Ligeti’s Trio for horn, violin, and piano is subtitled “Hommage à Brahms” since it was commissioned, in 1982, as a companion piece to Brahms’ trio for the same instruments. This is a rare instrumental combination owing to radical disparities in color, volume, and methods of tone production that challenge the composer to balance and blend their sounds. It was probably this quality that acted as one of the inspirations for this piece, which marked a turning point in the career of this composer. Ligeti does not consciously emulate Brahms in this work; if anyone, it is Beethoven who serves as a distant presence.
As the Bard Music Festival has sailed through the great names in European and American music over the past twenty-five years—although there are some people who don’t like Elgar, Liszt, or Wagner, and some who doubt Saint-Saëns’ or Sibelius’ importance (if they attended the Festival they left with their minds changed)—the focal points of the festival have been generally unchallenged. This year, with Carlos Chávez, the first composer from south of the border, there has been more debate. Many attendees—and especially non-attendees—questioned the worthiness of Carlos Chávez as a subject. He is largely forgotten, and many of those who do remember him, do not think of him kindly. Even Leon Botstein himself expressed a critical attitude towards Chávez,
The BSO has kindly sent me a group of remarkable files spanning several decades of the Festival’s history. Let me say at the outset that the sound on these files is really something. I download them in FLAC format and convert them to AIFF files using a program called XLD. I then burn these AIFF’s to a cd and play them on my system. I have been amazed time and time again at the accuracy and presence of the sound. And this includes the older material. The superior FLAC files are more than worth the extra $10 in their cost ($60) over the MP3 files also offered. Perhaps my favorite of all is a performance of Strauss’s Don Quixote with Piatagorsky and Munch.
Several solid hits and a bit of a bunt. That’s how it seemed last Saturday at the San Francisco Symphony. Returning from a recent European tour, Michael Tilson Thomas and the orchestra set before the Davies audience three American works that played brilliantly to his strengths and temperament, and a performance of the Tchaikovsky Fourth Symphony which brought the house down, but seemed a touch undetailed.
Varieties of modern orchestral experience, British and American, were on display at the concluding event of this summer’s Festival of Contemporary Music at Tanglewood, with three out of four offerings featuring the full (or over-full) resources of large ensembles. The Carter song-cycle used the pared-down configuration of a good-sized chamber-orchestra to support the solo soprano. Each work inhabited a distinctive sound-world and had its own conductor; it was almost as if we were hearing four different orchestras. It would be neat if I could diagram the four pieces as the points on a musical compass, but the chronological distance between the Copland (1946) and the rest (1982-2010) was such that the picture would look more like a buried root system connected to the leafy ends of three branches, and not all even belonging to the same tree. (Freud said that you are bound to run into problems if you try to construct a physical model of the mind; I’m having the same problem with this set of pieces.) But one implicit subtext may have inadvertently bound three of the four works together, that of war and peace.
This summer’s Festival of Contemporary Music is so different from its predecessors that it really ought to be given a different title. In fact, “contemporary” music, in the sense of brand new works by up-and-coming young composers, will be conspicuously absent. Perhaps “Retrospective of Seventy Years of ‘New’ Music” would offer a more accurate description. In the past, the Fromm Foundation has offered commissions for new works to be premiered during this week with the composers presiding; this summer, the five-day event will look back on the entire seventy years of Tanglewood rather than the fifty-four years of the Festival of Contemporary Music, as supported by Fromm.
Greeting guests were James Barton, a Trustee of the Board of Glimmerglass, and Michael MacLeod, General and Artistic Director. MacLeod has, in five years of his term, maintained an enviably high artistic level of production, while at the same time bringing a much needed marketing facelift. For example, program books, brochures, mailings, and the Website have undergone extensive and attractive redesign.