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.
Not only is beautiful music being written again but, it turns out, beautiful music was written all along, throughout the 20th century. It simply went underground, but it is surfacing once again. And it is glorious. The tremendously good news is that we are living at the time of a major musical renaissance.
New York’s Metropolitan Opera has stood resolutely against Regietheater decadence. In fact, its greatest gift to the world at the present moment is to mount productions – whether sleekly abstract or richly realistic – that allow the beauty of some of the most powerful music ever written to shine forth. The question now is whether that musical gift will continue.
Reading the gripping chapters of Robert R. Reilly’s book, with YouTube on the screen, was both an education in itself, and a source of shame to me, who have defended tonality all these years without realising that it is a live tradition, constantly renewing itself in defiance of an academic orthodoxy that denies its right to exist.
The Opéra Bastille is obviously intended to be a modern rethinking of the traditional opera house, but in turning away from la grande cuisine bourgeoise of the Palais Garnier, Carlos Ott has eschewed nouvelle cuisine and instead has provided the Parisian public with the architectural equivalent of bread and water.