Mr. Kats' Opus

Parting Thoughts

2011-05-17T14:51:00.004-05:00

Monday was the GTCYS Symphony's final rehearsal of the season. I wanted to tell the students how proud I am of them before this Sunday's Spring Festival concert at Orchestra Hall. Following are my remarks:

I’d like to say a few words, reflecting back a bit on this year which is ending so very quickly (even if some of you, especially seniors, may think otherwise).

Returning students, next year you will be the glue that holds the group together. You will set the standard with preparation, energy, initiative in dealing with bowing issues or fixing balances or asking about apparent mistakes in the parts, counting rests, making confident entrances – in short, playing like real musicians.

Seniors, many of you have stated that their favorite GTCYS memory is Scheherazade or Carmen, or Jupiter, or one of my many pie facials. Yes, those are all tasty moments which I don’t believe I’ll forget. But special moments for me are also when a student overcomes a musical issue that’s been frustrating him or her. It’s when a shy kid and I have an interesting conversation for the first time. It’s when a student sitting in the back of their section makes eye contact with me during some electric moment in a concert, and at that point in time we both know that we’re sharing something musical which is very special – and it doesn’t matter that the student isn’t first chair.

Everyone contributes to amazing moments and major successes in Symphony, both at rehearsal and in concert. And that’s been especially true this season. Whether it’s practicing scales and excerpts, or counting rests, or taking the initiative in fixing a bowing or balance issue, or marking parts, or just generally playing in such a way that the Minnesota Chorale folks go, “WOW,” this has been very much a student-led orchestra – more than in the past, and in a way which I’m confident will continue into future years. And that is one of the hallmarks of any really good orchestra – that regardless of the conductor’s imprint on it, there’s tremendous initiative, cohesion, pride and enjoyment emanating from the players themselves. I think you all are at least somewhat aware of that dynamic in our Symphony. It’s there, it’s very strong, and it’s just as important in a student orchestra as it is in a professional orchestra. So I wanted to just say that – IT’S THERE. And it’s made this year such a treat, and I thank you for it.

"Carmen" in concert!

2011-04-29T17:10:00.003-05:00

This Sunday, May 1, the GTCYS Symphony joins forces with Minnesota Chorale to present portions of Bizet's opera Carmen. This is a one-of-a-kind program, and it's going to be spectacular! Also on deck are Jennifer Higdon's "blue cathedral" and Verdi's overture to La forza del destino.

Concert is at 3pm at Ted Mann Concert Hall at the University of Minnesota.

We're charting new paths!

2011-04-27T12:55:00.011-05:00

GTCYS is entering into a strategic alliance with the St Paul Chamber Orchestra! We're sharing resources by moving into their office space, and SPCO will give us administrative and fund-raising advice. What we're NOT doing is merging--not now, not later. The organizations are staying independent, and our orchestras will continue rehearsing and performing in the same places, with the same conductors and coaches, that they do now.

We already make some music together. There's the "Saturday Special" chamber music program, in which SPCO musicians coach GTCYS students. And SPCO artistic partners have guest-conducted our rehearsals. It'll be interesting to see which new musical paths we take.

This partnership is especially interesting for its uniqueness. Normally a youth orchestra is completely independent (e.g. Albuquerque, Portland, New York) or it's part of the professional orchestra in town (like in Cleveland and San Francisco). In this unique arrangement we're charting new paths alongside an organization known for its creativity and artistry--and we couldn't be more excited!

Alice Dancing Under the Gallows - Official Trailer

2010-10-29T16:01:00.002-05:00

Please watch! It's a wonderful way to spend twelve minutes of your life, and you won't regret it! I did have some technical problems and seem to only get half a screen. If anyone knows how to fix this, please let me know.

And away we go!

2010-09-14T12:07:00.007-05:00

GTCYS has kicked off our 39th season. My favorite memory from the first Symphony rehearsal:

We're sight-reading Wagner's Meistersinger Overture. Violins miss easy entrances. I tell them they must count through rests and nail entrances - no excuses. Violins miss more entrances. I tell the violins I meant what I said before. And that they're capable of doing better. And that they must do better...starting now. Violins look alarmed. We switch to Beethoven's 5th Symphony. Violins, figuring this guy's for real, count rests and nail difficult entrances. I'm happy, and let them know it. Violins look elated! When is a student's smile the warmest? When it's been earned!

