Tag: curiosity

Edward Seckerson: “Having A Musicality Which Chimes With What The Artists Are Doing.”

Edward Seckerson, music, writer, British, broadcaster, classical, musical theatre, interviewer

Photo: Kevan Bamforth

“What’s the c-word?” I ask my students.

“Context!” they reply.

It behoves any writer to know something about the subject to which they profess passion, love, adoration. Far from being antithetical to the spirit of discovery, context tends to enhance appreciation, understanding, and overall enjoyment, while leaving room for questions: why is a musical phrase Beethoven’s 5th done a certain way by Carlos Kleiber, but not by Klemperer? How much should the tempo in the final movement of Das Lied von der Erde be guided by text, or might there be another approach (and if so, what)? How do the alliterative sounds of Hugo von Hofmannsthal’s writing inform the aural sounds of Strauss? What roads led to Wagner’s famous lack of resolution in Tristan und Isolde and what paths led out of it (what didn’t, really)? Some things have definitive answers, but in art as much as life, some things tend to be –must be – evolving conversations.

It’s good to be reminded of the importance of both definition and evolution, even while striving, amidst quotidian mundanities (the continual handwashing, the ever-growing pile of ironing, the nightly nod-off on the sofa) for something that can be felt and experienced beyond the immediate. Around the world culture lovers are largely in situ; the only travel many are able to do is through one’s own imaginings. How rich they truly can be when one has the brushes and the pigments at hand to shape the many flat, smooth surfaces of weeks and months before us, but oh, how difficult it can be to find the inspiration to start, let alone to continue. I tangle, on any given day, with threads that pull in all directions: emails, updates, cooking, correcting, battling seemingly-endless streams of dust. But something within persists, and has done to varying degrees since the pandemic began, a constant akin to Malevich’s infamous black square, which resonates, reverberates, swallows, enfolds, encompasses, and even (especially) enlightens. As I wrote at the end of April, curiosity has been the guiding light through not only the current COVID19 era, but more broadly, a music education sorely lacking in proper guidance through childhood and youth, but one which has enjoyed a lovely Renaissance in the last few years. In an editorial for Opera Canada magazine earlier this year I revealed my strong belief in studying prior to attending (or now, livestreaming) events; that belief extends to listening. I find it stressful to put on a piece of music and not know even a little bit about what I’m hearing, let alone something about the artists involved, its history of composition, and the various approaches to interpretation. The work of Edward Seckerson has been invaluable in this regard; context and curiosity join in important ways through his work, allowing for new insights, deeper questions, and ever more bundles of curiosity.

A self-described “writer, broadcaster, podcaster, and Musical Theatre obsessive,” I discovered Seckerson’s work via his regular reviews for Gramophone magazine. His smart, accessible, well-observed writing employs poetic if equally clear language; the Gramophone review of the Pentatone/Rundfunk-Sinfonieorchester release of Das Lied von der Erde from earlier this year, for instance, mixes the text of Mahler’s grand work and its recorded history with keen musical and vocal observations, contextualizing and poeticizing in one sublime whole. Along with working in formal media for various British papers through the years (in the role of critic), Seckerson has worked in theatre and music, appearing onstage in various forms and roles. Writer and host of the long-running BBC 3 Radio series Stage & Screen, he is and has been a regular on radio and television, and has contributed commentary for the Cardiff Singer Of The World competition regularly. As well as penning books on Mahler and conductor Michael Tilson-Thomas, Seckerson has also been part of stage works exploring the life and works of composer Richard Rodgers and conductor Leonard Bernstein. Despite (or perhaps owing to) such accomplishments, Seckerson does not think of himself as press these days so much as a figure who, as he puts it, wants to be (nay, is) part of a broader creative conversation. Indeed, conversation is the thing he positively excels at; Seckerson has interviewed many, many people, including, as his website says, “everyone from Bernstein to Liza Minnelli, Paul McCartney to Pavarotti, and Julie Andrews to Andrew Lloyd Webber.” His interviewee list is a who’s who of figures from the classical music, theatre, and musical theatre worlds, reflecting his passion for all of them, and, more broadly, his commitment to the intelligent exploration of culture in all its facets and forms.  Such a gift for (and active commitment to) one-on-one conversation is truly a rarity in a world of pre-written Q&As and preening Insta-videos. I was fortunate to be able to experience this gift live earlier this year, during a talk at London’s Bishopsgate Institute featuring Sir Antonio Pappano; over the course of the evening I was struck by his casual balance of personal and profound, funny and foundational; attending a Seckerson talk means one will learn as much about humanity and artistry (and the sometime-connections therein) as about the actual figure themselves, no small thing in a world where image tends to trump authenticity.

Seckerson has put his distinct talent for conversation to work via a regular chat series produced over the course of the lockdown. Guests so far have included conductor Edward Gardner, violinist Nicola Benedetti, actor/singer Julian Ovenden, and mezzo-soprano Dame Sarah Connelly. Conversations span from thirty to sixty minutes and, as he explains, are entirely unedited, and are inviting exchanges which nicely embrace both the macro and the micro aspects of individual artistry and creative development, particularly within the context of our current pandemic era. His casual remark to violinist Nicola Benedetti during their conversation in June, that Elgar’s Violin Concerto (the performance of which was one of the final performances he attended in London before lockdown) is “the most intimate of epics”, inspired a spontaneous and enthusiastic response from the violinist (“It’s an amalgam of the very public and the very private Elgar”, he went on to explain), the warmth of which fuelled their lively almost-30-minute exchange. In a time when one’s spirit can so easily be dragged down by a multitude of daily mundanities, when life can feel so cold, empty, and robbed of joy, such sincere exchanges feel like a needed blanket of warmth and goodness.

Writing about another writer one happens to admire is no easy task; writing about a writer who is also a gifted conversationalist and who, octopus-like, has many arms in many different and fascinating worlds and is, quite simply, so very genuine, is indeed a rare gift. Perhaps my students, when asked what the c-word is, might also now respond loudly with, “Conversation! Commitment! Curiosity!” – for these are things Seckerson’s work has encouraged in my own pursuits, particularly through these many gloomy months. We spoke in August, before much of the programming now underway in London was announced.

Edward Seckerson, music, writer, British, broadcaster, classical, musical theatre, interviewer

Photo: Edward Seckerson

How have things been for you through the lockdown?

I live in central London, and it’s disturbing that the West End, and London overall, has been so empty – so many businesses are going to close. The Chancellor introduced a supplementary package for eating out Monday to Wednesday; it’s done the trick, and a lot of people are eating out as a result – they get £10 off their meal. In terms of the arts, people here are so desperate to get things moving again – they’re being so resourceful and creative. It isn’t always successful, but the will is there, and that’s important.

Have you had time to reflect on your work during this time?

Well, one of the things I suppose I learnt over the years of reviewing – and of course I still review for Gramophone – is that I always feel, just as I did when I was writing for The Independent, there is really no point offering your subjective view. Everything is subjective! But it’s best to offer some sort of insight into the piece you’re reviewing. I wrote a review this morning for Gramophone of the new Dudamel recording of the Ives symphonies, and I spent most of the review really talking about the music, because that, to me, is more important than just registering whether we have another successful performance on our hands, or what the merits or otherwise are of this performance. I think it really is important to give some kind of guide to the piece you’re reviewing, and the same is true of when I do the comparative reviews on (BBC) Radio 3, on Record Review – I think it’s important to offer people some kind of road map to the piece as well as interpretations.

That map, for those who don’t have a formal degree in music, is very helpful; it feels like a door swinging open, which isn’t always the case with classical music writing. Is that your intention?

Yes, that’s exactly my intention, to make that map clear. I always say that it’s almost irrelevant whether Ed Seckerson thinks a performance is special or not; what is important is that I offer some kind of sense of the experience, the shared experience if you’re reviewing something live. People who weren’t there want to know what it was like to be there, so there’s that element. I used to get a lot of flak when I reviewed opera for The Independent; people would say I spend too much time discussing the production and not enough time discussing the relative merits of the cast and their performances, but since most of those reviews were about new productions to me it was important to try and express, or offer, some kind of insight into what I think the director was looking for.

I’ve received similar feedback, that I focus too much on the ideas of the director and theatre aspects overall, and not enough on the singing, but I read your review of Barrie Kosky’s infamously divisive staging of Carmen and it gave a real sense of why he chose what he did, contextualized within the history of this very famous opera.

… and that’s the point. I think there are a lot of spectators out there who simply want their opinion to be endorsed or otherwise when they go to the opera – (like) if their favorite singer is singing, they want to see a rave about them. But it is actually important to discuss how the piece is being reimagined. Opera would very quickly become a museum culture if people didn’t keep reimagining the pieces, and sometimes they do so with limited success, sometimes they do so with hugely insightful success, and I think that’s important. One of the reasons why I’m successful as a critic is because I was an actor, and I have a very real sense of what it’s like to be on a stage and be that vulnerable – but also, if a director makes a choice, I feel it’s important to be able to ask, if it’s not immediately clear, why he or she has made that choice, to be able to offer some kind of suggestion or insight as to why they might’ve made that choice. And I don’t think audiences question that side enough. One of the reasons it took so long for slightly more, shall we say, radical theatrical productions to become the norm was because audiences weren’t prepared to do some of the work themselves. And I think it’s important that audiences are not passive, even if it’s a concert. I’ve spoken to so many musicians who say they know immediately when an audience is listening in a certain way; if an audience isn’t listening in a certain way, or there isn’t that connection, they know immediately that that performance won’t succeed, or won’t succeed on the level they might’ve hoped.

Musician friends of mine have noted how the quality of the listening can change dramatically according to where they perform; geography makes a difference. 

That’s because certain audiences are experiencing a different culture of music, sometimes for the first time, so they might listen more intently.

Or not…

That’s true! We do take a lot for granted here; we are very spoiled in cities like London, which is surely a music capital of the world. The choice, on a daily basis, when there isn’t a pandemic, is absolutely extraordinary, and you know, this time has made me appreciate what live music really means to me.

Edward Seckerson, music, writer, British, broadcaster, classical, musical theatre, interviewer, Diana Rigg, backstage, Queen Elizabeth Hall, conversation, artist, theatre

Backstage with Dame Diana Rigg at Queen Elizabeth Hall, March 2019.

What has changed in the quality of your listening as you stepped away from reviewing?

Well, one of the pleasures of giving up writing newspaper reviews was that I could actually go and sit, relax and participate as an audience member, which gave me, and still gives me, great joy. You do listen differently when you are writing about something. I still listen in great detail but I think part of your brain is already forming the sentences, is already thinking of images, for the review you’re going to write, which is an intrusion. I first wrote for The Guardian in the days when pretty much all the reviews were overnight reviews, and I was never so unhappy as I was at that time as a journalist. I did it because it was a big break for me and it was establishing my name, but I hated every minute of it, and when I joined The Independent, the first thing I said to Thomas Sutcliffe, the arts editor, was, “If you’re doing overnight reviews, I’m not in the business of writing them” and he said, “No, I want people to sleep on what they’ve experienced and get up the next morning having digested and let it sit for a while.” All this nonsense about rushing out to meet the 11pm deadline doesn’t help anybody.

A long time ago there was an arts editor I worked with, and (Placido) Domingo was in town doing a revival, yet another, of the (Franco) Zeffirelli Tosca, it was Gwyneth Jones and Domingo, and the editor said, “We want an overnight review because it’s Domingo” and I said, “The show comes down at twenty minutes to 11pm; there are two intervals in the production; your deadline is 11pm; it’s impossible” and the editor said, “Well you’re no use to me as an opera critic if you can’t deliver a review after the show.” I said, “When will I do it?” He said, “You write during the intervals.” I said, “How can I write organically about a performance when it’s only a third of the way through? Oh, but wait, I have a good idea: why don’t I write the review before the performance?” It took him a moment or two to realize what I was actually, rather savagely, saying. And I did write the review, and I basically had to cheat it and write at the intervals, so there was no coherence. That is the kind of attitude that existed in media then and it still does, but thankfully some things have changed.

