There will always be a type that can’t stand that the broad public fails to share his passions. They will not reconcile themselves to the fact that classical music will always be, as it has always been, a minority taste. But the minority – lucky us – has an abundance before it.
Do we really want to hear Beethoven’s Fifth as it was heard at its premiere? Do we want to listen to 50 unevenly trained musicians, give or take, playing for four hours on weak instruments that are hard to play, in an unheated concert hall conducted by a deaf man on one rehearsal?
“Our mission is to enrich and connect people with a sublime musical experience – that’s what we do. What this means is that it’s not only the music that should be sublime, but everything about Concertgebouw should be sublime.”
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.
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.
When we throw together these shows on one rehearsal, with an undermanned orchestra augmented by freelancers who perhaps have never played together before, we are again denigrating the intelligence of our audience: “They won’t know the difference.” In my experience, this is profoundly wrongheaded.
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 terroirist revenge, a renewed commitment to authenticity, was not created by wine alone and it does not apply to wine alone either. Rather, it is a movement among the new and the young today – exactly those not brought up in the traditions of grand opera and Bordeaux, but who seek out, nevertheless, the real, the genuine, and the authentic experience.
You often hear the expression “film music” used pejoratively. “It’s just film music,” said of some new symphonic piece, suggests an overblown pursuit of effect at the cost of structure, of atmosphere at the cost of musical form. But is this just the snobbery of the avant-garde, a kind of musical elitism that belongs to an age from which we have recovered, now that our innocent distractions, once dismissed as “mass culture,” can be enjoyed for what they are, namely fun?