A sweet New Year - for Everybody

2010-09-08T16:15:00.004-05:00

I write this as the Jewish New Year, Rosh HaShanah, approaches. The concept of a new year in the fall extends well beyond the Jewish world. Labor Day has come and gone, signaling the end of vacation season. Schools are beginning their fall semesters, and organizations like GTCYS gear up for a new year of their own. We all look forward with a sense of hope, perhaps a little nervousness, and hopefully a strong dose of optimism and good cheer. Wherever you are, whatever you undertake in the months ahead, may you experience good health, happiness and fulfillment!

9-11 and Music’s Power

2010-08-24T14:23:00.005-05:00

I was recently asked to conduct this year’s 9-11 Memorial Concert at the Lake Harriet Bandshell. (By the way, we could still use some violin and viola players, so please post a comment or send me a Facebook message if you’d like to participate in the all-volunteer orchestra.)

The concert features great American music like John Williams’ “Hymn to the Fallen” from the movie Saving Private Ryan, John Philip Sousa’s “Semper Fidelis,” and Howard Hanson’s Second Symphony. I’m looking forward to this event, both because I love the music and because, having been in New York on September 11, 2001, I’m touched personally by it.

Please share your thoughts about music touching you (any kind of music). What is it about the music, or the event where you hear it, that causes a personal reaction? Ever had the experience that a formerly “boring” piece suddenly makes you cry, or that music that you’ve loved suddenly becomes dull? What’s the secret behind music’s power? Thanks for sharing!

Summertime - and the Living is Easy

2010-07-19T12:20:00.008-05:00

Do you HATE being stuck indoors in the summertime? My current obligations, while often rewarding (for example, my wife and I just bought a house—very exciting!)

mean I hardly have much free time. Even when there is time to enjoy the great outdoors, what are the chances that’ll occur when it’s not overly humid or hot?

So it’s great when you can enjoy some music, AND do it outside in good weather. Tomorrow—Tuesday, July 20—GTCYS’ Summer Orchestras perform at the Como Park Pavilion in St. Paul at 7pm. I’m really looking forward to this because:

1)The kids have been working hard and are going to perform a great variety of music—from Beethoven’s 5th Symphony to Kool and the Gang.

2)The Pavilion is a perfect setting for summer music.

3)THEY’RE PREDICTING GOOD WEATHER! Highs Tuesday in the low 80s, with just a small chance of storms. Oh, and there’s a reception after the concert, so we continue the outdoors experience by coming together after the performance on the nearby lawn to enjoy some food and chat. What could be better?

Hope to see you there!

This time, it's YOUR turn!

2010-07-01T14:49:00.001-05:00

I recently attended the League of American Orchestras annual conference, held in warm, sunny Atlanta. A lot of the talk concerned whether orchestras are still as relevant to today’s society as they used to be, and whether audiences feel like the orchestral experience is important or interesting. Rather than report much else, I’m just going to throw out a bunch of questions, and hope folks will respond openly.

Does it matter whether you hear music live or recorded? Why?

Do you go to orchestra concerts very often? Why or why not? What about other kinds of music?

What’s interesting about orchestra concerts? What do you find puzzling or frustrating?

Why do people have no problem buying tickets, food and parking for a Twins game, but not so for an orchestra concert?

When you go to concerts, do you feel connected to what’s happening on stage? Does it depend on the group you’re hearing?

If you’re a musician yourself, do you have a preference about playing vs. being in the audience? Why do you think that is?

Are orchestras going to matter in fifty years? Will they be around? What about theater, dance, museums, etc?

Send back those comments, folks! Let’s hear what you have to say. Don’t be shy!

End with a Bang – and then Keep Going

2010-06-08T13:09:00.006-05:00

All six of GTCYS’ orchestras resonated in our Spring Festival concert on May 2 at Orchestra Hall. The young string musicians in Philharmonia started the concert with settings by Papini and Verdi. Sinfonia, Concertino, Concert and Philharmonic performed with verve and commitment. Near the concert’s end, the Symphony blazed through De Falla’s The Three-Cornered Hat, and then all 400-plus GTCYS musicians delivered a heartfelt rendering of “Jupiter” from Holst’s The Planets. This truly was the best Festival concert in recent years – and our success is the result of a lot of hard work and focused effort on the part of our students, staff, and conductors. This effort deserves a closer look.