Some things have changed, but some have not, that attitude has transferred over to an obsession with clicks and views; Antonio Pappano and I spoke about it earlier in the summer and he said at one point, “if that’s what we rely on, we’re lost.”

When I did my talk with Pappano – you were there – at Bishopsgate earlier this year, we spoke backstage about the new culture of journalism, actually. You know, I was in at the start of this (change) – I was a mainstream classical reviewer in the days of broadsheet papers as well as this transition online, and indeed I remember people I knew at Glyndebourne, when the online thing started to happen, saying to me, “What are we going to do about inviting people?” I said, “You have to make value judgments about the kinds of writers you’re inviting – ignore all this business about how many clicks and hits they get, and just read what they write; read the work, and decide who you think is worth inviting.” It’s that difficult, and it’s that simple. And so when we spoke in January, Pappano himself was horrified I couldn’t get arrested at the ROH these days. I said, “It’s not because I’m writing reviews; I’m honest about that. It’s because I want to be part of the argument; I want to be part of the debate about the kind of work that’s being done at the ROH.” I mean, I’d be quite happy to attend rehearsals, but the attitude is always, “Oh no, you’re a member of the press! You can’t!” and I’ve said, “But I’m not a member of the press anymore, I’m just me…!”

This sounds frustratingly familiar. 

It’s so frustrating. If I go to a dress rehearsal and I want to make some constructive comments, I won’t write a review, I want to be part of the debate before or after the performance. But I can’t contribute anything if I wasn’t there.

You’ve still really crossed over from the media world. What has that process been like?

It’s been very interesting. Long before I wrote for The Guardian or The Independent I was invited to ENO, during the Sir Mark Elder/David Pountney regime, and I got invited because the Press Officer was enlightened enough to know my background. I was making in-roads as a journalist and writer but had come from the theatre,  and I had a musical background as well, but I had come from the theatre directly and they had the good sense to invite me long before I was writing reviews – so I had points of reference. When I did start writing reviews, I’d been there, watching these shows, seeing this company develop, which fed into the kind of writing I produced, which fed into the things I did when I started writing for a major paper.

So you paid your dues, just not in the usual way… ?

I paid my dues, though yes, my background is very unusual for a music journalist, because although I studied music when I was young – I was saying this in the interview I did recently with Nicola Benedetti – my problem was when I started learning the piano at a young age was that my musicality had already exceeded what I was capable of doing on the instrument, and I found it hugely frustrating. Nicola completely identified with that, by the way! I said, unless I started even earlier – and that battle that goes on between technique and musicality is huge.

When I was learning piano as a child, musicality was something others tried to forcibly extricate; there was an intense focus on technique instead, which I was never very good at. Musicality was perceived as being unfocused, sloppy, pointless. 

How awful! I mean, I went to a comprehensive school where they had peripatetic music teachers, and I was handed a violin one day and learned my way around that instrument without much success, but at least I knew my way around it. I took up percussion, which was a way of producing more instant results. I could read music and rhythm, and picking up the technique was relatively uncomplicated compared to learning the violin, so I was able to play with amateur orchestras and youth orchestras, and that was another way in. But this thing about musicality, coming as I do from a theatre and music background, I was brought up to believe rather as Leonard Bernstein said, to just embrace music in all its facets, in all its styles – that’s the way I was brought up. I was never directed toward “good” music or “serious” music, I was just encouraged to enjoy music, period, and lucky enough to be taken to theatre and musicals and concerts, and that’s where it all started to marinate. Many of my colleagues come from more academic backgrounds. I always say, nothing wrong with that at all, but if you’re going to be a critic, and a lot of young students have often asked me about this – “What is the route in? What is the way in?” – I’ve always said, there isn’t any particular way in, it’s a case of just doing it.

This is precisely the advice I give my own students: do it, do it a lot, but be wary of doing it for parties who will exploit your talent and energies.

Precisely. I started years ago, by producing dummy reviews and sending them to people, because I was an avid record collector as a boy, and as I grew up I became more and more fascinated by interpretation, and that, to me, was where the music-making really started to happen. So I always say to people, it’s not so much what you know, it’s what you feel. And if you can’t recognize when an artist makes a beautiful phrase, then you’ve no business doing the job. It’s about having a musicality which chimes with what the artists themselves are doing. And you have to feel confidence in that. The one thing I am confident about amongst all my insecurities: I am completely confident about my musicality.

That confidence translates to your online conversations. Why did you start this series?

When lockdown happened, my partner said to me, “Why don’t you do audio?” I said, “Honestly, do I really want to do audio? And not earn a penny?! Surely I should be looking for ways to earn a bob or two during this period!” And my partner said, “It’s important you’re out there and doing what you do.” So I decided to do a series with people that I had some kind of association with, either we’ve crossed paths or I knew their work or they knew my work. Nicola was the exception – I had never met her, but one of the last concerts I went to this year was her live performance of the Elgar violin concerto at the Royal Festival Hall; I was blown away by it and thought it was a good reason to speak to her, since the related album was coming out.

But basically what I wanted to do was to talk to people that would feel comfortable relaxing on a remote audio with me, and were prepared to do so without editing. These audios are all unedited, they are completely spontaneous – this was important to me; sometimes a doorbell rings or whatever, but basically I’ve said to these artists, “I want this to be raw, as if we’re doing this live.” And I was determined we should mix classical and musical theatre, because they are my two main areas. I started with John Wilson – I bumped into him literally in the first week of lockdown, he’d moved around the Tate Modern, and I was walking down the Embankment, and there he was. We stood in socially-distance conversation for a while, and I said, “Hey do you want to this?” and he said “Sure!” What I decided now is to continue to do them. I think as a writer you have to get past … look, this is tricky, but you have to get past the idea that you do this only professionally for a living; sometimes you should do things occasionally for the hell of it. That was a difficult pill to swallow at first; I felt I was putting a lot of effort in for no return, and as a freelancer that’s a no-no. When I think back now to the kinds of jobs I would turn down routinely, I would be quite grateful for them now.

Engaging in freebie culture is something I caution my students against. When it’s you calling the shots, it’s a different energy; you have all the control. That’s different than giving everything away to an organization who will exploit your talent for their numbers.

Exactly! Several have said to me, “You should charge for these interviews” and I said, “But this is my product; I have total control over it.” It’s been quite refreshing to go to people with my reputation and history and just say, “Hey, do you want to do this?” Generally speaking they’re only too pleased, especially during this time, but I think they’ll be pleased after this crisis is past, so long as I can supplement it from other paid jobs; most of my work consists of live conversation events at festivals or the like; Bishopsgate was an experiment. I lost a huge amount of work when the pandemic struck, including live interviews with Dame Janet Baker, an evening with Petula Clark at the Theatre Royal Haymarket, and many bookings with Patricia Routledge, who I’ve been working with for years in a show called Facing The Music, about her musical theatre career. Those things are where the money for me is. Writing, broadcasting, the BBC fees have gone down and down…  you have to move with the times, and reinvent yourself. I reinvented myself hugely, because as an ex-actor, I loved the buzz of being onstage and still do, albeit in a different capacity.

Edward Seckerson, music, writer, British, broadcaster, classical, musical theatre, interviewer, Claude-Michel Schönberg, Les Miserables, Miss Saigon, musicals, backstage, Bridge Theatre, conversation, artist, theatre

Backstage with Claude-Michel Schönberg at Bridge Theatre, February 2019.

I was in theatre also and I do miss it, though I find performance and authenticity now tend to meet through writing; do you find this in your pursuits?

Oh yes – and these audio interviews, I hope, are something that shows the best of what I do. I think good interviewers are few and far between; let’s focus on the people who can initiate a conversation as opposed to doing a Q&A. I hate those. People say “Will you do a Q&A?” and I say, “No, I’ll do a real conversation.”

The reciprocity of a real conversation demands sincerity, which seems like a rare commodity these days.

It is – and  I’ve met and spoken with a huge cross-section of people, in various capacities. I was a mainstream presenter on (BBC) Radio 3 for some years, I used to do the breakfast show on the weekends and had a show called Stage & Screen, which ran for six years and was devoted to musical theatre. I learned a lot on that show and had a great time. We met an awful lot of luminaries from the world of musical theatre, and I learned a lot about sitting down and conversing with people.

That’s what radio teaches one: the importance of give and take.

It’s a huge thing. You know in the first few minutes of talking to someone who’s done x number of interviews with people if it’ll work. I interviewed Glenn Close for Sunset Boulevard at the Coliseum; they didn’t want to put her in front of the press corps, it was done with me interviewing her rather than people shouting out questions. I did a video interview just before that for the website and I remember, it was so obvious, she sat down like, “Oh here we go, another interview” – as a film star she would have done twenty-five or more in a day to promote a film – but the first thing I wanted to talk about was the Richard Rodgers musical Rex she’d been in when she was unknown. I was just curious about that; Nicol Williamson had been in it also And she looked visibly stunned when I brought this production up. The whole interview changed direction the minute she knew that I knew what I was talking about, that I wasn’t another hack. But I’m afraid in some quarters, in the theatre and movie world, it’s par for the course. The level of ignorance among so-called journalists is breathtaking – and yes, the sheer laziness, the total lack of research. People you talk to, they want to know that you respect the work they do, it’s only natural, you sometimes have to talk with people in rotten moods, but the minute you turn it around and say, “What I thought was interesting about your performance was this and this and this… ” – it changes everything.

Good interviews demand many things: research, listening, reciprocity – all while holding one’s own. Lately it feels as if these things have been disposed of via online culture… 

… oh, this whole business of so-called “influencers” is driving me absolutely nuts! It’s about nothing at all; it’s just so much noise around people who appeal to the lowest common denominator and who generate a following. Suddenly they’re endorsing various things…

… and some are being invited to things or cast based on their social media presences. I wrote about Instagram as it relates to opera casting in 2018, but the pandemic seems to have underlined that  growing connection.

It’s worse in the musical theatre world too – it’s a different kind of celebrity. There is Instagram casting in that world; I’ve spoken to producers who have engaged in it. When I did my stage conversation last year with Patti Lupone I brought this up and she was mortified by the whole thing. It’s this whole box-ticking thing…

Edward Seckerson, music, writer, British, broadcaster, classical, musical theatre, interviewer, Patti LuPone, backstage, Theatre Royal Haymarket, conversation, artist, theatre

Backstage with Patti LuPone at Theatre Royal Haymarket, March 2019.

“This person has x number of followers” – even if they bought them – “this person gets x number of views on their videos” – those are easy to fake – “this person gets lots of engagement” – how many of them are genuine? – “this person has a cool/sexy image”  – which is all photo filters… 

Indeed, but there’s also the basic question: can (the artist) actually do the job? Live and onstage? Are they the best person for the role? Or are they being cast because they have six million followers on Instagram? It’s a serious problem. Producers want to sell tickets obviously, and Intendants want to sell their opera houses, but if we’re not very careful, it could derail the integrity of the business. It really could. I participate in social media because I like to think of myself as savvy when it comes to online, but I don’t exploit it as much as I could; I am very suspicious of it. And I think unfortunately, the first question you’re always asked – and you probably experienced this yourself – you go to someone who doesn’t know your work, and you say, “May I do this?” and they say, “How many hits does your website get?” I mean… many of the people working in the business now are so young and they have no history or knowledge of the people or the history of people like you and me. And I’m not saying that in a boastful way; I’m saying it because it’s a fact. I get the most insane emails sometimes asking me to cover things that have absolutely nothing to do with my area of operation or expertise. I’m on a press list somewhere and so…!

