Amid debate on the aesthetics of fragments and the poetics of conceptual and constructional inconsistency and confusion, there are imperative reasons for reclaiming the Classical ideals of integrity, harmony, beauty and reason, for questioning modern architectural production and ideology and re-establishing the validity of architecture as an artistic and intellectual discipline.
“I think that the imaginative component is also desperately needed in this sad world we’re building for ourselves. I think all these little communities are a place for the rebirth of opera. The past and the present in opera can have a rebirth, but I think the key is little concert halls, little opera houses which feed the community. The high school orchestra may not be the New York Philharmonic, but it doesn’t matter.”
In his generous and beautifully written book, Robert Reilly leads us through the vast, largely unknown territory of twentieth-century music. The hero of the book is beauty.
The sort of art that lives eternally is that which captures astonishing, spine-chilling, breathtaking beauty that heightens our senses and floods us with transforming thought and emotion. In this work, we hear a whisper from another world saying, “It’s all real.”
As a young artist during the 1950s, I immediately got the point of modernism – to maintain a high aesthetic without relying on traditional narrative structure. But it required some effort to remove the crust of politics that had been applied to it during the 1930s – progressively distorting its deeper meaning and importance – by communist idealists, liberals, radicals, and fellow travelers, most notably in the arts and education.
We are shaped not only by music, but also by our opinions about music. It is all the more important to revisit the connection between music and moral education in a culture like ours, steeped as it is in self-indulgence and vulgarity. The study of music as a liberal art gives students an extended opportunity to scrutinize their opinions – and to confront the causes and effects of their passions.
October 30th in Washington, DC. This one-day conference explores the immediate future of the arts within the dynamic and controversial political environment that has emerged in the wake of the 2016 elections. Register now, as space is limited. Sponsored by the University of Arizona American Culture and Ideas Initiative and the Ethics and Public Policy Center.
When orchestras rack their brains to discover the ways that they are relevant to their communities, they invariably come up with a wide range of replies that almost never includes their concert hall. Yet there is little else that could appear on that list that is as permanent and concrete as the daily encounter of a community with its concert hall.
We have become used to concert halls that make big bold statements: the looming sculptural forms of the Philharmonie in Paris, the metallic sails of Disney Hall in Los Angeles, the giant glass barrel vault of the Kimmel Center for Performing Arts in Philadelphia. The Kleinhans is curiously elusive.
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.