GTCYS has been on a growth track for several years. Increased enrollment means more good players, and the positive buzz accompanying our growth impacts kids’ playing in a positive way. But it’s more than that. Being a student-centered program means holding young musicians to high standards. Even though presenting the Holst en-masse posed the logistical challenge of having musicians of all abilities spread throughout Orchestra Hall, I chose to begin the lyrical chorale portion with small gestures befitting the music’s character. I also insisted repeatedly on an intimate sound in rehearsal, despite the massive forces and the varying artistic abilities of the performers. The students rose to the occasion and played with striking unified musical expression, capping off a year of unparalleled musical growth and artistic achievement.

Next season promises to be even better. The kids are waiting to hear the results of their recent auditions. When they receive their placement letters, some students will be thrilled, while others will question why they didn’t fare better. At GTCYS, we believe in our kids’ potential for excellence. If a student is ready to shoot for it in the group of his or her dreams, that’s outstanding. If students are not ready to move up yet, they should commit to being the best leaders possible in whatever ensemble they’re placed – and aspire to excel in all respects. Because next season’s program will reach even higher.

Auditions?? Eek!

2010-04-23T13:44:00.008-05:00

The word “audition” can give musicians the hives. To many it means something like “get nervous, perform badly, embarrass yourself, and get dissed":

To counteract that perception, we might ask ourselves what “audition” actually means. The answer? Simply a “hearing.” Auditions allow musical pros to hear you and determine if you’re right for a youth symphony like GTCYS, or a summer or college program, or a job. With May auditions coming up for GTCYS’ 2010 – 11 season, we recently hosted a masterclass for students to learn more about preparing for and getting through an audition.

L-R Masterclass Students Gabriela Ruiz-Colon & Lydia Sadoff

and Teachers Nina Olsen & Tanya Remenikova

____

I asked Anders, a violist who played in the class a year ago and observed it from the audience this year, about experiencing the class from two different perspectives. Anders noted that playing in the class is a great way of preparing for an audition, since you’re afforded a dry run before the real event: “It's almost as if the performers in the masterclass get two chances to nail their solos and scales.” Anders also noted a special awareness he got from performing: “I think that performing last year made me empathetic toward the performers this year. I'm pretty sure all of the performers were nervous, and knowing that changed how I looked at their performances.” Anders also noted one particular message he picked up from last year’s class—the importance of good reading skills. Reading is essential for musicians, and even if we get by with mediocre reading skills, we get to a much higher level when we read well.

____

Just as Anders benefitted from playing for mock judges before his real audition last May, I would recommend that anyone preparing for any kind of audition perform it several times in advance for different listeners. Even if the people hearing you aren’t professional judges, doing multiple performances helps you feel more settled when you’re in front of the real judges. And if you actually do a mock audition in front of professional musicians, well, in Anders’ words, that’s a “precious” experience.

____

Just as having been in the hot seat made Anders more sympathetic to others’ nerves, so it is with judges who hear you play. Most are NOT Simon Cowell. While it’s their job to assess your playing honestly, they know about your nerves and view you, as someone trying out for a youth symphony, as a “work in progress.” So, if the judges are nice guys, does that mean you needn’t work hard for your audition? Not so. While most judges are personally kind to students who have a weak audition, they won’t place them in a program for which they don’t think the student is prepared. Luckily for students auditioning for GTCYS, our program covers the entire gamut, from elementary-level to highly advanced orchestras. Wherever they are in their development, there’s likely a place for them in the program.

Guests mix it up at Symphony

2010-04-01T12:14:00.009-05:00

Over the last couple of weeks, several guest conductors have worked with the GTCYS Symphony on Carl Maria von Weber’s Overture to the opera Der Freischütz. On March 15 Roberto Abbado rehearsed the composition, followed by Patrick Strub a week later.