Very often I get questions about my metrics too, and my response is that my numbers aren’t The New York Times, but they don’t have to be; my readership is faithful.

Exactly, and that’s the point! I mean social media is famous for endorsing things so you put something up with all your powers and people who know you in the business will like it, and click on the button, but how many listen to the interview the whole way through, or read the whole feature to the end? Of course I know people read Gramophone magazine – they read it from cover to cover, it’s the only serious record magazine left, which is why I still write for it – but I’m delighted some of my audio interviews have hit the spot for listeners. I know people who’ve listened to them and I know the pleasure they’ve got from them, which is far more important than reaching 50,000 people who don’t listen to more than a couple minutes. I will say, I didn’t want to do a series on the lockdown or the problems (of the music industry) associated with the pandemic; important though it is to talk about these things, that’s not what I’m in the business of doing. I wanted to stay talking about the music.

Speaking of music, Sarah Connolly’s relating the text of Das Lied von der Erde to Bach in your chat made me rethink that piece, but then, isn’t that the point of good conversation – to inspire one to think about things in new ways?

I agree with you entirely – but of course you’re only as good as the quality of your interviewee; this is where one has to be selective. I know why I chose the people I chose. And Sarah is a rare bird, not only a wonderful talent, but I’m probably more pleased with that one than the others so far, she’s such a great talker: engaging, amusing, smart, all those things.

Her trust in you seems palpable.

That’s where the history comes in. With some people it takes a long time to earn their trust; for instance, with Patricia Routledge, it took a long time before I earned her trust. She’s someone who’s lived on her own, who has huge integrity as an actor, but my goodness, it was worth the wait. When there is mutual trust, it frees you up, and it’s lovely for me when one’s reputation precedes one and someone is happy to do something simply because they trust you. We both know we’re going to have a reasonably stimulating exchange and I’ll not be talking about non-musical things as others might, that I’m there for the music. At the end of the day the music is what it’s all about, and that’s what I’ve adopted as my yardstick over the years.

Edward Seckerson, music, writer, British, broadcaster, classical, musical theatre, interviewer, Patricia Routledge, backstage, Theatre Royal Haymarket, conversation, artist, theatre, Danny With A Camera

In conversation with Patricia Routledge at Theatre Royal Haymarket, part of Seckerson’s “Facing The Music” series with the British artist. Photo: Danny With A Camera

Personal Essay: Embracing Community, In All Its Forms

Sala Palatului, Bucharest, Enescu Festival, crowd, audience, culture, hall, auditorium, performance, music

At Sala Palatului as part of the Enescu Festival 2019, Bucharest. Photo: mine. Please do not reproduce without permission.

Since the start of the coronavirus quarantine in March, I’ve returned drawing and painting more frequently, activities I adore but didn’t always devote the proper time or energy to in past, so-called normal times. I first explored these pursuits close to two decades ago as a natural extension of my engagements with photography, dance, theatre, and writing. At once technical, instinctual, emotional, and sensual, I think of drawing and painting as extension rather than escape, an experiment without a definitive end point. This attitude was encouraged by my instructor, a professional artist and professor at a major Canadian art school, who strongly discouraged the use of erasers in those preliminary sketching classes. “Be open to everything,” she would say in her soothing caramel tones, “don’t be so attached to one road or path, or to things being perfect.” It’s an easy credo that is hard to put into actual practise, whether in pencil or any other creative pursuit, and particularly so for those of us with those insistent perfectionist tendencies; to trust the unknown, to have faith in the journey, to loosen the desire for complete control of the final outcome, and its effects – these are big things to ask in any setting, doubly so in a new one. But what might be terrible errors outside the studio become, within it, opportunities for unexplored paths, where losing, finding, forming, shaping, and re-shaping, again and again, are part of the overall process, one that is becoming a central mode of expression.

That acceptance of the unfamiliar  is being discussed in the classical world with particular urgency as the reality of no full presentations until 2021 seeps into the overall consciousness. Pappano told The Stage recently that “(w)hat’s going on is that we’re talking about plan A, plan B, plan C, because everything is changing from week to week. I think the important thing is to make a decision that is not in any sense rash.” The current overtures toward reconfiguring presentation within the context of classical music are being greeted with a similar mix of sighs, scowls, boos, cheers, but largely (I would suspect) held breath by audiences. Navigating change is not, depending on one’s familial, cultural, and social baggage, always easy; in a forced situation it seems even more difficult and onerous. it might be done on tentative tiptoes, or it might be approached with an open-armed embrace. What with the figurative windows and doors being replaced, there’s concern if and how the view might be affected – and if that’s a good thing, a bad thing, an overdue thing, a thing that can lead to transformation within an industry perceived as being adverse to innovation. Reduced musical and theatrical presentations at Hessisches Staatstheater Wiesbaden, and a recent photo of a new seating arrangement via Berliner Ensemble, have inspired a range of responses, some reasoned, others emotional; some express horror, some curousity, while yet others say it’s a hopeful sign, a baby step in a much longer (and still largely unknown) journey. Baritone Michael Volle recently performed at Wiesbaden, playing to an audience of 189 in an auditorium that normally holds a little over 1,000, and noted to Frankfurter Allgemeine that “(d)as ist zwar für den Augenblick wunderbar, kann aber nicht die Zukunft sein.” (“this is wonderful for the moment, but cannot be the future.”)  With the present and future wrapped in uncertainty, it is impossible to predict how a  month from now might look, let alone six months, a year, three to four years – the latter being the (former) norm in future bookings for classical artists. Will auditoriums resemble what Volle saw, looking out from the stage at Wiesbaden? For how long?

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At Konzerthaus Berlin. Photo: mine. Please do not reproduce without permission.

Sighing looks back, anxiety looks forward, restlessness shuffles the dust of the present. Every bit of news highlights our keen desire for the familiar, even as it underlines our separation from it. As Pappano noted (again in The Stage) “we have to consider the emotional toll that (the lack of events) will take on people, the need for community.” How might that look? We won’t be able to experience the breaths, the sighs, the miniscule hums and in-beat head bobs, the audible humming and tapping feet and waving hands and fingers of insistent seat-conductors, nor the resonance of instruments and voices vibrating through thighs and hips and sternum, into temples, through ear lobes, rumbling nostrils and jaw and eyelashes; pressing one’s head or face against home speakers simply does not compare. Communal cultural experience within a confined space and time is not an everyday experience, and as such is one of the few things we desire actively and will pay for, perhaps because of this direct and sensual viscerality, however irritating and unpredictable some of its expression may be; it’s precisely that sense of the unpredictable which is so treasured. Writer Charles Eisenstein writes in a lengthy and thought-provoking essay:

Our response to it sets a course for the future. Public life, communal life, the life of shared physicality has been dwindling over several generations. Instead of shopping at stores, we get things delivered to our homes. Instead of packs of kids playing outside, we have play dates and digital adventures. Instead of the public square, we have the online forum. Do we want to continue to insulate ourselves still further from each other and the world?

[…]

To reduce the risk of another pandemic, shall we choose to live in a society without hugs, handshakes, and high-fives, forever more? Shall we choose to live in a society where we no longer gather en masse? Shall the concert, the sports competition, and the festival be a thing of the past? Shall children no longer play with other children? Shall all human contact be mediated by computers and masks? No more dance classes, no more karate classes, no more conferences, no more churches? Is death reduction to be the standard by which to measure progress? Does human advancement mean separation? Is this the future?

Advancement versus preservation; this seems like the crux of the issue with relation to issues within the classical world, and there are, right now, lessons which are being learned and applied, to varying degrees, and with varying degrees of success. New (and some might argue far overdue) paths are being forged in order to both advance the possibilities of music presentation while preserving the core of its unique and individual power. Perhaps, amidst the lessons corona might be able to teach us (as Eisenstein posits), a more active idea of community might not only be understood but literally and loudly lived. I want to believe this is the case as the Salzburg Festival moves forward in an altered state, through the planned (and also altered) presentations starting next month at Musikverein Wien, and the long-awaited reopenings in Italy, happening in mid-June. The Konzerthausorchester Berlin’s planned guest performance at Konzerthaus Dortmund  is set to take place on June 7th, albeit in a modified form and with what Konzerthaus Berlin’s release terms “eines besonderen Wiedereröffnungskonzepts stattfinden” (“a special reopening concept”). The experience of community means connecting in many different ways and on many different levels with other sentient beings who carry their own unique experiences, ideas, expectations, and agendas, on as well as off the stage. How might one manifest (and indeed cultivate) the human kindness which is so often thrown away or taken for granted in so-called “normal” times within an ever-evolving paradigm of lived normalcy? Active kindness must surely factor into this paradigm somewhere (or one would wish it to), kindness holding hands with openness, patience embracing curiosity, gratitude on the same stair with discovery, and the cult of “genius” (and all its damaging effects) finally thrown out the window. Thus do the notions of advancement and preservation take on new meanings, as they should, within a new paradigm of The Normal. One can wish, but conscious action is required for manifestation, and it’s precisely conscious action which has now become part of our daily lives.

Bayerische Staatsoper, horns, backstage, Munich, Bavaria, music, culture, performance, Wednesday Strolls, series, live

Members of the Bayerische Staatsoper Orchestra perform as part of the company’s inaugural Wednesday Stroll concert series, May 2020. Photo © Wilfried Hösl

That union of ideas, between advancement and preservation, of joining the human with the experimental, the sensual and the intellectual, feeling and doing, is being manifest in a number of ways as halls, galleries, museums, and other public spaces try to negotiate and define the new normal. Bayerische Staatsoper (BSO) began its “Wednesday Strolls” presentations this week, a chamber music series (running to 24 June) bringing a maximum of twenty spectators in various “unusual locations” in the National Theatre, with each concert lasting roughly 45 minutes and featuring musicians of the Bayerische Staatsorchester. Its first presentation was given backstage. The initiative, on top of the BSO’s pre-existing Monday concerts, are gestures which complement the incredible amount of video offerings currently extant at their website, and acutely underline the ever-expanding initiatives of the many organizations, including the Enescu Festival in Romania, who are offering broadcast concerts from their considerably impressive archive of past festivals. Organizations have, over the past three months or so, recognized that various non-conventional initiatives are vital in community-building in both literal and figurative senses. Members of the Rundfunk Sinfonieorchester Berlin (RSB), for example, have been performing short concerts outside hospitals and retirement residences over the past few months, thanks to the initiatives and coordinating efforts of Rudolf Döbler, longtime flautist with the orchestra, who has coordinated and organized RSB rehearsal visits and workshops for children since 2005. After one of these RSB charity concerts (held recently at a seniors residence in Pankow, an area in the northern part of the city), the orchestra’s Artistic Director and Chief Conductor (and General Music Director Designate of Bayerische Staatsoper) Vladimir Jurowski observed to Frankfurter Allgemeine that “Musik ist Menschlichkeit, und diese Menschlichkeit zählt am Ende mehr als alle Brillanz. Ich wünschte mir, wir behalten diese Erfahrung, wenn diese schwierigen Zeiten vorbei sind.“ (“Music is humanity, and in the end this humanity counts more than all brilliance. I hope we can keep this feeling when these difficult times are over.”)

Our experience of music is born anew within such experimental presentations and contexts. It’s been precisely the collective cultural saudade (for what else should we call it?) which has forced this rethink, one many argue is overdue. Community is, after all, quite possibly the only form of beauty left to us at the moment, and encouraging it in myriad forms seems like more than polite gesturing, but integral to creative, social, and spiritual health. Online conversations, voice calls, interactive viewing and listening parties, musical text exchanges, virtual classes and meetings, not to mention the rich, retro possibilities of live radio broadcast: such activities are all expressions of community, ones whose vibrant message, amidst the starkness of the technologies they employ, are worth warming hands and hearts to. 

