A Jaded Concert Review

It is disappointing when a concert or album reviewer/critic goes into a concert or a listening of a new album expecting things to be a particular way.  When things do not go as expected the reviewer obsesses on what he or she did not like and they end up picking apart the performance.  This is what I found when the other day I read a concert review of Hilary Hahn's recital at Strathmore Hall in North Bethesda, Maryland.  The review was written by Robert Battey and published in The Washington Post.  Upon reading the review it became clear that Mr. Battey is conservative and traditional in his musical tastes.  The headline says it all: Virtuoso violinist Hilary Hahn holds her audience rapt but adds some irritants.

It seems that Mr. Battey's review is all about building up only to tear down.  He talks about being in the presence of a rare instrumental talent only to turn around and say that Ms. Hahn "exudes little star power or charisma onstage."  I do not know about you, but when I go to a classical music concert I am more concerned with great technique and playing in tune than star power.  I have seen performers with great stage presence give mediocre performances.  That is not what I want, but apparently that is what Mr. Battey wants.

The biggest "irritant" to me in this review is his critique of the program.  He called it a program that "uncomfortably juxtaposed old standards with second-tier Americans.  Charles Ives and George Antheil are the two Americans on the program.  Does Mr. Battey infer that all American composer are second-tier or lower?  I wonder because I do not consider Charles Ives as second-tier.

It is obvious that Mr. Battey had hoped for a "more traditional" recital.  He spent about one-third of the review ranting about the Ives and Antheil pieces.  He even attacks the performance of the Beethoven saying that the duo's "accents were wan and Hahn's staccatos were sticky rather than spiky" and claiming that the range of expression was narrow in the slow movement.

In the end, Mr. Battey did give high marks to Ms. Hahn's encore of the Bach B minor Partita.  He called it "simply jaw-dropping in perfection."  Yet he could not leave it there.  True to his build up and tear down form he goes on to claim that a few of the tempos seemed slow and she was inconsistent with the repeats making the piece's structure incoherent.  Though I wonder incoherent to who?  Unless you know the piece backwards and forward, you probably would not even notice the "incoherent nature" of the structure.

All of this really makes me wonder what reviewers like Robert Battey want.

A Truly Inspirational Story

I just finished reading The Soloist by Steve Lopez.  I realize I am behind the times, but it was on my "to read" list for a long time.  I was completely blown away by this book.  It is, by far, the best book I have read in the last year, if not longer.

This book describes the unlikely, but somehow destined friendship between Los Angeles Times columnist Steve Lopez and a homeless, mentally-ill, but massively talented musician Nathaniel Ayers.  In a way this book has reminded me why it is that I compose.  If I can make a positive impact on one person's life then it is all worth it.

This is one of those rare stories that makes you wonder why someone did not create this story before.  Some of the events and the reality of the situation would make for great fiction.  I am not saying that this story is fiction.  I know it is a true story.  I am only saying that this story would make for great fiction.  It is amazing to see this journey unfold.  Mr. Lopez set out to positively impact Mr. Ayers's life.  Little did Mr. Lopez know that Mr. Ayers would have a profound impact on his life.

As I was reading this book I could not help, but get emotionally involved.  I found myself rooting for Mr. Ayers to move indoors and take steps to getting better.  I also felt similar disappointment and anguish that I am sure Mr. Lopez felt when Mr. Ayers continued to show reluctance to further help.  I also remember sharing in the joy when Mr. Ayers finally moved indoors.

It was quite amazing to read about the outpouring of generosity people have afforded Mr. Ayers.  Some donated instruments and some donated time. It is truly heart warming to know that people still care for their fellow man.

Since finishing the book I have checked out the website for the foundation set up in Mr. Ayers's name.  The organization works for the benefit of the artistically gifted mentally ill.  The website is www.naayers.org and I recommend that you check it out and see how you can help.  I have added a link to the organization on the left and will soon add one at New Music Forum.  I was excited to read that in the near future Mr. Ayers will be releasing a CD titled Putting on Ayers.  I am looking forward to purchasing a copy.  I am intrigued by Mr. Ayers's talent and would love to listen to it.  Also, on this website you will find links to the columns by Mr. Lopez about Mr. Ayers, a link to the 60 Minutes segment and other great and useful information.

Not only is this a story about Mr. Ayers, but it also shows the harsh realities of the homeless problem in Los Angeles.  At times it highlights how we tend to cast them aside along with the mentally ill.  My hope is that there will be a change for the better in this situation.  This is truly an inspirational story and I am thankful that Mr. Lopez has brought this story to life.  Mr. Ayers is a talent that deserves the spotlight.

Quotes from Stravinsky

When I first learned about Igor Stravinsky as an undergrad, I learned about his three compositional periods, about his masterworks and about his musical philosophies.  I was taught that Stravinsky was against serial music.  He did not believe in twelve tone rows as a basis for creating music.  As I furthered my musical studies, I learned that people's beliefs are not always black and white.  In undergrad music history they try to distill the information and compartmentalize it so that there are clear distinctions.  Theoretically it makes for easier learning.

As I read different texts on music I am always amazed to see some of the quotes by composers or to read bits of information that sheds light on the compositional process of composers.  Currently, I am reading Trackings: Composers Speak with Richard Dufallo, compiled by Richard Dufallo.  In his second narrative, before the interview with Ned Rorem, Dufallo talks about his encounters with Stravinsky.  There are a couple of quotes, from Stravinsky, that I wanted to share.  I find them interesting and true, to an extent.  These quotes also contrast a bit to what I previously knew about Stravinsky.  Both of these quotes date from the late-1950s.

"The rules and restrictions of serial writing differ little from the rigidity of the great contrapuntal schools of old."

"Masterworks aside, it seems to me the new music will be serial."

Musical Readings

For the past month and a half I have been reading Richard Steinitz's biography of György Ligeti.  This book was published in 2003, a few years before the composer's death.  Ligeti, a Hungarian-Jew was born in 1923 and it is fascinating to read how his life was affected by the rise of Hitler and the Russian invasion of Romania.  It is important to note that Ligeti did not develop into the composer he was until he was in his thirties.  It was during this time when his life became more stable.

From what I have read so far, Steinitz's text is well written.  He shows, albeit indirectly, how Ligeti's early-life experiences helped to shape his music.  Reading this book has been an eye-opening experience for me.  I have learned a lot of interesting and valuable information about Ligeti and his music.

After I have finished reading this book, I will post a full review.  Right now I will say that this book is worth reading.