Italian conductor Abbado, nephew of the former Berlin Philharmonic Orchestra conductor Claudio Abbado, came in bursting with energy and smiles. He praised the kids numerous times for sounding so good based on only one previous rehearsal. Abbado focused on musical shaping—an extra pause here, a heightened dynamic there, some added rubato (treating the pulse in a pliable manner). After rehearsing various spots, the orchestra ran the piece, experiencing both the satisfaction of improvement and the thrill of playing the entire overture under a pro.

Strub (pictured at left), who hails from Germany, made clear his high expectations from the moment he stepped on the podium, and through highly detailed work achieved a lot of technical and sonic improvements. Strub rehearsed passages painstakingly, constantly exhorting students to be aware of their sound quality and intonation and how to develop them for the better. The orchestra only got through part of the overture, but the advancement on the portion rehearsed was striking.

What did the students think? Violist Emma said, “It's always nice to hear feedback and advice from a different conductor – especially a world-renowned on, like Maestro Abbado (pictured at right). Meeting conductors like him pushes me to concentrate on everything in the written music, when I otherwise might not. Once he left, I realized I was still remembering the sound we had with him, and also the things he told us. As a result, I heard a great improvement in our sound and overall playing after he left.” Violinist Adam had some of the same sentiments about guests. “It’s interesting and fun to have someone new conduct. It affects us when we realize we’re being rehearsed by someone who regularly works with pros – we felt compelled to focus better. They knew what they were looking for. Maestro Strub was very technically focused, especially with the strings. Both experiences were very good, and I’d like to work with other guest conductors.”

Brahms and Strauss, Side by Side

2010-02-18T16:47:00.004-06:00

What do Johannes Brahms and Richard Strauss have in common? The introspective Brahms tinted his music with autumnal sadness, looking back wistfully to admired compositional forebears. The brash Strauss colored his juicy harmonies with daring instrumentation and even asserted his self-confidence by titling an autobiographical composition A Hero’s Life.

But the two men had their commonalities as well. Both heirs of a profound German music tradition, they wrote works that have been stirring listeners’ souls for over a century. And they touched common ground last Monday afternoon, when the Minnesota Orchestra joined forces with the Minnesota Youth Symphonies and Greater Twin Cities Youth Symphonies for side-by-side rehearsals of Strauss’s Rosenkavalier Suite and Brahms’s First Symphony.

Excitement permeated Orchestra Hall in Minneapolis as kids walked in carrying instrument cases and music. Thrilled to play alongside the Big Boys, they were also nervous. Would they be able to hold their own, each student playing next to a seasoned vet? Happily both youth orchestras and the adults played well. They enjoyed working with Minnesota Orchestra Assistant Conductor Courtney Lewis, a gifted musician and teacher who commanded excellence without sacrificing geniality. Courtney demanded care and style for every musical nuance. He emphasized the primacy of non-stop listening by the players and maintaining a solid group pulse.

GTCYS had its own regular rehearsal later that evening. While the kids had had a long day, they were also newly motivated to listen, keep a pulse and play expressively. One of them remarked on how inspiring it was to double up with folks who played every note like it mattered. I will close this blog entry by opening the floor to you, the readers. Those who were there at Orchestra Hall, what did you take away from the event? I’d love to hear from students, their parents, and the pros. And even if you weren’t there, or aren’t a musician, what think ye of the whole notion of student and teacher partnering up?

Sectional (not the furniture kind)

2010-01-25T14:30:00.001-06:00

After a few weeks off for winter break, GTCYS orchestras are back at work. Rehearsals and sectionals are full steam ahead as we prepare for winter concerts. What’s a sectional, you say? A sectional is a rehearsal in which the full orchestra breaks up into smaller groups by instrument. It’s a chance for violins – or brass, or flutes – to work together on their own to resolve problems and perfect their playing without the distraction of the larger ensemble. Sectionals are usually led by a professional coach who’s an expert performer on a particular instrument.

People sometimes ask if I can play every orchestral instrument – and whether I need to! While I don’t play all instruments, I always try to learn more about how each works. I don’t play double bass, but understanding how it functions helps me as a conductor to know the technical challenges my double bass players face, and what I can demand from them musically. Even if a conductor could play each and every instrument at a virtuoso level, he or she wouldn’t have time in a full rehearsal to give every section the attention it needs. This is especially true for younger orchestras.