Various live events, including a recent panel hosted by Garsington Opera about the continuing impact of Beethoven (led by music writer Jessica Duchen and featuring tenor Toby Spence) allow for a sense of community to be fostered, however virtual, along with that deeply inhaled, ever-refreshing sense of exploration and discovery. It’s a combination that clearly recalls those long-ago art classes, but more than that, the spirit they encouraged. Reading over various comments and reactions on Facebook has been a lesson in patience, for the intransigent dismissal of the virtual, remains, for me, mysterious; it is the equivalent of painting one’s self into a corner and then complaining about the view. There is only one exit, and it involves bare feet and stains, the ruination of a perceived perfection. In an excerpt from his upcoming book On Nostalgia (Coach House Books), David Berry writes that “Nostalgia can only be lived in or abandoned: it is yearning distilled to its essence, yearning not really for its own sake but because there is nothing else to be done. Maybe it resisted definition for so long because naming it doesn’t help resolve anything anyway.” We are in a time where there is no resolution, only the stains of where we have been and the blank page of tomorrow, next week, next month, sketched as we walk, without erasers, into an unknown future, seeking community once more.

Personal Essay: Curiosity In The Time Of Corona

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Photo: mine. Please do not reproduce without permission.

Over the past month I’ve found myself strongly gravitating to things that satisfy my curiosity and simultaneously whet it further, amidst grappling with memories of cultural restriction. Such limits, imposed by an opera-loving mother, manifest themselves in the comfortably familiar, a tendency experienced as an adult amidst periods of non-travel (i.e. now).  The dynamic tension between familiar ephemerality (laziness calling itself comfort) and explorations into the unfamiliar (sometimes difficult; always rewarding) has, over the past five weeks, become increasingly exhausting to manage. I try to ride the tension even as I make attempts to be less harshly judgemental toward myself in enjoying cat gifs/Spongebob Squarepants/Blazing Saddles alongside the work of Ludmila Ulitskaya/Moomins/Andrei Rublev. There may be room for both, but I’m also determined not to let laziness squash curiosity, a curiosity I frequently had to fight to defend and cultivate.

That curiosity has found wonderful exercise in select digital work. Sir Antonio Pappano exudes (as I have noted in the past) a natural warmth as befits someone who once hosted a four-part series for the BBC exploring classical music history through the lens of voice types“What potential for a great opera!” he exclaims of a motif from Peter Grimes he’s just played on the piano, closing his latest video for the Royal Opera House, Covent Garden, of which the eminent maestro is Music Director. Amidst the recent glut of online material, this particular video was, when I first viewed it, a pungent reminder of my incomplete musical past, one that firmly did not feature the music of Benjamin Britten. My Verdi-mad mother would make a sour face if she happened to see the Metropolitan Opera or, closer to home, the Canadian Opera Company, was to feature certain operas (i.e. Peter Grimes, Wozzeck, Lulu) as part of their respective seasons. “That isn’t music,” she’d snarl, turning on the old stereo, where the voice of Luciano Pavarotti would invariably be heard, singing “Celeste Aida”, “La donna è mobile”, or any other number of famous arias. “That is music.”

mother child retro vintage meal memories

Photo: mine. Please do not reproduce without permission.

Highly wary of anything perceived as too intellectual, my mother’s feelings (a word I use purposely) about what constituted good music were tied to traditional ideas about art from her being raised in a conservative time and place, in 1940s-1950s working-class Canada. I wasn’t aware of the influence of these things growing up; I only felt their effects, and strongly, for a long time. One feature of childhood is, perhaps for some more intensely than others, the desire for parental approval. Only in youth does one become better acquainted with a burgeoning sense of self that might exist outside so-called realities presented (and sometimes forcefully maintained) by parents. That I did not grow up with the music of Benjamin Britten, or Berg or Schoenberg or Shostakovich, nor distressingly large swaths of Strauss, Bruckner, Mahler, Wagner, or very much besides, is a source of continual bewilderment, frustration, and occasional shame, feelings more pronounced lately within an enforced isolation. There’s much to learn; sometimes catching up feels overwhelming, impossible.

Many of those feelings are owing to a restrictive and very narrow childhood musical diet consisting largely of what might be termed “The Hits” of classical music. “Things you can hum to!” as my mother was wont to say; the worth of a piece of music, to her mind, lay largely here. Many may feel this is not such a bad thing, and that to criticize it is to engage in some awful form of classical snobbery; I would beg to differ. It’s one thing to enjoy something for its own sake, but it’s another to feel that’s all there is, and moreover, to dismiss any other creative and/or historical contextualizing and to belittle related curiosities. (“You’re ruining the enjoyment,” was a phrase commonly heard in my youth (and beyond), another being: “Just enjoy it and stop picking things apart!”) Being raised around the work of Verdi, Puccini, Offenbach, and Bizet, and equally famous voices (i.e. Callas, Gobbi, Di Stefano, Corelli) set me on the path I now travel, and I’m grateful. I must’ve been one of the only suburban Canadian teenagers in the late 1980s and early 1990s to have seen Pavarotti, Freni, and Hvorostovsky live (and more than once) – but it’s frustrating not to be able to remember those performances in detail, and to not know who was on the podium, or who directed and designed those productions. Blame cannot be entirely laid at my mother’s (perennially high-heeled) feet; responsibility must surely be shared with young music instructors who, probably not unlike her, simply did were not in possession of the tools for knowing how to engage and encourage a big curiosity in a small person. 

Anyone who has been through the conservatory system in Canada might be familiar with the sections that were required as part of their advancing in grade books. During the years of my piano study, they were (rather predictably) chronological – Baroque, Classical, Romantic, Modern – with selections from each to be played at one’s yearly (entirely terrifying) exams. To my great surprise, I found I not only had an intuitive knack for playing the work of modern composers, but enjoyed the experience. This happy discovery coincided, rather unsurprisingly, with my teen years, though I barely understood basic elements like chord progressions, resolutions, polyphony, dissonance – these things remained largely unexplained, unexamined notions, big words dribbled out in half-baked theory classes. I played triads and diminished 5ths and dominant 7ths, but I couldn’t tell you what they meant, why they were used, or how they related to the composition and its history.

Still, I realized on some intuitive level, and partly through direct experience playing those modern works, that there was an entire cosmos I was missing. Exposure to world cinema confirmed that feeling, and led me to sounds that opened the door of discovery slightly wider; from there were trips to the local library for cassette rentals. Winter months found me alone in my bedroom, sitting on the floor, listening to the music of Prokofiev coming through my soup-can-sized headphones. This was definitely not Peter And The Wolf (which I’d loved as a small child), and though Cinderella was welcome… what would my mother make of Ivan the Terrible? Was it acceptable to play Queen’s “We Will Rock You” right after The Lieutenant Kijé Suite, or or George Michael’s “Faith” right before Alexander Nevsky? Did it make me awfully stupid and shallow? Did my intense love of dance music diminish or besmirch my desire to learn about what felt like its opposite? Was I not smart enough to understand this music? Was I always going to find certain works  impenetrable? Should I stick with the tuneful things my mother would swoon over every Saturday afternoon?

Rather than resolve any of this, I stopped playing the piano. For years I had been wheeled out like a trained monkey to entertain adults, and I yearned for cultural pursuits I could call my own. My intense love of theatre and words took over my once-passionate music studies, eventually manifesting in writing, publishing, producing, and performance. The irony that my return to music came through these very things is particularly rich, if also telling. Writing about music, examining libretti, observing people, listening to dialogue sung and spoken, meditating on how various aspects of theatre transfer (or don’t) to an online setting, contemplating audience behaviours and engagements with various virtual ventures that move past notions of diversionary entertainment and ephemeral presentation – these are things which awaken, inspire, occasionally infuriate but equally fascinate. In watching Pappano’s Peter Grimes video, I recalled my experience of seeing it performed live in-concert at the Enescu Festival in Bucharest last autumn (in a driving presentation by the Romanian National Radio Orchestra and Radio Academic Choir led by Paul Daniel), and to what extent my mother might have judged my enjoyment of that experience. I’m grateful to artists who whet my curiosity, replacing the comfortably familiar with the culturally adventurous.

Daniel Hope, violin, violinist, soloist, performer, artist, host, Hope@Home, classical

Violinist Daniel Hope (Photo: Nicolas Zonvi)

Violinist Daniel Hope excels at this. As well as performing as soloist with numerous orchestras from Boston to Tokyo to London, Los Angeles, Chicago, Paris and Berlin, Hope is also the Music Director of the Zürich Chamber Orchestra, Music Director of the New Century Chamber Orchestra (in San Francisco), and Artistic Director of the historic Frauenkirche Cathedral in Dresden. In this, the 250th anniversary year of Beethoven’s birth, he also assumed a rather special role, that of President of the Beethovenhaus Bonn. He possesses a fierce commitment to new music. Hope’s current online series, Hope@Home (presented with broadcaster Arte), is recorded live in his living room in Berlin and has become something of an online smash since its debut in March, with over a million views on YouTube. The smart daily program offers a varied array of offerings, which, over the course of 30 episodes so far, have offered performances presented within a smart context of either personal memories or well-known anecdotes (or sometimes both), creative pairings, and affecting readings, not to mention an unplanned appearance by his Storm Trooper-masked children at a recent episode’s close. Many of the works featured on Hope@Home are reductions from their orchestral counterparts, in adherence to social distancing rules, with Hope, pianist Christoph Israel, and (or) guests performing at appropriate distances. Touching but never saccharine, the program frequently enlightens on both verbal and non-verbal levels, hinting at the alchemical trinity of curiosity, communication, and reciprocity that exists as part-and-parcel of music – indeed art  itself – any and everywhere, in any given time, pandemic or not. 

Hope’s guestlist has been engagingly eclectic, with  figures from a variety of worlds, including director Robert Wilson giving an extraordinarily moving reading of an original work set to Hope’s intuitively delicate performance of the famous “Spiegel im Spiegel”, the utterly delightful actor Ulrich Tukur, who, in his second appearance recently, exchanged lines with Hope himself in a touching performance of the final scene of Waiting for Godot. Equally powerful was an earlier episode with director Barrie Kosky which featured a poignant reading from Joseph Roth’s novel The Hotel Years, preceded by the Komische Oper Berlin Intendant dedicating the reading to those who might be quarantining alone. (I shed a few tears of gratitude at hearing Kosky’s words; the experience of being seen, however figuratively, right now, cannot be underestimated.) Another recent episode featured a very moving musical partnership between Hope and pianist Tamara Stefanovich (and later featured baritone Mattias Goerne), while another found Hope reminiscing about his experience of knowing and working with violinist Yehudi Menuhin. A regular feature includes Hope’s sharing videos of musicians performing together yet separate from various organizations; one such share was a stunning performance of Rachmaninoff’s All-Night Vigil by the Netherlands-based choir Groot Omroepkoor. There’s a real understanding and love of the larger cultural ecosystem on display here, one that betrays a great understanding of the ties binding music, theatre, literature, and digital culture together. That understanding was highlighted with memorable clarity for Hope@Home’s 30th episode, one heavy on Russian repertoire and featuring conductor Vladimir Jurowski and soprano Evelina Dobračeva. The stirring combination of elements in the episode, which featured the music of Prokofiev, Rachmaninoff, Strauss, and (inspiringly) Schnittke, left strange, and strangely familiar anxieties over old questions, with an odd, older-life twist: am I smart enough to understand this music now? Is this really so impenetrable? What things should I be studying? Listening to? How should I contextualize this? What is missing? Will I remember the things I learn, and will be learning? 

