Saturday, April 29, 2006

In Pursuit of Passivity

Amidst all the debate about the cultural threat to classical music, few commentators seem to be addressing the causes of its unpopularity. Instead, they tend only to address the effects - and even then, they generally propose employing the self same ills that assault culture in the first place: namely fashion, marketing and advertising.

Harry Sinclair Lewis

Our value system has changed radically – there are fewer and fewer respected proponents of high art than there used to be. This is not because there are fewer orchestras, broadcasting organisations, record companies or critics than there were, but because they neither command much respect nor have much influence on the wider public. In the past, such bodies were influential - not just among the cognoscenti - but within the public at large. When a major orchestra gave a concert, fronted by a well-known conductor, it was widely assumed to be an event worth attending. The yellow label of Deutsche Grammophon was a badge of excellence, not only signifying the calibre of the musicians and their performance, but a high technical standard of recording and manufacture.

Such organisations carry little sway in the modern world. Instead, advertisers constantly extol the ubiquitous so-called choice, while passive amusement replaces traditional culture. We increasingly pass our leisure with whatever gives least bother. We no longer waste our time trying to convince the public that active participation in the arts is actually extremely rewarding; preferring instead to realign the art form to improve its passive appeal. The media and advertisers are today’s informers. They have no need for depth,

“simply multiple surfaces. But the surface is the very breeding ground of parody. "Those who go beneath the surface do so at their own peril," warns Oscar Wilde but "those who remain on the surface, however, fail to experience anything whatsoever. Dismissal, not antipathy is the real danger.”

In a recent article [from which I’ve taken the previous quotations], On the Necessity of Listening As Confrontation, Chadwick Jenkins draws attention to the decidedly active verbs that were once invoked when referring to taking or pursuing one’s pleasure. He goes on to point out that,

“… involvement is the price of desire that I am willing to pay; indeed the payment, the exertion figures into the very nature of the desire itself and becomes the essential substrate of my enjoyment. But too often we are concerned only with "receiving pleasure".

The power to enjoy and understand our culture was acquired by tradition – In his novel Babbitt, Sinclair Lewis describes a civilisation that had no tradition and could therefore only work, or amuse itself with rubbish; it had heard of the past, but lacked the power to enjoy it or understand. EM Forster warned that although life without culture will not necessarily be a nightmare,

“There will be work for all and play for all. But the work and play will be split; the work will be mechanical and the play frivolous. If you drop tradition and culture you lose your chance of connecting work and play and creating a life which is all of a piece.”

We can’t employ marketing techniques to make classical music popular when it’s these very same agents that atrophy thought and active engagement. Reward comes from participation; from wrestling with the difficulties and complexities of a work of art - not from lying back and letting it wash over us.

E.M. Forster, Benjamin Britten and Eric Crozier working on Billy Budd at the composer’s home, Crag House, Aldeburgh, 1949


www.Popmatters.com - Variations on a Theme: On the Necessity of Listening As Confrontation – 20th April 2006 Chadwick Jenkins.
EM Forster – Two Cheers for Democracy - Pub Arnold 1951
The Picture of Dorian Gray – Oscar Wilde - 1891 Ward, Lock and Bowden
Photo Sinclair Lewis - AFP/AFP/Getty ImagesPhoto Babbitt - Fenwick Library George Mason University

Saturday, April 22, 2006

Ambiguity, Political Correctness and Uniformity

“the world that we live in…makes it ethically more and more difficult to make music, because it is a world which gives us answers, even when there is no question.”
Once again, Daniel Barenboim hits the nail on the head in this week’s Reith Lecture, ‘The Magic of Music’. As ever, he’s not afraid of addressing a number of neglected, misunderstood and politically inconvenient subjects.














He wades deep into his own cerebral landscape, lauding ambiguity in music where it is
a doubtful quality” in life, expressing thoughts and ideas that are anathema to the modern world of precision, quantification and circumscription. Nevertheless, a fascination with ambiguity and incompleteness is central to the work of many artists and it is a perfect analogue of how art demands the active participation and involvement of its public. Barenboim says so much more about the much-debated subject of the future of classical music in two sentences than other, more prolific theorists are able to convey in acres of web space.


“classical music as we know it…will not survive unless we make a radical effort to change our attitude to it and unless we take it away from a specialised niche that it has become,”
But his view, unlike that of most others is not that we should re-align classical music to suit modern trends by making it “immediately accessible” - but through education. He stresses how it must be central to our lives:


“Not something ornamental, not only something enjoyable, not only something exciting, but something essential.”
I long to inhabit the Maestro’s world where the courage to have a point of view is rewarded rather than repressed, where ambiguity is prized instead of being crushed and where responsibilities are inseparable from rights.

Friday, April 07, 2006

Reith Lectures 2006

Having just listened to Daniel Barenboim give the first of this year's Reith Lectures I'm rather stuck for words. Or at least, I don't have anything to say that approaches the intuitive elegance of the Maestro.
How does he manage to express himself so forcefully and express such abstruse ideas so equivocally in a foreign language?
I'll be intrigued to hear what the world at large makes of his speech and of his equally compelling responses to the pre-ordained, mostly self-referential questions. While I’m still wondering how such a being found his way into the 21st century – he seems to be perfectly at ease.
Don't miss it!

Monday, April 03, 2006

CHARM offensive


I recently wrote an article for Tokafi.com asking why classical record producers are unknown to the public when their counterparts in the of pop music world are often highly regarded - even notorious. One of my conclusions was that classical music producers have ceased to be innovative; an idea confirmed by David Patmore of the University of Sheffield in a sympoisum for the Centre for the History and Analysis of Recorded Music (CHARM) last September.
Happily, the objective of CHARM’s academic team is to “promote the study of music as performance through a specific focus on recordings”. But unusually for such an academic body, its remit is not limited to historical research: a forthcoming symposium in June will investigate why there “has been no concerted attempt to transform the classical audio recording into a creative commodity”, and why “the interventionist production techniques commonplace in recordings of popular music have had little if any impact on classical audio recordings”.

I look forward to this CHARM offensive with interest and enthusiasm.

Royal Holloway, University of London, Egham, Surrey - the home of CHARM