In professional ensembles, rehearsals focus on phrasing, sound quality, rhythmic accuracy and balance issues. Technique is important, but orchestra rehearsals aren’t primarily focused on how to play the instruments. It’s considered unnecessary – even insulting! – to give the players mechanical instructions.

Even when rehearsing rudimentary players, conductors should never focus solely on technical issues. Rehearsal time must always be devoted to musical issues, such as how to shape a phrase. Rehearsals that are all about mechanics are – well – mechanical, and they quickly destroy one’s enthusiasm for the glories of ensemble playing.

Here’s an admonition to present and future maestros: When doing the requisite mechanical work with a younger group, be careful to distinguish between what you know and what you think you know. Players want a knowledgeable conductor who is also unafraid to ask the strings “does this bowing work? or to confess to a perplexed flutist “I don’t know how to finger that mega-high C.” A conductor should make sure the flutes – and the strings, and the brass, and the double-bass players too – have the chance to work with a sectional coach to resolve those issues. Then, when full rehearsals recommence, the players have a stronger shot at giving their best technically—which supports the ensemble doing its best musically.

A little R & R

2009-12-23T17:43:00.003-06:00

As I write this, the Twin Cities are bracing for a major snowstorm which should affect holiday travel in the coming days. We don't know what will happen, but hope that everyone enjoys a relaxing and refreshing break, and more importantly, that they stay SAFE during the storm.

Folks today take food, clothing and warm shelter pretty much for granted. The oncoming storm is a reminder that we shouldn't. So be well, everyone, wherever you are! Those of you who participate in or support GTCYS, bravi tutti and enjoy some quality time off. Oh, and find some good music to enjoy in the coming days! It helps remind us of what's really important in life.

See you in 2010!

First Fall Happenings

2009-11-11T16:09:00.002-06:00

GTCYS had its 38th annual Fall Festival Sunday, November 8, at Orchestra Hall in Minneapolis. The crowd was rapt with attention and vigorous in its applause, from Philharmonia, our entry-level strings group, leading the way with a polished performance of “Seashore Festival” by Edmund Siennicki, through Symphony, our premiere ensemble, capping things off with a rousing rendition of Berlioz’s “Roman Carnival.”

We are lucky to have audiences that are not just enthusiastic, but truly interested in the music they’re hearing—they want to share in its expressive depths. Our conductors are dedicated to bringing the most out of the six orchestras, and the students understand that we’re trying to get to the root of the music, so that they can speak as facilely with their instruments as with their tongues. That kind of approach allows everyone in the room, whether playing or listening, to connect, both with a lesser-known work like Del Borgo’s “Aboriginal Rituals,” and with the familiar spookiness of Mussorgsky’s “Night on Bald Mountain,” a piece which entertains but also chills with its glimpse at a heart of darkness.

By the way, a week and a half before the concert, the author of these words got married. So it’s been a great fall in the Twin Cities!

Sounds of Summer

2009-07-24T15:12:00.002-05:00

Overseeing a youth symphony program means that keeping up with a blog is hard. Wanting to actually write decent entries makes it harder. But it’s been too long, and last Tuesday we had our summer concert—in a beautiful lakeside setting, no less—so it’s time for an update!

While GTCYS’ school-year orchestras, like most similar groups elsewhere, have an audition process, our summer orchestras are open admission. Just fill out a form indicating your musical experience, send in your payment or request financial assistance, and you’re in—simple. While this makes our summer program less intimidating for first-timers, it also means that participants are often kids with less playing experience. And yet, they did an outstanding job at the performance and the audience was very enthusiastic—both for classical repertoire by the likes of Bach and Dvorak, and for light-hearted bluegrass and mariachi numbers. What gives?

I think it goes back to passion. What’s arguably the greatest music education program in the world right now, Venezuela’s El Sistema, has a philosophy of “passion first, precision second.” That doesn’t mean that accurate playing isn’t important. Good rhythm, good intonation, everyone playing at the same time—those are all crucial elements of a successful performance. But they are best utilized when they serve the higher purpose of an exciting, communicative experience. Audiences want to be entertained, they want high energy, and they want to hear a group that holds together not for precision’s sake, but for the wondrous affect that true unity makes. And deep down inside, it’s also what performers want.