Curiosity, discipline, focus, commitment: these are the tenets one tries to abide by, even as one allows for falling off the track every now and again with Spongebob and Lily von Schtupp. Such ambitiousness isn’t related to any idea of worthiness vis-a-vis productivity (not that I don’t have some experience of the profound connection between perfectionism, workaholism, and depression) , so much as taking advantage of the lack of outer distraction, and engaging in what author Dr. Gabor Maté has termed “compassionate inquiry.” Indeed, this piece itself, inspired by various inspiring video posts, might qualify as a valid manifestation of that very inquiry. How much we will absorb what we are learning now, in this time, consciously or not? Whither enlightenment, empathy, inspiration? We may scratch at the door of transcendence, but we are seeking respite, comfort, reassurance, and for many, familiarity. It is rare and very special for me to experience things which are curiosity-inspiring  but equally comforting within the digital realm, to swallow lingering awkwardness and allow myself the permission to admit and embrace my cultural curiosity through them, and to have them inspire a reconsideration of the past, one that leads to forgiveness, acceptance, and a fortifying of commitment to that path’s expansion. To tomorrow. To curiosity.

Cornelius Meister: On Curiosity, Collaboration, And What His Father Taught Him

conductor Meister German baton hands music culture expression maestro

Photo: Marco Borggreve

Looking at Cornelius Meister’s calendar inspires a mix of wonder and exhaustion.

The German conductor, who is Music Director of the Staatsoper und Staatsorchester Stuttgart, is currently in New York City, leading performances of Mozart’s Le nozze di Figaro at the Metropolitan Opera until February 22nd. From there, he jets off to Tokyo to lead the Yomiuri Nippon Symphony Orchestra (of which he is Principal Guest Conductor) before playing with various orchestras in France, Germany, and Austria. A return to Stuttgart comes the end of April; Meister will conduct a series of concerts and also conduct a revival of Tristan und Isolde, where he’ll be leading soprano Catherine Naglestad in her role debut as the doomed Irish princess. May brings a production of Strauss’s Arabella in Vienna, and the summer features a busy mix of concerts and opera back in Stuttgart. All this activity doesn’t even touch Meister’s extensive discography, many of them done when he was Chief Conductor and Artistic Director with the Radio-Symphonieorchester Wien (ORF) between 2010 and 2018.

Meister, whose father was a professor at Musikhochschule Hannover and whose mother is a piano teacher, started out in 2003 as Second Kappellmeister with Staatsoper Hannover (his hometown), before becoming Music Director of the Theatre and Philharmonic Orchestra of Heidelberg, where he stayed for seven years, until 2012. His recordings (of Brahms, Haydn, Dvořák, Mozart, Wagner, Bartók, Zemlinsky, and particularly Bruckner) and live work (a comprehensive A to Z listing on his website includes, among the very many, Beethoven, Lehár, Gershwin, Mahler, Boulez, Nono, Stravinsky, Webern, and Zender) reflect an insatiable musical appetite, one that seems to grow with each new orchestra and experience, whether orchestral or operatic. Meister’s tenure at Oper Stuttgart began in 2018, having already conducted at numerous prestigious houses, including Oper Zürich, Teatro Alla Scala Milan, Semperoper Dresden, and Wiener Staatsoper, and festivals including those at Glyndebourne, Salzburg, and in Bucharest, at the biennial Enescu Festival.

All this activity isn’t exactly unusual for a successful artist within the classical sphere, but the breadth and range of Meister’s musical curiosity is as enlightening as it is exhilarating. I became much better acquainted with the symphonies of Bohuslav Martinů thanks to a truly brilliant 2017 recording (Capriccio Records) of the Czech composer’s complete symphonies. Recorded with the ORF between 2011 and 2017, the mammoth album (spread across three CDs) is a gorgeous lesson for both newbies and Martinů connoisseurs alike, revealing Meister’s focus on maintaining keen balances between individual voices within the rich orchestral tapestries, while emphasizing their unique tonal and structural paths and underpinnings. At its release, music writer Michael Cookson noted that “Meister palpably generates considerable tension in his readings and the playing, full of rhythmic energy, is never less than steadfast, whilst shaping phrases that give consideration to every nuance.”

His 2014 album of the music of Wagner (Capriccio Records), again with the ORF and featuring soprano Anne Schwanewilms, performing the beloved Wesendonck Lieder and and Elisabeth’s Aria from Tannhäuser, is a sumptuous mix of big and small; Wagner’s sweepingly broad overture to Tannhäuser is here given loving pockets of quietude, with rippling strings that glint softly, shimmering against woodwinds and brass, Meister’s watchful tempi and textural swells throughout the album underline the music’s connection to a broader scope of musical history, both backward-looking (Beethoven) and anticipatory (again, Martinů, which would make sense given the album’s timing). Meister and I recently spoke amidst performances of Nozze at The Met; I asked the busy father of three how he kept up such a hectic pace, before moving into musical, and, as you’ll read, dramatic (and even balletic) matters.

figaro opera performance Mozart Met opera Metropolitan NYC Meister production stage kiss couple

Adam Plachetka as Figaro and Hanna-Elisabeth Müller as Susanna in Mozart’s “Le Nozze di Nozze.” Photo: Marty Sohl/The Metropolitan Opera

You have a lot of diversified engagements – how do you keep your energy and inspiration?

I have a family, and I must say, I love music and opera of course but it is not everything in my life. And without my family, I think I couldn’t do everything.

Many artists say that family provides the balance amidst the chaos.

Yes. I’m very happy to be born not ten or twenty years earlier, because nowadays it is so much easier to call each other from another continent or city, and to take fast trains and such. We didn’t have these things even fifty years ago; now it’s much easier to keep in touch.

The houses that you perform in (Stuttgart, Zürich, Vienna, New York) are all so different; how do you create intimacy within each space?

When I’m conducting, let’s say an opera by Mozart, it matters a lot which room I’m performing it in regarding the acoustics. In Germany there are a lot of ensembles, so between thirty and forty singers who work regularly; that means sometimes we prepare role debuts together, one year ahead or even more. Last season in Stuttgart, we did Ariadne Auf Naxos and we had a wonderful mezzo soprano who is now in our ensemble, and she prepared it more than one year in advance – this is only possible in houses with an ensemble. 

On the other hand, here at The Met I have the privilege to work with many singers who have done their roles in various productions at several great opera houses, so this makes it easier in another aspect, I would say – their acoustic awareness could start on the highest level, and the beauty for me, as a conductor, is then to bring all these different experiences together to create a production ensemble.

conductor Cornelius Meister German music culture expression maestro

Photo: Marco Borggreve

You said in a 2019 interview that conducting is about making music together – how does that relate to the inherent power dynamics of being a conductor? How do you balance the power aspect with the collaborative aspect?

On the one hand, of course it is true that a conductor can decide a lot, but on the other hand, I’m the only person in the room who doesn’t play any tune or make the music by himself, so I can’t do anything without having everybody on the same side. I would say my job is to encourage everybody to be brilliant, and confident, and bring together all the different possibilities and traditions and experiences everybody has. And in houses like the Metropolitan Opera, where everybody in the orchestra has played these operas a lot, with many different conductors, it’s not a question of, “How we do it?”, it’s more a question of how we all can do it in the same style, and how we can bring it all together. This is a task I like very much. I also like to be flexible when I conduct the same opera in Vienna and New York – the result is, of course, very different; it’s still my Mozart, for example, but there is not just one Mozart which is my Mozart.

Would you say that flexibility is the key to authority in your position?

In a way, yes, but I would also say that it is really necessary to have some strong ideas of what I want – having something I really like and really want with music, and being flexible to bring everybody to that result. 

That must be especially true when you move between so many different orchestras as you are about to do, post-Nozze. Where does flexibility fit within your experiences between different ensembles, especially ones you have such a short amount of time with?

I always try to use the tradition an orchestra has – so the Viennese tradition, or maybe the Dresden Staatskapelle tradition, for example – those traditions are really old, and I adore them, and I always make a point to ask members of the orchestra how are they used to playing this or that. When I’m in Vienna I spend hours and hours in the library to research information which is hand-written into the orchestra parts, hand-written from the time when Richard Strauss and Gustav Mahler conducted there. I wouldn’t think that us younger conductors should always start at point zero; we should use that tradition, we can learn from it. In Stuttgart we are using the original harmonium used at the Ariadne world premiere – the first version of the opera was performed in Stuttgart in 1912, just two months after the opening of the opera house, with this very harmonium. 

Oper Zürich Monika Rittershaus Meister Serebrennikov production stage culture opera classical Switzerland

Oper Zürich’s 2018 production of Così fan tutte. Photo © Monika Rittershaus

Where does that sense of tradition fit when you are working on a new production? You had an special situation in Zürich in 2018 with a new production of Così fan tutte, and you also led a new work, The Snow Queen, in Munich in 2019. 

in Zürich the situation was that we didn’t have the director face-to-face – we were in close contact. So every morning we got a new video message from Kirill Serebrennikov; there was contact and he had brilliant assistants in Zürich, but for me as a conductor, the face-to face exchange is really important when preparing a new opera production. When I’m conducting opera, I’m not only a musician; I try to be a theatre person also, and I need a sense of every aspect of the drama. The first and most important question, always, is not, “how can we play the music?” but “how can we create that emotion, that dramatic situation?’ In order to create that situation you have several possibilities; there are scenic possibilities and musical possibilities, but these are, for me, totally secondary. The first question has to relate to the drama. And if I don’t have a partner to whom I can say something and to which he can react – not only by email or whatever – then it isn’t so easy! In the end (for Così fan tutte) of course I was very happy we did it, and it was very important, I think, to do that in Zürich.

In Munich the situation was completely different because there the piece (directed by Andreas Kriegenburg) had already been performed in Copenhagen some months before, so it was already set, on a certain level. Rachel Wilson, who is from Texas and is in the ensemble in Stuttgart now, sang the main mezzo role (Kay) in The Snow Queen, and she was really well-prepared coming in, so it was quite easy. 

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The Snow Queen at Bayerische Staatsoper in 2019. Photo © Wilfried Hösl

When you perform symphonic works by the likes of Martinů and Bruckner, and then go back to the opera house and do Wagner and Mozart, what things do you take with you between the two worlds?

I always appreciate it when orchestras who play symphonic music are also experienced in accompanying singers. In my opinion, a violin group who is used to listening to a singer in the opera is also very flexible and fast in listening to a solo oboe, for example, in a symphony. On the other hand, I appreciate it a lot when orchestras which are playing normally a lot of opera are also used to, in some situations, sitting on the stage and creating something unique for one or two or three performances. From one world I try to take the best and then bring it to the other world, and of course, some composers, like Mahler and Schumann and Brahms, wrote very opera-type things, and it’s good to have those works be performed also, because for me there is not such a big difference between theatrical music and other music.

When we have the Third Symphony of Bruckner, for example, with its quotations of Wagner in its first edition, this is a good example for that close relationship between those worlds, but I know there are many conductors who are conducting either operas or symphonic music. Others do mostly oratorios and choir music. I respect that, because I think (the music) needs different techniques, conducting techniques, and people to conduct different styles, but I always try to learn as much as I can from all these works. I have also conducted oratorios and ballets during my Kapellmeister time years ago, and sometimes I would conduct silent movies too.

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Photo: Marco Borggreve

What did you learn conducting ballet?

