Organizations wanting to extract immense, even disproportionate, value from their brands must, like Wagner, work as polymaths; they must be great storytellers, impeccable orchestrators, innovative designers, consummate engineers, as well as uncompromising perfectionists.
In a time where all the parameters of our civilization are shifting, and especially considering the current rise of populism everywhere in the Western world, it is of the greatest importance that the nature and purpose of classical music be articulated and argued – that it be protected from erosion and attacks based upon ignorance and misunderstanding.
There has been a drumbeat of naysayers who prophesy the doom of symphony orchestras, telling us in somber tones that only rich, old folks go to concerts these days. I’m sorry, but that’s not how I’ve seen things.
Dave was one of my very first supporters and not only encouraged me, but backed me in the hard work of establishing FSI. He was rooting not only our home team, the Baltimore Symphony Orchestra, but for orchestras all around the country.
To dismiss Latin and Greek, for example, because they are not “relevant” is to imagine that one learns another language in order, as Matthew Arnold put it, “to fight the battles of life with the waiters in foreign hotels.”
Music, as a living presence that comes to us, offers itself to us, assures us that we are not alone: that there is something out there in the world that knows our hearts and may even teach us to know them better.
Music as symbol is the whole of all things. It is the world. That is why, as Schopenhauer says, “we could just as well call the world embodied music as embodied will.”
I hope that my study in contrast will lead us to a deeper understanding of music as it relates to the whole of all things, our human condition and our happiness. I also hope that it will show why music is the most comprehensive of the liberal arts, and why it is the case that to speak about music is to speak about everything.
I only wonder whether you might, from time to time, entertain the thought that one can be modern without being avant-garde, without lapsing into sound effects, and instead thinking in the old musical way, in terms of grammatical sequences that linger in the ears and the memory of the listeners, so that they sing it to themselves inwardly and find in it a personal meaning.
As Edward Shils observed, tradition is best understood not as the “dead hand of the past,” but as “the hand of the gardener, which nourishes and elicits tendencies of judgment which would otherwise not be strong enough to emerge on their own.”