It was that kind of thinking that guided a lot of our work this summer. Accuracy, yes—but within the context of “coming out of our expressive shells.” The result was that a non-auditioned, very young crop of players was able to play “outside themselves” and the audience got it. Should we be thinking about this kind of thing more not just with educational, but also professional orchestras?

A great event provokes reflection

2009-02-10T14:00:00.000-06:00

I know I’ve raised all kinds of issues in recent posts that deserve follow-up, so let me be up-front—I can’t follow up right now. Sorry. There was just an event I was involved with last week which was so wonderful I had to write about it.

The great and warm (snicker, snicker) state of Minnesota in which I reside groups public schools into conferences. The schools within a conference will repeatedly beat each other up on the football field and hockey rink, yet collaborate convivially in matters such as music. The Northwest Suburban Conference—an area near Minneapolis which includes towns with such picturesque names as Coon Rapids, Elk River, Osseo and Maple Grove—just had a music festival highlighted by rehearsals and performances by an honors choir, orchestra and band (I guest-conducted the orchestra) as well as public performances/workshops, called clinics, by 28 ensembles from ten conference high schools (I served as a clinician—kind of a guest teacher—to eight orchestras). Herewith, several observations about the event:

1) Music breaks down barriers. So what if it’s a cliché? It’s true. The students represented different income levels, ethnic groups, personality types, etc. Some probably would be my close friends if I were an awkward, geeky teenager again, others perhaps wouldn’t. It mattered not—our common purpose overrode all differences as we worked towards musical development and an excellent concert.

2) Preparation is key. The kids in the honors orchestra had met over two weekends before I rehearsed with them. Other conductors—teachers from their schools—rehearsed them so that they were well-prepared for our first rehearsal together. Also, all conference logistics had been thought out, down to the smallest detail, and the activities director at the event’s host high school was highly involved (Kelley Scott, you rock!).

3) Administrators, take notice—arts bring out the best in your students! You want to teach them about balancing common purpose with individuality, emotion with reason, intelligence with physicality, exaltation with self-control—what’s comparable to music? These kids worked very hard—basically five hours of nearly non-stop activity on Sunday, and then either rehearsing, hearing or performing music from 8am to 9pm Monday—and they kept on task. Oh, and don’t tell me it’s the successful kids who take arts classes—rather, arts classes make successful kids—successful in academic subjects, behavior, concentration, creativity, thoughtfulness, etc. Why, just click on this link, or this one, or this one (page 12 is good). The ancient Greeks considered music an essential part of good education, not an extra—and we’re overdue for such thinking today!

4) It matters little what kind of music it is, as long as it’s played well. Audiences at both the clinics and final concert responded most vigorously not to a particular kind of music, but to the most soulful and polished performances. Trust me, if you’ve got both those qualities—honest expression and high-quality presentation—people respond. They want to be touched and entertained.

I’ll finish up by saying thanks to all the students, teachers and staff in the Northwest Suburban Conference who gave their all last week and created such a great event. Also, if you’re concerned about music budget cuts in your school, please look at the links above and share the information with administrators. And I promise to get back soon to issues raised in previous posts, including readers’ replies.

Sometimes you forget how touching a concert can be…

2008-12-18T09:30:00.002-06:00

Let’s get away from the high-fallutin’ art talk of recent posts for a moment, and switch to a recent GTCYS performance. Our Concert Orchestra gave its holiday concert last week at Union Gospel Mission near downtown St. Paul. UGM is a homeless shelter and we have a tradition of playing for their residents, including a holiday sing-along, every December.

At the dress rehearsal the students, most of whom were in the facility for the first time, looked nervously around the chapel where they’d perform. It’s a Spartan space, clean but gloomy. There were residents coming into the audience seating area, clearly down on their luck—a far cry from most of our kids’ regular social circles. Then the music started, and something happened.

