Sunday, April 13, 2014

'The Art Of" - Further Paradigms...

When I read of the passing of Mickey Rooney this past week, a montage formed rather quickly; a montage of names that had filled my early childhood with memories so powerful, so indelible, so much a part of my daily encounters and adventures that formed  the ways of my early existence - well, I thought that I should share these pages of my memory book with you:
Mickey Rooney.   Shirley Temple.   Jascha Heifetz.   Artur Rubinstein.   Michael Rabin.   Yehudi Menuhin...
These names engrossed me as a child when their performances  were presented by recording or in theaters, depending upon who the performer was.
Menuhin, as a teenager, dazzling me with his "Moto Perpetuo" by Paganini - how CAN he do what he does?
Artur Rubinstein - although he was born back in the 19th century, I recall seeing many photographs of his  seducing European audiences before entering his teens - another Mozart??
Michael Rabin enrapturing my senses, in vanquishing Paganini at age twelve - my ears are truly deceiving me.
Jascha Heifetz, still in short pants,  overwhelming  the elemental resistance factors indigenous to the violin - he's only a little kid!...
Shirley Temple, by way  of  communicating with all the girls in my neighborhood , let alone the parents.  I remember the numbers of blue and pink tumblers with her picture embossed upon them; on windowsills; in my school on many desks occupied by girls - photographs of her in countless locations wherever I happened to be; her name on almost all of the theater marquees all over town.
And Mickey Rooney -  on my birthday,  my first piano teacher, whom I loved, gave me a copy of  Mark Twain's "Huckleberry Finn". It contained a photograph of Mickey Rooney, who played the part of Huck Finn in a movie released during that period. I remember clasping  that book wherever I went, taking it to bed with me - the two of us were inseparable for quite a period,  I'm sure.  I loved reading, and always carried a book around with me a great deal of the time.
All these memories leaped into life this week.
Rooney, Menuhin, Heifetz - and the rest of the names  I have mentioned, were all artists of  endearing meaning and power to me. Most were  before me; however, the pages of history are replete with their gifts while still youngsters; attainments which beguiled and enhanced  my young years.
The power of Communication - what else, truly, is there, for the artist to engender?


Friday, April 4, 2014

The Sublime Empiricism of Beethoven - Two Recordings...

The Norwegian pianist Leif Ove Andsnes has, at long last,  decided to record Beethoven for the first time by way of the Concertos; and. for me, it constitutes a fateful decision.
The pianist, during the past year and a half, has recorded the first four of the five Concertos of the composer (hopefully, the fifth will soon be recorded). The first and third are on one disc, recorded in Prague. The second and fourth were recorded in a suburb of London. The Mahler Chamber Orchestra is involved on both discs.
My "review" will be brief. The reason for the brevity is quite simple; that is, I cannot adequately find a way to describe my reaction to what I have heard in these performances.
Andsnes, from my perspective, has found a pathway to the power of Beethoven's language - the ways of projecting the reality of Beethoven as a supreme example of a Child of the Enlightenment; the portrayal that Andsnes divulges to me of the nature and fiber of Beethoven's existential manner of defeating personal tragedy by way of a form of positivism so intransigent in  its message; music, without a word, so clearly  finding a way to poke a finger directly into the Eye of Fate; certifying that  the composer's  early testament in 1802 which begins with contemplation of suicide is utterly and permanently  demolished in the music which follows.
Additionally; Andsnes, as Director of the Mahler Chamber Orchestra, while performing on the piano, finds a way of 'wrapping' the sound of the orchestra  around the piano, creating a kind of "oneness" that results in a fusion I have not experienced before.
The Andsnes incarnation, for me, is more than thrilling. It is the most efficacious example of telling me more about  the core of Beethoven's message than I have could possibly  have contemplated before hearing these performances.


Friday, March 28, 2014

Some Examples of the Oddities and Ironies Emanating From Human History...

