make a difference in the debate that will inevitably to ensue.
Ours is a musical culture. People of all musical tastes and backgrounds understand this. Music marks the passage of our moods, our days, our seasons, our years, and our lives. It brings us together, and it marks out our solitude. It celebrates our achievements and mourns our losses.
And the music itself is common property to all. It is not like, say, a painting that is sold and then belongs only to the purchaser, to hang over a sofa or in a private collection, perhaps to end up one day in a public gallery. You cannot buy a song or a symphony, only an instance of it. You cannot buy a box of chords or key signatures like you can a box of watercolors or pastels.
In fact, the music belongs even to those who haven’t heard it yet. We are trustees of an international treasure, obliged to understand the accident of our existence in this time and place more as a responsibility than an entitlement. This realization takes on a special meaning today for the defenders of music’s classical tradition.
For if it’s true that music is made of what you cannot buy, it is also true that a page of chords and key signatures is not what we enjoy when we enjoy music. We do not dance to sheets of paper covered with notes or recall a melody as ink markings on a staff. Music lives for us as a performance in which we partake, as musicians, as listeners, as dancers. And so the tradition of live performance is the heart of our classical tradition.
Our classical tradition, in turn, is at the heart of all our other musical traditions. What we are about is nothing less than the preservation, in trust, of the tradition of live classical music for the benefit of all posterity.
But we do need your help. Please consider joining us in support of this worthy cause.