Articles by Randy Nordschow
Impressions of the 2005 New Music Miami ISCM Festival.
Well aware of my fascination with the phenomenon of air guitar, a friend from across the pond sent me this link last week (note: it’s a large streaming QuickTime movie file, so you’ll need some serious bandwidth in order to view it). Let me explain what you’re about to see.
As part of the recent open studios event at the Higher Institute for Fine Arts in Antwerp, Finnish artist Kristofer Paetau decided to create a rather interesting tableau by extending an invitation to Belgium’s 2004 air guitar champion, Bucketbutt (a.k.a. Ron Van den Branden), to perform within the context of a group exhibition. Bucketbutt’s brand of gimmicky hijinks indeed conjures up the heyday of performance art circa 1970, a vital motivation behind Paetau’s scheme to organize this spectacle in the first place.
Here in New York City, art lovers are commonly treated to displays far more outrageous. It’s commonplace. Despite this town’s overabundance of exhibition space, it seems that not even gallery walls can contain certain renegade performance artists. Times Square is a mainstay for another underwear clad—albeit sans bucket—guitar yielding chap, known as the Naked Cowboy. But for the consummate hybrid of music/performance art just stroll through Central Park. Somewhere near the Boat House you’ll encounter Thoth. Be warned, his eccentric attire is way skimpier than the Naked Cowboy, but the sheer intensity of conviction behind Thoth’s ritualized violin performances is utterly mesmerizing.
It’s funny. I’m one of the few composers I know who has actually performed nude in front of an audience. Yeah I know, it’s been done to death. Although not so much at Carnegie Hall—say hello to the strategically placed fig leaf during all matinee performances, as mandated by administration. We musician types don’t like to ruffle any feathers you know. I’m sure Paetau’s presentation of Bucketbutt (a wink-and-nod to Buckethead I assume…) didn’t raise too many eyebrows among the seen-it-all art crowd. I shudder to think what sort of reaction new music audiences would reserve for Bucketbutt. The obligatory polite applause I’d assume. I’m not suggesting that new music practitioners and coinsures are prudish or more susceptible to shock tactics than the typical museumgoer.
Quite the opposite, our audiences are way more complacent in their jadedness, passively listening, unresponsive, then clapping at sanctioned intervals—doesn’t matter if you love it or hate it. Yeah, there’s clearly an audible difference between apathetic applause and outright cheering, but creators and presenters can construe both as positive reinforcement. So everybody is happy then, right? Nobody out there is craving something a little edgier or more extreme.
Heaven forbid if the Emerson Quartet decided to strap buckets to their butts, or worse, stage some sort of “wardrobe malfunction” as it has come to be known. But let’s face it, shock and awe is one of the oldest tools known to artists. Yet the so-called world of serious music is above all that, and maybe that’s a problem.
Between Matisse’s Femme au chapeau and Picasso’s Guernica came Stravinsky’s Rite of Spring. 4′ 33″ coincides with Pollock’s breakthrough. The Viennese Actionists and Fluxus crowd and gave us music that still makes heads scratch in the conservatory. But what about now, almost a half decade later, has art music hit a wall? Artists like Andrea Fraser and Laurel Nakadate still manage to shock us, using perversion as a form of profound communication. When are symphony orchestras going to start exploring the scatological? We see it in museums and galleries. We see it in the city streets. Could this be one of the reasons why new music is always playing catch-up to other contemporary art forms?
At a showcase of new opera and music theater last night, prosaically titled On The Edge!, a cross-section of new pieces and works-in-progress were presented by American Opera Projects, Center for Contemporary Opera, Encompass New Opera Theatre, and Music-Theater Group. Master of ceremonies Janet Coleman capably underscored the excitement of the evening, and for a moment she seemed caught up in the imminent edginess about to take place on stage, promising the audience “brand new, original music theater composed by really brilliant, young composers.”
Her statement proved to be no hyperbole as far as the music was concerned. Most of the work that evening was indeed brilliant. My pet peeve is that word young, because as it turned out, there was quite a lot of grey hair on stage during the pre-performance banter between the creators and Coleman. Fact is, the four composers featured range in age from 37 to 72, hardly young in my book. Maybe the Y word accidentally slipped out with the avalanche of new, original, and brilliant—some of the most popular buzzwords of contemporary classical music.
If you think about it, the fossil fuel of classical music and opera—the pieces that audiences keep coming back to hear over and over again—were composed by an impish Austrian who died at the ripe age of 36. Did Mozart set some sort of precedent for youth worship? Considering that most grant and commissioning opportunities these days are only available to composers under the age of 35, it seems a clear line can be drawn between young and old. But then again, mature work is sometimes created in youth, and elder composers are often praised for works exhibiting youthful energy.
And with today’s popular music created and consumed by a dominantly tween demographic, it seems the concert hall crowed is left pining for a similar fountain of youth. Somehow the sum of these bizarre contradictions still allows us to label middle-aged or just outright old composers as young. It makes no sense to me. I mean, how old is young anyway?
The realm of musical performance is next in line to wrestle with the moral dilemmas surrounding scientific advancement in overdrive.
The value of bootlegs, copies, forgeries, tributes, covers, pastiches, variations, quotations, samples, rip-offs, hijacks, plagiarisms, and recontextualizations collide and crisscross in a potholed web that means many things to many people.
Can composers and musicians be effective political advocates in American society?
Sunday, April 25, 2004—10:00 p.m.
Videotaped by Colin Conroy Transcribed by Frank J. Oteri and Molly Sheridan
Clockwise from top-left: Chris Cohen, Greg Saunier, Satomi Matsuzaki, and John Dieterich By Kinoshita Nobuyo
Balancing between the music and art world without falling over.
New World Records recently released Music From The ONCE Festival 1961-1966