I had, in at least one of my preceding blogs, mentioned the reality that the greatest mystery I know of is the image I see in the mirror while shaving. For me, the most imponderable questions that grip me are  - Who and What  am I?  Why am I where I am?
To cite some examples of the Human Condition, especially dealing with another mystery we call Music:
Imagine  the final concert given in Berlin; during the death throes of Nazi Germany, in the midst of the final horrific  Battle of Berlin -  in an unheated hall with an audience which consisted,  in part, of some of the more important Nazis(I believe that Albert Speer was there), wearing  coats and shivering while listening to a Bruckner symphony,  among other masterpieces.  Bruckner was the object of much controversy in Germany during his time, and there were those who thought that his music would best be suited for the nearest bonfire. And yet, shortly after France was occupied by Hitler's hordes in 1940, the manuscript to Bruckner's Second Symphony was lovingly smuggled out of Vichy France by none other than the widow of Gustav Mahler, who walked over a portion of the Pyrenees to Lisbon, coming to rest, at long last , to California and final freedom.
Adolf Hitler championed and listened much to the music of Beethoven, which tells me that the tyrant  appeared to be unaware of Beethoven's unbridled hatred of and utter disdain for Authority and the trappings of Royalty - the great composer  once remarked that it is "they who should bow to us." What if   the tyrant and composer had been  contemporaries? We will never know the answer to such a question.
During my early years in music, I remember doing an informal recital in a large home in Vienna, with about fifty or so people in attendance. During intermission, while I  mingled  among the audience members, a gentleman approached, shook my hand, and stated that he liked my playing of the "D" major Rondo of Mozart. He made a point of reminding  me(rather needlessly) of Mozart's historical importance to Vienna. I MUST say that his stance of superiority irritated me,  and I retorted quietly to him that it should be recalled that while citizens in Prague  were whistling his tunes, Mozart was quite ill and in debt in his native Austria. This gentleman  drew himself up in anger, wheeled and  walked away.
Perhaps I should have been 'nicer';  however, I  felt quite self righteous, being quite young and feeling justified in simply uttering the truth - oh, well...
Mozart once called Muzio Clementi a "mechanicus."  It might be of some interest to the reader that  the personal library of Beethoven contained more of the piano music of Clementi   than the piano music of Mozart.
Oh, well...
Did you know that  the name of the  most powerful composer in the music of the West(yes, indeed - Bach) can be found on police records? Yes, he was imprisoned for a short period for having been too irascible in an argument with a local politician.
At a time when Jewish music was again being played in Germany after World War II, an article appeared in Time Magazine describing the event. Obviously, the article centered around Mendelssohn, and  was excellently written, describing the importance  and makeup of this composer. One aspect had been forgotten, which prompted me to contact Time magazine, reminding them that the discovery of Bach by Mendelssohn was veritably as important as  the music by Mendelssohn. I was asked to write about this aspect, which appeared in Time shortly thereafter.
After all; the Bach Cult has been going on ever since 1829, when Mendelssohn staged the first performance of  Bach's greatest  Mass since Bach did it a century before...
And did not the Teacher become the Student of the same man? Haydn was born in 1732 -  Mozart in 1756, but who died some eighteen years before Haydn passed away. Mozart studied with Haydn during his youth; however, I cannot shake loose from the enhancement of  the compositional process that Haydn must have undergone during his latter years after having been witness, as a great composer himself, to the heights his former student reached during such a brief period. This array of events has never been replicated. To consider all that came to us from 1732 to 1791 -
And so it goes...  


Thursday, March 20, 2014

When Titans 'Collide' - When Great Soloists Perform Chamber Music Together...

When Fritz Kreisler, the legendary violinist, at the height of his powers, plays a Beethoven sonata with Sergei Rachmaninoff,  in 1928 - what can one expect?  One great mind at odds, philosophically and interpretively, with the other? What happens when a renowned  genius, endowed with supernatural powers as a soloist, merges with an equally great peer -  do we expect a gargantuan clash of wills?
The answer, generally, is "no," IF the great soloists have  a sublime superpower outside of their performance abilities; and that is, to LISTEN to the total endeavor of the composer and come to an understanding with one another to give the world an experience; unexpected, perhaps - but most assuredly sublime.
There is a recording of these two giants, of the Beethoven(Op. 30, as I remember).
In 1976 a celebratory  concert was given  at Carnegie Hall in recognition of Carnegie's 85th anniversary - can you imagine Vladimir  Horowitz, the 20th century's answer to Franz Liszt, accompanying the greatest baritone of the age, Dietrich Fischer-Diskau, in Schumann's  "Dichterliebe?"
Or, Mstislav Rostropovich, one of the two or three top 'cellists of that period, being accompanied by Vladimir Horowitz in the andante from the Rachmaninoff sonata (Opus 19)?
Why not listen, and thrill to the magic of two life-long friends, born just months apart; both escaping just months apart from the madness of civil war in Mother Russia, in the third sonata of Brahms for violin and piano? For these towering artists, Nathan Milstein and Vladimir Horowitz, to become ONE...
The performances listed above, all of which are on CD, are some of a relatively small number of  defining historical perspectives of  the merging of Brobdingnagian artists who teach us about the community that can be formed by a tiny portion of  great minds who can communicate with one another in addition to the audiences who know of them, primarily, as individual performers of  the highest order.  


Sunday, March 16, 2014

The Pianist Jose Iturbi -A Wildly Famous Enigma...

