'Cribs'에 해당되는 글 39건

  1. 2017.07.01 Things I'm thinking about this week
  2. 2017.06.24 Things I'm thinking about this week
  3. 2015.10.04 Pleasing the public
  4. 2015.10.01 Gould in conversation with McClure
  5. 2015.09.20 Rachmaninoff's reply to Liebling

Things I'm thinking about this week

Cribs 2017.07.01 15:00

Toll from Vigilante Mobs Rises, and India Begins to Recoil

Brazil grapples with lynch mob epidemic: 'A good criminal is a dead criminal'


Review: Jonas Kaufmann Sings an ‘Otello’ for the Ages

Otello review – an underpowered Kaufmann is outshone by Iago


A Life of Toscanini, Maestro With Passion and Principles


What Happens Just Before Show Time at the Met Opera, in 12 Rooms You’ll Never See


Alan Gilbert wird neuer Chefdirigent


Conductor Myung-Whun Chung Cleared of Seoul Philharmonic Embezzlement Charges


Now Apple Wants to Reduce Royalty Rate It Pays Record Labels

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Things I'm thinking about this week

Cribs 2017.06.24 15:00

Invisibilia: The Culture Inside

The Roots of Implicit Bias


The neurons that shaped civilization


The role of touch in regulating inter-partner physiological coupling during empathy for pain


You Still Need Your Brain


Being Wagner by Simon Callow review — what makes Wagner so controversial?


How to Narrate Your Life Story

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Pleasing the public

Cribs 2015.10.04 00:15

He points out that in the 80s the symbol of success for a star was the size of the recording contract. “Now being in a new production or in a HD show sets the top stars apart. But there is still a direct link to reaching a large public. Opera is a public art form and it is a mistake to think that artistic decisions should be made in some sort of vacuum.” Reminiscing about managing Horowitz and working with Herbert von Karajan, he says that what united them was “caring what the public thought. Horowitz would send me into the lobby during intermissions to hear what was being said about him. He wanted to know exactly what the box office was and would be furious if he wasn’t sold out. In essence he wanted to please the public. It’s not pandering to want to stimulate them, win them over and make them think of things they might not have thought of before. What you really don’t want to do is ignore them or disdain them. And if your objective is to piss your audience off, well you won’t get too many shots at that.”

—Peter Gelb, Not only in New York – how the most powerful man in opera took the Met to the world

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Gould in conversation with McClure

Cribs 2015.10.01 13:00


"I think people go to concerts because it kindles memories. And they want to do that simply because in kindling those memories they feel it in some way they've got a proximity with music—they haven't of course, it's total self-deception. And most people who go to concerts are certainly not musicians and care very little about music, I think."


On why he hums: Which is euphemized by McClure as "vocal accompaniment."

"It's very difficult. And it's one of those centipedal[sic] questions, you know. Schoenberg once said that he would not willingly be asked by any of his composition students exactly why such and such process served him well because it was in danger of making him feel like that centipede was asked in which order he moved its hundred legs and afterwards he could move no legs at all. There's something impotent-making about that question. I'm rather afraid of it.

[. . .]

I can't do without it—I would if I could—it's a terrible distraction. I don't like it. I would resent any artist whose records I bought indulging himself that way and I don't see why anyone puts up with it. We do the best we can, we put as many baffles around the piano as we can. I can only say I play very much less well if I don't indulge in a few vocal elaborations."


On his tempi: Is this sort of a perverse desire to do something different from what everyone else has done?

"It certainly is perverse. I think that if there's any excuse at all for making a recording it's to do it differently, to approach the work from a totally recreative point of view that one is going to perform this particular work as it has never been heard before. And if one can't quite do that I would say abandon it; forget about it; run to something else where you can feel a bit differently about it."


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Rachmaninoff's reply to Liebling

Cribs 2015.09.20 00:00

I feel like a ghost wandering in a world grown alien. I cannot cast out the old way of writing, and I cannot acquire the new. I have made intense effort to feel the musical manner of today, but it will not come to me. Unlike Madame Butterfly with her quick religious conversion, I cannot cast out my musical gods in a moment and bend the knee to new ones. Even with the disaster of living through what has befallen the Russia where I spent my happiest years, yet I always feel that my own music and my reactions to all music, remained spiritually the same, unendingly obedient in trying to create beauty. . . .

The new kind of music seems to come, not from the heart, but from the head. Its composers think rather than feel. They have not the capacity to make their works "exult," as Hans von Bülow called it. They meditate, protest, analyze, reason, calculate, and brood—but they do not exult. It may be that they compose in the spirit of the times; but it may be, too, that the spirit of the times does not call for expression in music. If that is the case, rather than compile music that is thought but not felt, composers should remain silent and leave contemporary expression to those authors and playwrights who are masters of the factual and literal, and do not concern themselves with soul states.

I hope that with these thoughts I have answered your question regarding my opinion of what is called modern music. Why modern in this case? It grows old almost as soon as born, for it comes into being contaminated with dry rot.

Is it necessary to add that I do not mind telling you all this confidentially as a friend, but that I should not in any circumstances like you to publish it—at least, not while I am alive, for I should not enjoy having some of the "modernists" rap me over the fingers, as I need them for my piano playing. It is not politic for me even to have written to you as I have. I mostly keep my opinions to myself, and in consequence I am generally regarded as a silent man. So be it. In silence lies safety.

—Sergei Rachmaninoff: A Lifetime in Music

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