Daniel Felsenfeld Paul Bowles wrote, in his autobiography, of watching his friend John Cage listening, for the first time, to an acetate of one of his own string quartets—and laughing inconsolably. For years, we have been swallowing Cage and the PR machine around him as a truly serious presence, as a composer in the great […]
Philip KennicottCourtesy of The Washington Post When I was a teenager, I didn’t have much use for popular culture and especially popular music. It didn’t speak to me and it didn’t offer any particularly useful clues to negotiating adolescence. I didn’t turn to music for rebellion (I got my rebellion elsewhere) because popular music didn’t […]
Steve SmithPhoto by Andrew Kochera Peter Criss taught me to love Haydn. That remark deserves explanation, of course. To begin with, Peter Criss—neé Peter Crisscoula—was the original drummer for the loud, lewd, and garishly painted rock band Kiss. And it was my adolescent discovery of that band that started my long, ongoing relationship with music. […]
Nicole V. Gagné In the concert halls of 18th and 19th century Europe, percussion was traditionally regarded as being almost exclusively a secondary aspect of orchestral music—and one best employed with caution. Ironically, this European attitude toward percussion was summed up by an American composer noted for his nationalism. In What To Listen For In […]
Benjamin PiekutPhoto by Megan Wolf When I initially spoke with friends and colleagues about the notion of a new “common practice,” I became aware that the concept is not nearly as widely-recognized as I had initially thought. Is it a set of performance techniques? Is it neo-romantic symphonic music? Or could it be defined as […]
Jed Distler multitaskingPhoto by Randy Nordschow The great lyricist Johnny Mercer liked to tell the story of how his wife Ginger struck up a conversation with a stranger. Asked what her husband did, Ginger replied that he wrote songs. The stranger replied, “Yes, but what does he do for a living?” Many composers, in fact, […]
No one can doubt that music has a big role to play in the world of political protest. The controversial musicians we read about in the papers, though, are mostly from the pop and folk genres. It’s not only that those musicians are more visible, though that’s certainly true as well. Classical music and jazz seem to have a more long-term, measured, even sublimated approach to political protest, slower to react and more deeply embedded in the structure of the music itself.
Photo By Chris Harris The music of another time often reveals the most intimate language of the people then, the images and emotions that they truly considered to be real and valued. To experience their interior world, the sound of the music is one of the quickest triggers to evoke sensations, deep proto-memories that seem […]