A ballet dancer needs certain tempos as a singer would need. I, as a musician, hopefully can sense if a singer needs a certain tempo. When is started to conduct ballets, it was much more difficult for me to feel that sense of which was the right tempo for him or her, and sometimes we had different ballet dancers on stage who needed different tempi. After some experiences it was easier for me to see and to feel how movement onstage is related to music tempi, and this helps now, a lot, when I’m conducting operas – not only to listen, but also to watch which is the right tempo for an action or movement onstage.

This relates to what I said earlier, that for me, music is a part of a larger theatrical performance. I had an experience eleven years ago when I conducted The Abduction From The Seraglio at the San Francisco Opera, my first opera experience in the United States (in 2009). I had conducted it before in Germany. I took approximately the same tempo which I had taken before, but with this production in San Francisco, it didn’t work. I had to take a different musical tempo and then it worked within a scenic sense, not only for the action but for the atmosphere onstage. I changed my musical approach, quite happily.

You took lessons with your father – how much do you think this quality of openness relate to that time?

He and I spent so many hours playing piano together, four hands style. We would go through and play all the Beethoven works, and all the Bruckner symphonies. He was never a conductor, but he was really interested in everything, not only piano music, but also he had a great knowledge about history and culture in general. So through this approach I learned to always be open to the world, and to be interested in different sounds, and in people from different nations and people with different ideas of the world. This was my education, and I am really glad for that.

That curiosity is apparent from the wide repertoire list at your website, which includes the work of Claude Vivier. 

For me there has never been a difference between old and contemporary music, because this is the music I’m interested in, and there’s music I may be, at the moment, not so much interested in, but it doesn’t matter which year it’s from. When I was with the ORF it was totally normal to play all different types of music. When we started to rehearse a piece which none of us had performed before, we didn’t ask if this is a good piece or not, because we always started, and after some days, then maybe we started to think something, not as a absolute judgement, but  maybe we allowed ourselves to say, “Okay, I like this or that” but never on the first day. We would never be so self-confident to judge music on the first look of it. 

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Tristan und Isolde, Oper Stuttgart. The production, from the team of Jossi Wieler and Sergio Morabito, was first presented in 2014. Photo © A.T. Schaefer

Do you think that approach could apply to audiences hearing things for the first time?

I’m not in the position, or I would not like to be in the position, to give advice to audiences, because I respect there are many, many different reasons why a person likes to go to a concert or opera. I respect that the reason could be just to have a wonderful evening, enjoy a glass of champagne at intermission and to relax, not to think too much. This is a good reason. There’s another good reason for people who maybe prepare their opera visits a week before, and they read many books about it, and then they really want to have a strong production, strong Regie, so that they can think about it for the next week, and maybe they wouldn’t understand everything and they like not to understand everything but want to come back three times to get it. Once again, I wouldn’t think I should give advice on how an audience should deal with a performance visit, but I respect that there are different reasons, good reasons.

So just come with an open mind….?

Being open-minded, always, is not a bad idea! What I really ask everybody is not to open the mouth before having thought something out – this is the general advice, for music and for life.

Lera Auerbach: “It Only Matters If The Connection Happens”

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Photo: N. Feller

Lera Auerbach is inspiring, and at first glance, more than a little intimidating.

A multi-talented artist, the Russian-born, US-based artist has a range of creative talents: she paints, she writes poetry, she conducts, she is a pianist and a composer. Auerbach’s relentless creative expression is epic in its scope but equally intimate in its manifestation. Gramophone’s Stephen Mudge has rightly observed that “(h)er texts have a universal dimension, rejecting religious dogma in favour of global spirituality” and though written in relation to Auerbach’s awesome, overwhelming Requiem (Dresden: An Ode to Peace), premiered in February 2012 (on the occasion of remembrance of Dresden’s destruction on February 13, 1945), it’s a feeling well applicable to large swaths of her oeuvre. Her works feel incredibly personal, as if one is peaking into a diary, and yet call to mind a very cosmic, broad sense of universal human experience. Her output includes chamber music, symphonies, requiems, concertos, solo piano work, and operas, and she’s worked with a range of gifted artists, including violinists Leonidas Kavakos, Hilary Hahn, Daniel Hope, Julian Rachlin, cellists Alisa Weilerstein, Gautier Capuçon, choreographer John Neumeier (with whom she has created three ballets), and organizations like Theater an der Wien (Vienna), Staatsoper Hamburg, Lincoln Center, Nuremberg State Theater, Stanislavsky and Nemirovich-Danchenko Moscow Academic Music Theatre, the Netherlands Dance Theatre, San Francisco Ballet, and the National Ballet of Canada.

The aforementioned Ode to Peace, written when she was composer-in-residence with the Staatskapelle Dresden, incorporates forty language and integrates elements of Christianity, Judaism, Hinduism, Buddhism and Islam. Its final movement is based on the famous “Dresden Amen” (a sequence of six notes sung by choirs during religious services in  since the early 1800s), a pattern used by Bruckner and Wagner as well, which the composer herself sets in six prayers within the framework of a large fugue. She told Opera News in 2014 that “when you face the abyss, that’s when your true self emerges.” Along with Dresden, Auerbach has been composer-in-residence with São Paulo Symphony, Orchestra Ensemble Kanazawa, Concerto Budapest Symphony Orchestra, MusikFest Bremen, and Norway’s Trondheim Chamber Music Festival, which, as you’ll read, hosted a deeply memorable experience of her acapella opera, The Blind. Written in 1994 when Auerbach was a student at the Aspen Music Festival, it received its premiere in 2011 in Berlin, and was subsequently staged in New York in 2013 as part of the Lincoln Center Festival. Based on a play by Maurice Maeterlinck (the man behind Pelléas et Mélisande), Auerbach’s opera necessitates its audience members being blindfolded for its one-hour duration. The work is a good example of the kind of fearlessness with which Auerbach approaches her work, and the fearlessness she hopes audiences bring, or at least, a quality she, as a creator, hopes to inspire.

The all-piano album Preludes And Dreams (2006, BIS Records) is equally fearless in terms of scope, virtuosity and emotional weight, and is a particular favorite of mine. With its haunting blend of classical (snatches of Beethoven’s Fifth are clearly discernible in some passages), Russian (Prokofiev, Mussorgsky, and Shostakovich), and early 20th century sounds (notably Kurt Weill as well as Schoenberg), it is at once melodic, dissonant, lyrical, and jarring, Auerbach writes (and performs) gripping combinations of eerie chords and sweeping, symphonic runs. The album is a good example of her approach: take her or leave her, but you cannot forget the forcefulness of her expressivity. As has been rightly noted, she “isn’t trying to do a backflip in order to please an audience.”

Exploring the sheer volume of her work the last few months left me feeling a little daunted at the prospect of meeting her at this year’s edition of the George Enescu Festival in Bucharest, where she led a concert of her works with the Transylvania Philharmonic Orchestra. As it turns out, I had little to fear. In person, Auerbach is engaging, charming, and very intense conversationally; she looks right into one’s eyes as she comfortably offers waterfalls of personal insights and thoughtful observations. With strong opinions on audiences, expectations, and engagement, Auerbach’s combination of committed artistry and earthy personality mean she’s constantly in demand: she’s currently in the U.S. with stops in California, Iowa, and New York, returns to Europe mid-month for performances in Germany and Belgium, then returns again to the US, and then again back to Europe. It was a blessing to catch her between gigs in her busy, buzzy creative life, and certainly offered a whole new way into the art of an immensely fascinating figure in contemporary music and art. Confident, yes; intimidating, no. Excelsior, Lera.

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Lera Auerbach leads the Transylvania Philharmonic Orchestrat at the 2019 George Enescu Festival. Photo: Andrada Pavel

What’s been your experience working with the Transylvania Philharmonic Orchestra for the first time?

We have had a great time together. I really enjoy this orchestra – they’re very serious, committed musicians, very creative. It’s been good music-making, with a good attitude. I really enjoyed it.  And it’s special for me, because normally when I come to conduct, it’s usually standard repertoire – sometimes, depending on the program and presenter – but at the Enescu Festival it’s an entire concert of only my music, which is very special.

What does that feel like? Are you overwhelmed, excited, nervous?

It depends on the particular circumstance. Here, when you meet musicians who are focused and serious and want to do their best, it makes everything very easy, actually. I get up on the podium and I feel at home, even though I’ve only just met them. You can tell from the first rehearsal, the attitude, the quality. In some ways, it’s weird to say it’s been easy, because making music is always complicated and challenging in many ways, but as long as life doesn’t get in the way – things that are not musical don’t get in the way – then it’s good, and that’s the case here. In the first half of the program there are soloists from the Boulanger Trio, which is also wonderful, and in the symphony there’s a part for the solo theremin with Carolina Eyck, one of the greatest theremin players in the world. It’s been a very fruitful time, but yes, it’s been intense – we only had a few days to prepare the program, but it felt creative and immediately with the right chemistry.

That’s a blessing, especially when the timing is pressed.

And it’s usually pressed, it’s a question of how it’s passed.

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Lera Auerbach leads the Transylvania Philharmonic Orchestra at the 2019 George Enescu Festival. Photo: Andrada Pavel

But so often chemistry is something you can’t totally create – either it’s there or it’s not.

Yes and no. There are times when you walk in front of an orchestra and the moment you walk in you see people looking at you like… you are the last person they want to conduct. And there is still a lot of prejudice against women conductors and composers, and against contemporary music. They’d rather do a Beethoven symphony for the zillionth time and couldn’t care less about doing anything creative. But, what I believe is, in every musician, there is always some inner magic which led this person to become a musician in the first place. Orchestral jobs can be frustrating; sometimes it becomes a routine for some people unfortunately, but you can always connect to this magical place which led this person into creativity and being in music. You can break the walls. So when they realize that you’re there not for some ego boost, you’re not there to tell them what to do or how to play their instruments, you’re there actually for music, and that your only wish is to create the best performance together – they connect to this. You can overcome the most skeptical players, you can really unite them into and bring music-making together and forwards.

The experience of music also – the way it’s experienced – is something you directly examine in many of your works. You force people to rethink things they take for granted, like how they experience sound.

Yes and why we do, and the reason for going to concerts.

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Photo: N. Feller

You really seem to understand and appreciate the role of theatre. Is that consciously something you’re thinking about when you create, or does it naturally seep in?

I think any performance, whether it’s purely concert music, abstract, or actual theatre work, any act of performing has a certain quality of being a ritual. There is a certain theatricality. The moment you walk onstage, we can say, “Oh this is pure music… ” but the moment you’re onstage, it’s theatre. And by “theatre” I mean, it’s a reality that can transport the audience somewhere else. The moment you’re onstage, you’re communicating something to the audience, whether it’s a concrete message or an abstract idea, but you need to tell a story –even though the story may not be in normal sentences. It’s a story of emotion, of connection, of memories, it’s something that goes into the subconsciousness. Any type of art is a form of storytelling; one way or another, we cannot escape it. So even the most abstract forms of art, such as music ,are forms of storytelling, because they need associations and audience members. There is no way to avoid it, but there is a way to increase it. And I think that’s what going to concerts is about: connecting to something within yourself, your own story you still don’t know or remember or need to discover, and this is why it can bring tears or joy or whatever. If you think about it, it’s somewhat absurd: you go to the hall and hear these vibrations in the air which is music. All it is is vibrations in the air! And all of sudden you start crying or you’re so moved, or maybe you’re disturbed, or questioning reality, but it’s all happening because of this connection.

The live experience is so intimate that way – I find I sometimes literally feel those vibrations from the floor, the seat, all around me. There is something transcendent about that, but at the same time, very personal.

That’s true.

It’s interesting what you said about storytelling too. I teach radio documentaries every winter, and I always remind my students to tell a story in sound, don’t just use talking to do it. Some audiences just want a straight oratorio, opera, to be told how they should feel and when. 

