Classical Music Today

It was with great interest that I read Terry Teachout's article titled "Free the Piano Player" (http://www.commentarymagazine.com/viewarticle.cfm/Free-the-Piano-Player-11278) where he gives the overall suggestion that concerts in the 19th century were more informal and improvisatory than today. The article begins with the bold statement, "It is now widely acknowledged that classical music in America is in dire, even desperate straits." His historical examination of piano recitals carries with it the recommendation that solo recitals of today include more variety and experimentation with communication and improvisation. Teachout points out that even young classical performers continue to present a very formal concert "consisting of three or four groups of pieces drawn from the standard repertoire and arranged in chronological order, never speaking a word out loud save to announce their encores."

I have also read much of Greg Sandow's articles on classical music, http://www.artsjournal.com/sandow/ and can sympathize and embrace his concept of developing ways to keep classical music alive. He advocates more creative programming on radio shows and live performances to include an eclectic approach with regard to genres, styles, and overall plan of music concerts. He often points out the value of bridging the gap between cultivated music and what he calls "mainstream" or entertainment music. Sandow says of his students, "And yet here we have my students, and so many other young classical musicians, who inhabit both worlds. They're in the classical music world, as young professionals, and they're also in the mainstream world, sharing the same culture as their friends who don't pay attention to classical music."

In our typical college curriculum, we continue to insist on an "old school" kind of curriculum with the argument that it provides the fundamentals or building blocks from which music is created. And there is no doubt this is true to a point. But perhaps our (our meaning we college professors!) very design of only dealing with our own myopic description of quality music curriculum has in essence widened the gap and polarized audiences rather than narrowing it and bringing about societal musical congruity. Even more frightening is the awareness that maybe we prefer it that way--in an almost elitist indifference to the uneducated ear. A type of refusal to throw your pearls before the swine attitude that results in smaller audiences not bigger.

Somehow I suspect that my students have an innate understanding and desire to bring great music to the people and that I have missed the elements needed for this to happen. In my very training and love of the classics, perhaps I have inadvertently placed an exclusive wall and arrogant barrier between my desire for musical excellence at all levels and the mainstream desire for enjoyment and entertainment. Obviously, I am not speaking of me necessarily for I have actually worked hard to be a part of mainstream music making.

When I am a horn player, I gravitate naturally to Mozart. When conducting, I am concerned with musical precision and beauty of phrase. When teaching music history, I emphasize the classics, the finest music by the best composers, determined primarily by music that has withstood the test of time. When teaching theory, I am drawn to Wagner and Schoenberg; but then I don my other hat and become a gospel pianist with a love of rock and folk music from the 60s and 70s! I then turn another direction and find myself playing jazz piano or directing music theater or arranging marching band music. It all has a place in my musical life.

Music is great fun and maybe it is time for those of us in musical academia to make it fun for the players and the audience also. I do advocate for greater communication, eclecticism in programming, variety of genres and styles and mostly for enjoyment for all. But, and here is where my elitist hat comes back on I'm afraid, I do want to remain committed to excellence in performance, and I hope we keep at least some degree of formality in our product if not consistently, perhaps intermittently.

Whatever we adopt and whatever we practice, it is my dream (a variation of the dream of Leonard Bernstein, Gustav Mahler, Antonin Dvorak, and many others) that sophisticated and cultivated art music be embraced by and even melded with mainstream music for the masses. Whose responsibility is this ideal? No doubt about that, it is everyone's--composers, performers, teachers, and yes, the audience! The goal is for classical music, and really all music, to be alive and well in the world.

My week

Last week was a tough one and rather complicated by several events. It started last weekend when Joel, who was in a talking mood and sharing many of his thoughts and ideas, began planning his future. He mentioned playing the organ in a church, perhaps going to school, working in a library, and having a family. We have heard these thoughts before and always try to offer support but also try to steer him in positive directions. But as he talked about having a family and wanting 3 children (sometimes it is 6!) he blurted out that he didn't want them to be like him. That his children would be "normal."

We were shocked to hear that sentiment from him and were not sure how to respond. With a typical human response of avoidance, we changed the subject and went on to discuss less potentially excrescent topics such as what was for dinner. But the comment has remained with me all week. In a rare moment of lucidity, Joel expressed a deep fear and self-awareness. I have decided to think more on this problem and be more sensitive to his self-esteem.

The recently announced cuts of various programs around our school--not unusual in today's economy incidentally--did affect people's lives in negative ways. This has made me appreciate the many blessings that I have but has also increased my empathy for the personal insecurity caused by economic hardship. I have found myself in prayer for those without employment and it is my belief that God has a purpose and plan for them.

But not everything has been filled with emotional anguish for I had the great pleasure of conducting a band rehearsal, orchestra rehearsal, and a choir rehearsal--all in one week! What fun I had preparing the music, working with students, improving the sound, the phrase, the balance, the technique, and mostly doing what I absolutely love--making music. My analytical side would like to discuss the differences in the three organizations and make some recommendations on how to approach each one, but my emotional side simply wants to express the pure enjoyment and golden opportunity to direct these three music ensembles.

In addition, my youngest son played a recording of Rachmaninoff's 2nd symphony. As I listened to the remarkably beautiful 3rd movement, I was struck by its exquisite blend of expressive phrasing and dramatic intent. The almost relentless power and beauty of this movement stayed with me throughout this difficult week, causing my respect and admiration for Rachmaninoff's music to increase.

My week ended with a couple of normal concerns about scheduling conflicts. This is really nothing new but I always wish there were more hours in the day and that I could make everyone happy. Sometimes, though, it is just impossible to meet everyone's scheduling needs. I think this is part of what administration is all about. In addition, two students came to me to explain their recent affliction. I suppose the doctor next to my name can be deceiving to some people needing medical attention. After hearing about their disease and momentarily sympathizing, I looked up this terrible problem in the medical dictionary to see if I could recommend an appropriate treatment or at the very least refer the students to a physician. To my shock, there was no mention of this disease in the desk reference and therefore no treatment.

So to the students who come down with this bug they are calling "SENIORITIS", I want to recommend a couple of things: 1) Work harder not less, 2) Apathy is unbecoming to a professional, and 3) A good attitude is the antibiotic that will battle and defeat this particular disease. The prescription is free and available to all!

Congratulations must be extended to Professor Stephen Goacher for the release of his CD called "Leaving a Testimony." Although it may not receive the same national acclaim as winning a national title, it does represent years of hard work on woodwind instruments and a God given opportunity to be shining light for Him. To buy a CD, contact Mr. Goacher at : sgoacher@hputx.edu It is an outstanding CD that I believe everyone will enjoy.

So my week is done and tomorrow starts another one. I think it will be better and I think I will continue to listen to Professor Goacher's CD as well as more Rachmaninoff.