The crowd was uninhibited and enthusiastic, in a way our kids aren’t used to. They demonstrated that anyone can appreciate classical music—and they demonstrated most energetically. The kids’ initial apprehension was replaced by enjoyment as a give-and-take energy developed between performers and listeners (something we’d like to see more of at classical concerts!). By the time the sing-along began, the line between haves and have-nots had gotten pretty blurry. The residents were thrilled to experience live orchestral music—and the kids realized they were getting a gift from their audience. It’s great to play for a dressed-up crowd in a beautiful concert hall. But it’s also meaningful to play for a dressed-down group of people who let you know that your music touches them, and that music shouldn’t be taken for granted.

What is great music?

2008-12-11T13:45:00.001-06:00

It looks like there was some interest generated by my first blog posting, so herewith: “Round Two.” That’s a one hundred percent increase (how’s that for mathematical slight of hand?)! As before, the question hovering in the background is, “why classical music?”

Here’s an issue which vexes: what is great music? One might say, “oh that’s easy. Dittersdorf isn’t great music; Mahler is.” Simple, right? Well, no. I just came across a blog which has a SMACKDOWN between two respected conductors about whether Mahler is a good composer. One makes strong arguments for Mahler’s greatness; the other for his mediocrity. They can’t both be right—or can they? There’s an old joke about an argument between two Jews (let’s call them Mr. A and Mr. B), back in the day in Eastern Europe. A third party (Mr. C) hears Mr. A’s side of the argument and says, “you’re right.” Then he hears Mr. B’s side of it and says, “you’re right.” Someone else (Mr. D) pipes up and says, “hey, first you said Mr. A was right, and then you said Mr. B is right. They can’t both be right!” To which Mr. C replies, “you’re right too.” This scene, by the way, was recreated in Fiddler on the Roof.

But away from those apocryphal Ashkenazim and back to the historical one, Mahler—both his partisans and his detractors have their point. The former say he’s an amazingly visceral musical portrayer of the human experience, with his evocative melodies and haunting orchestration. The latter reply that Mahler’s a self-absorbed crybaby whose music is way too long. Might both camps be correct?

I encountered a similar situation with the students in GTCYS’ Symphony Orchestra when we prepared Morton Gould’s “American Salute” for our fall concerts. It’s a fast-paced, patriotic work written during World War Two, a set of variations on “When Johnny comes marching home.” It struck some of the kids as second-rate music. Too tuneful, too easy to “get,” not enough gravitas—must not be very good. Yet it won over both players and audience in performance. What was going on?

To some degree, I can sympathize with the view that in order to be great, art’s got to be hard. For instance, one can’t have Brahms’ German Requiem playing in the background while doing dishes. You have to sit down and listen to it—without distractions, repeatedly, with a translation of the text if you don’t understand German—and the more you do so, the more glorious it gets, even if at first you’ve said, “this is boring.” Your deliberate, patient, repeated investments will, over time, reap immense and ever-growing rewards of satisfaction, whether it’s listening to Brahms, viewing Rembrandt, or reading Joyce. A “top-40” tune doesn’t have that effect—what you hear is usually what you get, much less effort is required and the aesthetic rewards are fleeting. Ergo: one way of defining great art is that there’s always more to discover—and you must constantly work at discovering it. But to be contradictory (and if you read the previous blog entry, you’ll understand my perception of contradictions as vital and fascinating aspects of human character): we might also watch an episode of “I Love Lucy” thirty times—long after every line is memorized—or eat our mother’s perfectly roasted chicken every Saturday for decades—no surprise about how it’s going to taste—and still appreciate them as masterworks. They’re great, even though there’s nary a new thing to discover. The “American Salute” falls into the roast-chicken-cum-Lucy category: there’s not much new to discover through repeated encounters, yet it’s wonderful stuff, infinitely more rewarding for repeat, engaged listeners than pop fare.

So what makes a piece of music great? I leave you with that for now, and encourage responses! Thanks to those who replied to the last posting, and talk to you soon.

WHAT IS CLASSICAL MUSIC, AND WHY SHOULD I CARE?

2008-10-27T13:21:00.003-05:00

Remember when your grade school English teacher warned you not to choose too broad a thesis topic? That’s what the above question is like—you can’t answer it in one essay—or even in several. It’s like “what is the meaning of life,” or “is there a Supreme Being?” Even if given a straightforward answer, would you readily believe it?