I think audiences are audiences; they’re a group of humans who come for different reasons. Some come because maybe they want to be seen in the theater. Some come because they love music. Some come because they’re curious or because somebody gave them tickets. The reasons that bring them can be very different, but ultimately, it doesn’t matter, because you can create this transcendental experience or maybe something that opens doors, I would say, because ultimately it’s up to the person who’s experiencing it, what sort of a journey it will become. Maybe somebody who isn’t prepared but has curiosity and has done some research can appreciate certain qualities on a different level, but again, it almost doesn’t matter; it only matters if the connection happens or not. If it’s a boring concert or maybe not the most generous performance, if it is not really connecting the audience, then it can maybe do more harm than good. It’s individual.

I hate to say this audience is better than audience. First of all, one never knows  who is in the audience. Secondly, I had an experience with The Blind – we had an experience in Norway, it was done during the Trondheim Chamber Music Festival; there were different dates for different audiences, and one concert was specifically for teenagers. It was high school students, regular high school, and the stage director, he kept saying, “It’s going to be a total disaster! How do you make room full of tenagers not to peek through a blindfold for one whole hour?” Because the moment you remove it you lose the experience of it, but I tell you, they were the best audience of all! Not only did they keep the blindfold on, they didn’t want to leave afterwards. They stayed for another hour after it ended; they had so many questions about the production. They were so excited, and they were regular teenagers – not music students, not artsy – just normal, and they were the best they were completely quiet, mesmerized. I think it’s an act of arrogance to look down at any audience; it’s up to us to transport them into this realm.

When I interviewed Vladimir Jurowski last year, he had this smart phrase, “expectation of ecstasy.”

One of the most memorable premieres in my life was one he conducted, which was of my requiem, “Ode To Peace” in Dresden. After this performance, at the Semperoper, there was no applause. It was absolutely… it was so magical. You had this complete auditorium, silent. Everyone stood up and held a minute of silence – it was the entire audience. They felt it and did it, and it was really incredible. And I think, really, applause would just destroy this magic. I had goosebumps when it happened.

For certain works and artists – including your work – I want to sit with it and contemplate; I think it’s important to not be reactive, even in for things that are joyous.

With The Blind, everything happens around you; you don’t really know if it’s ended, there is no visual cue, of course. It ends in silence. When we started (the premiere was at Lincoln Center), we measured the length of time between the piece ending and the audience taking their blindfolds off and applauding, and I think the shortest was a minute-and-a-half, which is already a long time; the longest were the teens in Norway. That was seven minutes. Actually the person who broke the silence then was the stage director – he got nervous, because when you take the blindfold off, you’re in the fog with the dry ice, and they were running out of the dry ice! So he started applauding to cue them, but again, it was this moment of incredibly powerful silence after the performance. 

Sometimes that powerful silence defies description, though it’s interesting the New York Times characterized your work’s themes as largely revolving around loneliness and isolation.

I think it’s what this particular opera was facing, it addressed the themes of loneliness and isolation in our modern times; on one hand, we are more connected than ever. With our gadgets we are always busy; there is a sense of being constantly surrounded by noise and communication and technology, but at the same time we are lonelier than ever and we struggle with understanding each other on a personal level, face to face, where people actually have a conversation, not through gadgets but with real people, looking into each other’s eyes, feeling and connecting with one another. That’s what this opera was addressing. We’re not blind in a physical sense but blind emotionally; we have trouble connecting and understanding each other. I mean, loneliness is one of eternal humanity’s questions, and of course, how the outside decorations are influencing things, whether it’s technology or whatever –if it changes this, or if it’s helping, hurting – it’s all questionable.

ensemble unitedberlin: Between Past And Future

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The Goethe-Schiller-Denkmal (Monument) by Ernst Rietschel in Weimar. (Photo: mine. Please do not reproduce without permission)

Lately I’ve found myself re-evaluating the past within the context of the present. It’s been an important and sometimes painful journey, for a variety of reasons both personal (disposing of photo albums, many of which were my mother’s) and professional (my slow if sure transition away from journalism). Through travels, research, readings, and various creative ruminations, I’ve come to appreciate just how deeply recontextualizing materials of the past can help us understand and appreciate new ways of being fully and completely present, however uncomfortable that may sometimes be; evolution is not, after all, supposed to be a comfortable process.

I suspect this is something Georg Katzer understood. The award-winning German composer, born in what is now Poland in 1935, was a pioneer of electronic new music in the German Democratic Republic. He founded the Studio for Electroacoustic Music in the 1980s, and made a career of redefining past to understand present, setting the stakes high for future modes of expression. The weight and influence of Europe’s shifting history through the decades lent him a ravenous curiosity for exploration of the past mixed with an enthusiasm for for redefining the present; he did so much with a twinkle in his eye as well rather than the furrowed brow of a serious artiste, which gives his work a discernible humanism, even amidst the plaintive bleeps and sighing bloops of works like “Steinelied I” (1984) and “Steinelied II” (2010). Listen to his wide-ranging oeuvre, which moves easily between lyrical brutality and brutal lyricism, and you’ll hear Bartok, Stravinsky, Lutowslawski and Zimmerman, as well as bits of Kraftwerk and Einstürzende Neubauten. Sounds brush, bump, groan, and grind against each other in ways that are, even many decades after their creation, gripping, contemporary, and theatrical.

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Georg Katzer (from ensemble unitedberlin program)

That theatricality is readily apparent in “Szene für Kammerensemble” (Scene for a Chamber Ensemble), premiered in Leipzig in 1975. A smart work that embraces various meta aspects of music-making, Szene was, at its inception, a meditation (and, it must be said, a sarcastic commentary) on the bureaucratic nature of the GDR and its uneasy relationship to cultural life and artistic expression. The work was presented by German chamber group ensemble unitedberlin last month at the Konzerthaus Berlin for their 30th anniversary concert; the group first performed it in 1994, on the premiere appearance of conductor (and eub Artistic Advisor) Vladimir Jurowski leading. As the program notes state, the piece is “one of the representatives of “Scenic Chamber Music” or “Instrumental Theatre,” in which performative aspects of music production and linguistic elements came to the fore.” 

I’ve written about ensemble unitedberlin in the past (specifically in relation to composer Claude Vivier), and this concert was special in terms of its being a symbol of remembrance as well as anticipation; never did the word “present” feel so apt. Katzer has taken lines from Johann Peter Eckermann’s Conversations With Goethe and placed them directly within the piece. Delivered by the conductor to the audience, the lines relate specifically to the nature of new composition, and concern a new piece written by none other than Felix Mendelssohn. As recorded by Eckermann:

Conversation from Sunday evening, January 14 1827:

I found a musical evening entertainment with Goethe, which was granted to him by the Eberwein family together with some members of the orchestra. Among the few listeners were: General Superintendent Röhr, Hofrat Vogel and some ladies. Goethe had wished to hear the quartet of a famous young composer, which was first performed. The twelve-year-old Karl Eberwein played the grand piano to Goethe’s great satisfaction, and indeed excellently, so that the quartet passed in every respect well executed.

“It is strange,” said Goethe, “where the most highly enhanced technique and mechanics lead the newest composers; their works are no longer music, they go beyond the level of human feelings, and one can no longer infer such things from one’s own mind and heart. How do you feel? It all sticks in my ears.” I said that I am not better in this case. “But the Allegro,” Goethe continued, “had character. This eternal whirling and turning showed me the witch dances of the Blockberg, and I found a view, which I could suppose to the strange music.”

It’s interesting to note that Mendelssohn and Goethe enjoyed a great friendship thereafter.

Katzer noted in the program notes for a 2016 presentation with the Dresden Sinfonietta that his inclusion of Goethe within “Szene” should “not be interpreted as malice towards the genius. Lack of understanding of new music is a widespread phenomenon and, as we see, not a new one.” His essential point is clear, driven home by the work’s closing scene: the musicians gathered around a spinning top, silently observing. Our perception of change and its inevitable nature is coloured by a near-unconscious wiring of a past we don’t want to remember, yet cannot forget, much less look away from.

Katzer passed away earlier this year — on May 7th, to be precise, which is the date Beethoven’s Ninth Symphony made its world premiere, in 1824. The two composers shared a program last December thanks to the Rundfunk Sinfonieorchester Berlin, when Katzer’s “discorso” for orchestra was given its world premiere just prior to the orchestra’s annual New Year’s presentation of Beethoven’s famous symphony (led by RSB Chief Conductor and Artistic Director Jurowski). I thought about this strange confluence experiencing “Szene”, and of Beethoven’s reported meeting with the very man Katzer quotes. The composer created incidental music for Goethe’s 1788 drama Egmont, as well as lieder incorporating his texts. The two came from utterly different worlds — Goethe being Privy Counsellor at the Weimar court, Beethoven, decidedly revolutionary — but despite such vastly different experiences and worldviews, the composer was effusive in his praise of the writer, and Goethe may have enjoyed the new sounds Beethoven created, however much he would complain about his sticky ears to Eckermann just four years later. According to an account in Romain Rolland’s famous book Goethe and Beethoven (1931):

On October 27th (1823) a Beethoven trio was played at Goethe’s house. On November 4th, in the great concert given at the Stadthaus in honour of Szymanowska, Beethoven figures twice on the program. The concert opened with the Fourth Symphony in B Flat, and after the interval his quintet, op. 16 for piano, oboe, clarinet, horn, and bassoon, was played. Thus Beethoven had the lion’s share, and without mentioning his name, Goethe confessed to Knebel that he was again “completely carried away by the whirlwind of sounds (da bin ich nun wieder in den Strudel der Tone hineingerissen).” Thus there had been opened to him a new world, the world of modern music which he had hitherto refused to accept — “durch Vermittelung eines Wesens, das Geniisse, die man immer ahndet und immer entbehrt, zu verwirklichen geschaffen ist (through the medium of one who has the gift of endowing with life those delights which we resent and of which we deprive ourselves).”

Classical music lovers tend to enjoy —nay, expect —the so-called canon to never change, let alone the ways it’s presented (something Washington Post classical writer Anne Midgette addresses in a recent piece).  However, contemporary composers have mostly embraced change and risk, frequently at the cost of widespread popularity and acceptance; they, and the artists who perform and program them, stand at the vanguard of creative evolution, come hell or highwater, fully present of time, place, space, and relationships. The ensemble unitedberlin was formed at the fall of the Berlin wall in 1989; like many German cultural institutions, it’s using 2019 to mark the changes wrought over three decades — how past merges with present, in sculpting possibilities for the future. As the program states, the group’s aim has been to explore “areas of tension, between the past and the future,” presenting works that incorporate and inspire a “joy of musical discovery.” Experiencing many works live that I’d not been given an opportunity to hear live before was not only a discovery, but a revelation; it’s been akin to squeezing out a tube of a color never seen before and then experimenting with its application on different surfaces. There are certain works I’m happy to take a (lengthy) break from, but contemporary works I heartily want to explore; I have ensemble unitedberlin, in part, to thank for stoking that long-suppressed curiosity.

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Hans-Jürgen Wenzel (from ensemble unitedberlin program)

Hans Jürgen Wenzel is one of those composers whose work I hope to know better. Along with “Szene”, his intriguing “Eröffnungsmusik” (opening music, 1978) was performed as part of their birthday celebrations; the program charmingly describes the composer (who passed away in 2009) as the “the initiator of the formation of the ensemble.” Wenzel was dedicated to introducing young people to contemporary music, and many of his students went on to become composers in their own right. It was a perfect opening to the evening, and enjoyed a perfect follow-up: the world premiere of young composer Stefan Beyer’s “зaukalt und windig” (cold and windy). Katzer’s “Szene” was followed by Vinko Globokar’s “Les Soliloques décortiqués”, premiered in 2016 by Ensemble Musikfabrik. The France-born Globokar, whose creative process involves writing music based around stories he’s written first, told The Globe & Mail in 2011:

“I was part of a group of friends, an avant-garde that was based on risk. The idea, collectively, was to find something new. But even if you didn’t find this end result, it was still okay, because you were exploring ideas. That kind of collective thinking we did has disappeared.”

