Reactions to classical music

The only way to take classical music out of the museum is to stop playing it in a museum.  The adventurous cellist Matt Haimovitz said as much recently, when he toured dive bars, pizza parlours, and roadhouse juke joints with the [Bach] Cello Suites.  “People were reaction to the music as it was going by,” Haimovitz told CBC Radio, “and if they really enjoyed something or were impressed by something, they howled or whistled or sighed, and yet they were totally riveted to the music.  At first it was disconcerting because I’m so used to waiting until the end of the piece for the reaction, but having an immediate reaction like that was extraordinary, and in my opinion in character with these pieces – they should make you laugh and cry and everything else.”

Cited in: Siblin, Eric (2009) The Cello Suites. Crows Nest: Allen & Unwin. p.47.


Posted

in

by


Featured Content

Harmony
“You don’t get harmony when everybody sings the same note.” Doug Floyd, editorial editor of The Spokesman Review
October from The Seasons (Tchaikovsky)
Title: “October” from The Seasons, op. 37 bis Composer: Pytor Illich Tchaikovsky Arranger: Greg Smith Instrumentation: Cello quartet Product medium: PDF score and parts Sample:
Men of genius
“Men of genius are often dull and inert in society; as the blazing meteor, when it descends to earth, is only a stone.” Henry Wadsworth Longfellow (1849), Kavanagh, London: George Slater, p.49.  https://books.google.com.au/books?id=i8ENAAAAQAAJ&pg=PA1#v=onepage&q&f=false, accessed 4 September 2021.
Old into new
An old thing becomes new if you detach it from what usually surrounds it. — Robert Bresson, French filmmaker J. Butler, Star Texts: Image and Performance in Film and Television, Detroit, Wayne State University Press, 1991, p. 170.
Liberation from formalism
“The present time has to a great extent liberated itself from symphonic form – from formalism. This started when the concert halls became empty, because that form has nothing to do with human beings. I believe that the present time is progressing.” Jean Sibelius, to Jussi Jalas, 17th July 1946 Cited at: www.sibelius.fi [accessed 31 […]
A hunch
Logically, a hunch makes as much sense as saying, horses have tails; therefore, all tails have horses.”  But in the zany world of films you don’t explain hunches — you just live and die by them. Frank Capra (1971) The Name Above the Title: An Autobiography.  Macmillan, p. 123. 
The background to Bolero
Ravel’s infamous Boléro was somewhat created by chance: Shortly before Ravel left for America, the Russian dancer Ida Rubinstein had asked him for a ballet to be based on orchestrations of parts of Albéniz’s Iberia. To this he agreed; with so much on his plate he was not anxious to undertake further commitments for wholly original composition. […]
Environmental soundscapes
In the 1960s, the Canadian composer R. Murray Schafer founded the World Soundscape Project at Simon Fraser University.  The research group explored the sonic environment.  Later projects would include  The Vancouver Soundscapes of Canada (1973), European Sound Diary, and Five Village Soundscapes.  In his book on the subject, The Tuning of the World, Schafer wrote […]
Mozart’s daily schedule
“…at 6 o’clock in the morning I’m already done with my hair; at 7 I’m fully dressed; – then I compose until 9 o’clock; from 9 to 1 o’clock I give lessons. – Then I Eat, unless I’m invited by someone who doesn’t eat lunch until 2 or 3 o’clock as, for instance, today and […]
Mozart’s magic ring
When Mozart was in Naples, he so impressed his audience that they suspected “musical sorcery”. They ordered him to play without wearing his ring, the apparent source of his “magic”. Source: Marek, George (1969) Beethoven: Biography of a Genius. London: William Kimber, p.20.