Perhaps the question is unanswerable. And yet, it is the reason for this blog—because I believe that classical music is important enough that the question needs asking, regardless of the answer. So I plan to write on various topics from time to time, with that question always lingering in the background. Today’s topic: Gounod.

I’m writing about him because the orchestra I conduct, the Symphony of the Greater Twin Cities Youth Symphonies in Minneapolis/St. Paul, Minnesota, is playing the ballet music from his opera Faust (premiered in 1859) at our November 23 concert. Just the music—no dancers in sight. Why Gounod? His music is fascinatingly controversial. It has its loving adherents (French opera fans) and detractors (most other humans). Is he a great composer, or a hack cranking out superficial Gallic fluff? Consider how he compares to other great composers: even those with little knowledge of classical music know Beethoven’s name, have heard at least some of his Fifth Symphony, and generally say, “this is impressive stuff.” That’s not true for Gounod—one of his weaknesses—or perhaps it’s a strength—is that his music’s success rests on more variables than does Beethoven’s.

An uninitiated person can listen to Beethoven and “get it”—he can even listen to a bad performance and get it. In the case of Gounod, however, the performance has to be convincing, and one needs to know more about the music’s context. Now, the thought of having to think and learn about music may cause horror to some dear readers, but if people aren’t willing to do it, then classical music withers away. A vacuum results, and since Mother Nature abhors a vacuum, it gets filled by musical garbage. (Perhaps this is one possible answer to the overriding question behind this blog).

Let me give a little context for the ballet music we’re performing on November 23. What is the opera Faust about? Many of you have some concept of that name. To make a Faustian bargain means selling your soul in order to get something you think you can’t live without. There was a real Faust in Renaissance Germany, whose persona inspired stories and plays by various artists over the centuries, and continues to captivate today. The most famous characterization is the play/poem by Goethe (1808), in which the highly learned but bored Dr. Faustus sells his soul in return for bliss. This causes tremendous problems for those around him (such as death, destruction and dishonor), though ultimately he receives divine clemency. In Gounod’s opera, Faust makes a pact with the Dark Side because he despairs of both worldly knowledge and religious faith. Isn’t this an issue that people struggle with constantly? Haven’t they always done so? Doesn’t this idea transcend age, class and ethnicity?

At the time Gounod wrote Faust, all works staged at the Paris Opera were expected to include a ballet. He wrote one into the beginning of the fifth act, a Walpurgis Night scene. What’s Walpurgis Night? OK, I’ll tell you a bit about it, if in return someone out there tells me why the Paris Opera required ballets—I don’t have time to look it up.

Walpurgis Night (April 30/May 1) has its origins in European spring celebrations that predate Christianity. It gets its name from the transfer of the remains of St. Walpurga of Devon on that date in 779. In other words, it blends Catholicism and Paganism—a potent mix. It’s celebrated by traditional Catholics and by people who are the opposite. Long ago adapted into the political calendar of the left (think May Day in Soviet-era Moscow), it’s now also associated with the right in certain countries (such as Finland). In Germany (where Faust takes place) witches gather in the mountains to celebrate spring on Walpurgis Night. (One interesting side-note: Germany’s worst leader ever did himself in at Walpurgis-time in 1945.) Is Walpurgis Night a joyful or nefarious occasion, or a little of both? Are we attracted or repelled by it? Walpurgis Night, like the Faust character, speaks to something in our complicated, conflicted characters. Gounod tapped into this when he wrote his opera.

Here is a link to the ballet. The dances have catchy tunes; the listener might hum them when leaving the concert hall. That sure isn’t the case with Beethoven. Think back to that Fifth Symphony: it’s got a very recognizable four-note idea (da-da-da-DUUUM), but that’s not a tune you’d whistle when walking down the street. Beethoven develops the four-note idea in a hundred different ways—he has to in order to give that motive depth. Gounod writes great melodies, and doesn’t develop them. So what gives the music depth? The story behind it, and the way it’s played. It’s the performer’s role to highlight the varying tone colors, phrasing, dynamics and so forth. This variety—this array of contrasts—is what makes Gounod’s music “tick.” It parallels the contrasts within peoples’ personas. We hope to convey some of that contrast on November 23.

Thank you for reading my first-ever blog entry. I invite your response, whether you consider yourself a music connoisseur or a novice.