Jose Iturbi was, and remains for me, a puzzle whose parts have always remained impossible to 'glue'  into the correct place.
This personal dilemma,  be assured, has  nothing whatsoever   to do with the few lessons I experienced with him.
 The parts of his puzzle, strewn in various directions, veritably like flotsam and jetsam bobbing on a restless body of water, are as follows:
He loved, owned and drove motorcycles.
He played boogie- woogie  as accompanist to Judy Garland in one of the movies he made for MGM.
For a brief period, there was discussion about his assuming a serious role as an actor in movies; an event which never took place.
He performed with and was an acquaintance with many of the great musicians of the period.
He was considered one of the great pianists by many critics.
His knowledge of music, as both a harpsichordist and pianist, was world recognized.
He was also a conductor, and at one time considered it as a prime activity to follow.
He loved playing the piano in concerti, while sitting and conducting at the same time. I saw him do it  in  the Gershwin Rhapsody in Blue.
O.K. in the  Rhapsody, but try doing this in the Tchaikowsky,  which he did. Not quite so  successful, as it turned out to be.
Iturbi possessed the greatest level of Keyboard Location that I know of - even Horowitz, I believe, could not equal  that aspect. Iturbi could look away from the keyboard while playing some of the most difficult passages from the literature. He even talked calmly, as if he were smoking a pipe, to others, while his fingers accomplished the playing of fiendishly difficult  cascades  of notes from  Liszt, Chopin etc.
There is no question among historians and witnesses  pertaining to  his legendary status as a player of the piano.
But the music...
At times, he brought the language into being; and during those periods, he was stupefying.
Sadly, these times were few and far between.
The puzzle never came together, for me...


Friday, March 7, 2014

Two Important Debut Concerts - Concerts I Was Witness to...

During my childhood school years; both elementary and high school  periods, I was witness to many great experiences as a  part of audiences  watching the reigning musicians, such as   Rubinstein, Heifetz, Horowitz, Milstein, Kreisler, Koussevitsky, Iturbi, Reiner etc.
However, there were two performances of defining import historically, as both  were geniuses just starting out. Most important, these two carved out  careers of illimitable luster and power, as History has since certified.
Both occurred during my high school days, while  beginning my studies at Eastman, before embarking upon my more advanced work in Germany.  The first of these two defining experiences was the Eastman debut of Leonard Bernstein. He was in his late twenties, as I recall, just having created his sensational entry into the world of conducting. I remember his not using a baton at that early point in his career. The use of both of his  hands to mold shapes of  expressive designs overwhelmed me - it was almost as if I were watching a ballet for the hands. It was as  if I were actually SEEING the music emanating from both hands as the sounds were being engendered a millisecond  thereafter. All this coming from this intense young man with jet black hair, barely a decade older than I was. The music I remember best that evening  was his conducting the Rochester Philharmonic in Beethoven's 8th symphony, which  simply overwhelmed my senses. His understanding of the celebratory aspects of this work was absolutely sublime. I shall never forget what Bernstein was able to summon at such a young age.
The other event was a recital by the American pianist William Kapell, who had also just embarked upon a journey that was to catapult him into fame throughout the world in just a matter of months. He played the Khatchaturian piano concerto with the Rochester Philharmonic on that day, and  his gargantuan technique and quicksilver-like tone seduced  the audience I was part of. The tragedy of his death in his early thirties in  a plane crash in California is one of the great blows suffered by the world of music during the twentieth century. Many even today consider Kapell, along with Murray Perahia, to be America's most important addenda to the history of piano performance.
To consider myself fortunate to have been there at these two events is to understate - I feel blessed to have been there...


Thursday, February 20, 2014

Music - As Seen Through the Eyes of a Musician Other Than Myself - a Fascinating Intra-Argumentation!

The other day I received a note from Ricardo Odriozola, the eminent Spanish violinist who teaches in Norway and performs and records  throughout Europe. He mentioned to me that he was looking at a composition I wrote for him recently, and was in the midst of examining the polyphony embedded in this work for unaccompanied violin, let alone analyzing my tonal component, which he termed as "complex in its simplicity."
"Complex in its simplicity" - well, after mulling over this statement, I felt that Odriozola really 'nailed' the issue of my harmonic vocabulary, in that  he sees the imagery of my tactics in moving from one tonal center to another in very brief "real" time in constancy ,which is the basis of my particular premise that the diatonic system will prevail in spite of the age of transition that has  surrounded it since Schoenberg.
The violinist (who has recorded a number of my works)and I have never intrinsically discussed the process of 'capillary action' I employ in dealing with tonal centers; however, in these words of his I am reminded of the level of knowledge that Odriozola possesses and his abilities to  'translate' the languages he is confronted by almost daily at this point in the ongoing saga we call Music.
Which brings to mind the question of:
What did the likes of Mozart and Beethoven, through their eyes, discern, in their early years when  a teacher  they both studied with;  a gentleman by the name of Haydn, anointed them with his music? What, at their dizzying level of imagery, did they take away from the works that Haydn must have asked them to pull apart and put together once again?
I think about this issue, from time to time; and try, as best as I can, to imagine what a genius sees in the same music I may be looking at.
I fully realize, of course, that from time to time, what one musician sees may surprise, let alone shock another musician, by way of the pejorative;  as, for instance, Tchaikowsky calling Brahms "that artless bastard."
At any rate;  for me, the pondering over this rather delicious issue will always be a source of a kind of ambivalent pleasure and some consternation, as the answer to this issue is, of course, unavailable.