By David Amos
SAN DIEGO–Are you a biased person? Do you discriminate against one in favor of another? “Of course not,” you say; “I make choices on a fair and equal basis.”
Maybe you are that way for matters of race, religion, sex, national origin, and such matters, but are you as totally unbiased in artistic and entertainment choices? I contend that to a lesser or larger extent, we are all prejudiced, and we practice it every day.
Does one kind of music have more “value” than other kinds of music? Does this apply to composers and/or interpreters? What is “bad,” what is “OK,” and what music is “Great?”
This is obviously a subject which touches at the very core of the debate on the virtues and failures or classical versus more popular kinds of music. There is enough material here for a series of thought-provoking lectures and discussions. I have talked to many people on this matter, and have gathered a variety of comments and insights which you might find perplexing and interesting. As you might expect, there is absolutely no consensus, and no two people think alike when analyzing what is quality in the arts, and in our case, specifically in music, even if we are only talking about classical music.
Let’s look at a few specific and vivid examples.
A year after Jacques Offenbach’s death in 1881, there was a devastating fire at the Ring Theatre in Vienna, during a performance of the composer’s Tales of Hoffmann. As a result, 384 members of the audience perished. Upon receiving the news, Richard Wagner said, “When miners in a coal pit are burned alive, I am deeply moved and horrified, filled with disgust for a society which obtains its heating fuel by such means. But it leaves me cold and scarcely moved when members of an audience die while listening to an Offenbach operetta, which contains not one iota of moral worth!”
Did Wagner really think that the music was so worthless, or the message was a not-so-subtle anti-Semitic comment?
In the 1960’s during my college days, my private piano teacher assigned me to study and play a few Mazurkas by Chopin. I remember distinctly that he told me,” Each of the Chopin Mazurkas is a jewel in itself; Chopin was at his most brilliant in the short compositions, and his Mazurkas are a prime example of this art form.”
A few days later, I was walking in the hallway of the music building, and I ran into another of the faculty’s respected piano instructors. Even though he was not my teacher, we knew each other well and occasionally conversed on musical matters. Upon seeing the Mazurkas book under my arm, he commented, “You know, David, those trifles are not worth the paper in which they are printed; pure Romantic trash!”
What would be your reaction if I invited you to a concert at Copley Symphony Hall , featuring the Modoc County Philharmonic, conducted by Homer Frizbee, performing Mahler’s Symphony No. 6? You would laugh at the absurdity. Such an evening can not be any good! You may even say something like “Who do these people think they are, to attempt to play such a gigantic work such as this one? If they are stupid enough to play this music, I am certainly not stupid enough to be there!”
My reaction may actually be not too different from yours, but let’s face it, we are talking about pure, uninformed prejudice. We all have preconceived notions of what high quality is and what lesser quality in the arts is. It is a snobbish concept, which, admittedly, keeps standards high to a certain point, but at the same time limits our options, and therefore, our potential introduction to new experiences and aesthetic satisfaction. If we are not careful, we may actually enjoy ourselves. It may be very well possible that an old recording of Bloch’s Trois Poemes Juifs with the Riga Symphony Orchestra is far superior than a new high-tech release of the same work with the Chicago Symphony. You will never really know unless you compare both, or are willing to take a chance on something unknown.
A classic example of this rationale is the case of a superb piano performance on compact disc, which I, along with many other musicians and critics have praised and admired. The problem is that the pianist, as wonderful an artist that he is, is not well known. These things happen. A critic who reviewed this CD, and had obviously not heard of this pianist, could only give this ridiculous comment: “The playing is OK; at least there are no disasters”. What a brainless, self-serving arrogant pseudo-intellectual remark! It borders on being an insult, and for sure, it does not serve music.
When I was a high school student, decades ago, I entered a debate competition. According to the way this contest was arranged, I knew the names of my competitors before the event. The weekend preceding the debate, my parents were hosting visitors from Europe, an old doctor and his wife, who prided themselves in matters of intellect, culture, and good taste. In discussing with them my upcoming debate, I showed them the list of the other participants. The good doctor, upon scanning the list, immediately told me, “You will have no problems from all the other ten debaters, except this one, Rudolf Dubek, who is obviously intelligent and will give you trouble”. He made up his mind as to who had the higher I.Q. solely from the last name, implying superior genes, intelligent breeding, discipline, education, and background. This, my friends, is pure prejudice.
In music, the secret is to LISTEN, with open ears, heart and mind. Pre-judging is convenient and gives us the comfort of being part of the so-called “intelligent circle of people who all agree as to what’s what and who’s who.” We praise and worship what is expedient. I may go as far as saying that we even hear the musical group with the lesser reputation and profile, and tell our friends “See, I told you that they are not that good.” Maybe so, but it is also possible that you were not really listening. Were you taken by the person at the podium who looked so slick and in control, that you were inclined to say or think “Now, that conductor really knows what he is doing!” Did you close your eyes for a while and simply listen to the sound?
If our local classical music radio station announced the playing of a Beethoven symphony, conducted by George Solti, you would probably look forward to hearing it, and with good reason. But, what if it is a recording conducted by our mythical friend, Maestro Frizbee? Would you turn off the radio immediately? Agreed, chances are that the Solti rendition would be the better one, but quality comes in surprising packages.
I have heard in concerts, and worked with soloists and orchestras whose quality far exceeds their prestige, reputation, and asking price, to the point of challenging many of the household names in the world of music that you and I have been told are “it,” simply the best. This could be very misleading.
Case in point: Take the dynamic trio of tenors who have presented huge spectacular shows to millions and millions of people all over the world. Granted, Carreras, Domingo, and the late Pavarotti, accompanied by Zubin Mehta are a formidable package indeed. But, are their television spectaculars good or bad for classical music? My reaction would be the same as yours: Sure, it’s good for music! Look how many people are exposed to listen and enjoy these superstars, who would otherwise never go to a live concert. It is an introduction which might lead the uninitiated to attend operas, concerts and recitals.
I agree with you that this is very good. But there is a down side to this, as explained so graphically in Norman Lebrecht’s book Who Killed Classical Music? I have talked to musically ignorant people who loved the three tenors, are fully convinced that they are the best in the world (which may be the case, but that’s not my point), and that all other tenors anywhere are simply inferior, worthless, and best avoided. This is an injustice and a disservice to good music.
The secret: LISTEN, do not pre-judge, take a few chances. It may not be as easy and convenient as the safe, known alternatives, but the chances of broader satisfaction and insights are far greater.
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Amos is conductor of the Tifereth Israel Community Orchestra and a guest conductor of professional orchestras around the world.