Based on cultural experiences over the past few years, I’m not so sure that spirit has entirely disappeared — it’s just become more of an effort to find and subsequently commit to. It was a decidedly stirring experience, to observe Katzer’s widow interacting with Globokar (elegant in a suit), the young Beyer, Jurowski, and ensemble co-founder Andreas Brautigam casually interacting post-concert — generations of past and present, all moving into the future, in their own ways and methods. Here’s to the unbound joys of new discoveries, sonic and otherwise; may we never deprive ourselves of them, but welcome them, with open arms, clear ears, and brave hearts.

Looking Good

Photo by Alexandar Antonijevic

Seeing The Nutcracker in Toronto is a special treat. Not only is there the wonder of James Kudelka’s sweeping choreography, Santo Loquasto’s beautiful, ornate design, and Tchaikovsky’s gorgeous, evocative score, the National Ballet of Canada’s yearly holiday production is also an opportunity to see people in formal attire.

“It’s really nice to see people dressed up,” noted my companion, “you don’t see it very often these days.”

There’s nothing wrong with being comfortable, of course, but lately it strikes me as if the dressing-down trend that defines so much of our attire indicates a certain… lackadaisical attitude socially, one reflected in a lack of effort extended  into relationships, education, basic curiosity: “Why should I initiate anything? Why do I need to bother with that person/idea/group? Why should I put myself in such a weird place? Why not just stay… comfortable?” The basic instinct toward comfort is understandable, in so far as the responsibilities of kids/jobs/mortgages/relationships/etc. can be difficult to balance at any given time, exhausting to maintain, and devastating upon crash. But the familiarity of comfort breeds the dangerous laziness of inertia, which so often leads to intransigence. A night out at the theatre can (and does) help combat this, in that its entails the effort of moving into a space many aren’t used to — but before you roll eyes, keep in mind it’s an effort that should be enjoyable, an effort reflecting grace, gratitude, gentility, and class, things sorely missing in the world.

This isn’t to say one needs become a full-time dandy like the ones photographer Rose Callahan documents so brilliantly in her work (impressive they may be), but simply to decry the lack of interest in formalism — in dressing up, and all it entails — in wider North American society. Attending the formal opening of The Nutcracker, and seeing mothers, fathers, grandparents, and children in formal attire was (as it is every year) a true treat, because it showed not only actual real effort on the part of patrons, it reflected a nice nod toward ritual, tradition, and yes, class. Dressing up isn’t so much about wiping one’s individuality out as it is underlining it in the most elegant/unique/fun possible way, and maybe even opening up your thinking in the most elegant/unique/fun possible way, too.

Photo by Bruce Zinger

Dressing up is, of course, one’s own form of theatre, aiding and enhancing both the occasion and one’s enjoyment of it. Attired in suit-and-tie/dress/etc, one plays a part, perhaps even a better or truer version of one’s self, as Oscar Wilde might argue. The Irish writer wisely noted the relationship between appearancemasks, and human character, and it’s one I tend to keep in mind, particularly at openings, though the experience begins percolating far before the curtain rises. The very process of getting ready to go out is, for me, a kind of meditation, and its own form of theatre, I suppose. I recall an interview with the performance artist Leigh Bowery some years back, where he confessed that he and his friends would sometimes do themselves up, and not go out; the act in and of itself was satisfying, its own kind of theatre. Likewise, re-defining what formal for yourself, as so many tend to do this time of year with things like festive suits and inspired costumes, is equally exciting (and fun!), demonstrating a wonderful curiosity and joie de vivre. There’s not enough of either, and it’s encouraging to see those instincts being expressed in fashion choices, especially at this time of year.

For many years, my dear mother used to decry the lack of dressy attire at various events we’d attend, namely the opera. This isn’t to say she didn’t enjoy Toronto-based company Against the Grain’s casual productions — she did, immensely (though she did smart casual when attending them, a tradition I tend to continue). AtG have done an amazingly smart job of mixing high art and casual approachability, and made opera a whole lot less scary for those completely new to its unique joys. But going to see opera in a fun pub is different than seeing it in a large house; the latter needn’t be scary, strange, and (horrors) uncomfortable; likewise with ballet. Going to The Nutcracker doesn’t require detailed knowledge of ETA Hoffman’s 1816 original work, or an in-depth interest in Tchaikovsky’s music, or even familiarity with the classic Baryshnikov performance.

Along with being a callback to her younger days, when zipping up a fancy dress and putting hair up and earrings on meant more than simply “getting dressed,” formal attire was for my mother (as it is for me) a way of giving back to the event artists: the musicians, performers, directors, and the designers. One look at the details of Santo Loquasto’s exquisite costumes and sets, for instance, and one is awed by the care, attention, and artistry required for such work. That giant golden egg! Those delicate flower-petalled skirts! The giant, waving arms of the festooned Christmas tree! The buttons! The tassels! Those crazy chickens! Then there’s the performers: Skylar Campbell‘s Peter is vibrantly youthful and spritely; Jillian Vanstone‘s Sugar Plum Fairy blends sharp technique and warm joy; Robert Stephen’s Uncle Nikolai is vibrant, passionate… dare I say sexy? (Surely, it is not a bad thing.) There’s the panoply of fantastical elements, too: the roller-skating bears, the dancing horse, the cancan-ing rats. Dressing up is more than a hat-tip; it’s a graceful bow to the mountain of creativity on the stage of the Four Seasons Centre. See if it you can. Dress up. You’ll love it.

The Real Cosmopolitan

Photo via CBC Music

It was with a heavy heart that I heard about the passing of CBC Radio host Jurgen Gothe last month.

I’d been thinking a lot about him lately, what with starting my own radio show this past January, and a recent stock-taking of old cookbooks, where I found DiscCookery amongst my culinary collection. Gothe had penned the work on the 20th anniversary of his popular afternoon radio program, DiscDrive, in 2005.

The program, aired on CBC Radio 2, was a regular part of my young life; it was always on in the house or the car after school, and even when I started going to university, I found myself turning it on during my long commutes, between blaring the Pearl Jam CD and the Tom Waits cassette tape. The program’s avuncular host had a broadcasting style both elegant and casual at once, like a warm designer cardigan found in a Kensington Market stall; it was something very fine and special, though it was equally familiar, casual, and approachable.

After years of listening, it only feels right to call Jurgen by his first name, despite never working with him, and only meeting him briefly. Part of what I loved (and still love) about Jurgen is how much he defied the stereotypical “Canadian” cliche. He wasn’t a maple-syrup-and-hockey-with-Tim-Horton’s-tell-me-aboatit-eh kind of guy (even though he named the Canucks as his favorite sports team). He was smart, well-spoken, curious, deeply interested in viniculture, cuisine, and the world of arts and culture as embodied in his weekday program — but that didn’t make him distant; it made him cool.

The quote on the back of DiscCookery (from the Globe and Mail) called DiscDrive “(t)he most intelligent radio in the country.”The program was a charming compendium of facts, stories, passions, and pursuits; he’d play Mozart and Bach alongside Grappelli and Ellington. I was introduced to Billie Holiday’s magical, horn-like voice on DiscDrive, along with the sad sighs of Marin Marais’ viola da gamba pieces; I ventured into jazz clubs in New York because of the curiosity Jurgen fostered. I gained a whole new appreciation in my Toronto Symphony Symphony concerts, recalling a funny anecdote Jurgen shared about Mozart as I listened to “Eine Kleine Nachtsmusik“, or a food-wine pairing as one of Beethoven’s rich, meaty overtures washed over me.

Radio can change the way a person experiences the world; some programs will only confirm a worldview, while others help to expand, widen, and celebrate it. DiscDrive did all that, and more, helping me say, out loud, “yes, I love these things” while simultaneously making me question the whole idea of “Canadiana” and its relationship with a rapidly changing culture.

Jurgen himself defied the “hoser” cliche by embracing a cosmopolitan curiosity that he then transmitted over the airwaves; his wasn’t an attitude of superiority or snobbery. Quite the opposite. It was his warmth and joy and genuinely curious approach — all the things I try to emulate in my own broadcasting life. I miss Jurgen, and I miss Disc Drive — but the things they stood for and provided continue to inspire. My favorite sweater is so warm, and I am forever grateful.

Photo via CBC Music

Resolution Revolution, With Dancing

Today: 2pm hit and I made a face.

I don’t recognize this.

Then I remembered: Soundcheck ended. Well, not ended forever, but the celebrated afternoon music show on WNYC has taken a hiatus for the summer. It’s being re-imagined and re-tooled for its post-Labor Day return (in a new evening timeslot) and you can follow its progress online.

Friday’s final afternoon program was all about resolutions – specifically musical ones. John Schaefer’s call to listeners, asking them what musical promises they wanted to keep, got me thinking, and feeling more than a little guilty. I’ve been making audio commitments to myself now for ages: I’m going to listen to this new album. I’m going to check out that cool band. I’m going to get to more live shows. 

And despite covering The Cult’s new album, getting into a great new DJ, and seeing Garbage live, I still feel like I’m not doing enough. With every new week comes a new onslaught of albums, bands, shows, all of which I feel I should be paying more attention to.  Then there’s the backwards glance – and a glance is really all it’s been when it comes to my own, embarrassingly limited musical knowledge.

Raised as a classical music-playing child, I didn’t really find out about the work and influence Bob Dylan, David Bowie, or The Rolling Stones until well into adolescence. My house was filled with the sounds of Cash, Presley, and ABBA (to say nothing of Back, Beethoven, and Mozart) for many years. Later, with my very-own turntable in my bedroom, neither The Clash and nor Black Flag provided the soundtrack to teenaged rebellion; Aretha Franklin, Ronnie Spector, and Donna Summer did. I related to the strong, glamorous ladies whose music I could dance to. A big part of me still does.

The first time I heard Bob Dylan I was fifteen years old. The song was “Tangled Up In Blue” and it was played to me by a Dylan-loving friend of my mother’s. I’d never heard anything like it; the words dripped with angst, and anger, and a world-weariness I hadn’t quite known before. Somehow, it made the grunge explosion that followed in popular culture make more sense. A guest of Schaefer’s on Friday confessed she didn’t know enough about Dylan’s either, and that her musical resolution over the summer was to correct that oversight.

It was oddly comforting to hear that kind of confession in such a public forum. Admitting you don’t know the canons of such huge music monoliths in public is hard, and it was nice to see Soundcheck – a show I consider to be as much entertainment as education, and a major smarty-pants beacon of deep pop culture know-how -welcome such curiosity with open arms. It’s nice to not be afraid of judgment, or be worried about appearing uncool, of lacking taste, of being plain stupid, but to just be welcomed and accepted.

Perhaps that’s why the “ending” of Soundcheck hit me harder than I expected, and why today’s 2pm mix-up was a bit of a slug in the guts. Schaefer and the fantastic Soundcheck team have provided a wonderful forum for the musically curious masses (with whom I deeply identify) to learn, to ask questions, to branch out, to exercise our curious ear-muscles and maybe have a dance or two across our office/kitchen floors. Thusly inspired, this is what I’d like: to further my contemporary music-scene knowledge while deepening my appreciation of its past. Can it be done with any measure of success? I’ll let you know when Soundcheck’s back on the air in September. I’m starting here. Don’t judge.

(Top photo from Sodahead)

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