Comments for The Boston Musical Intelligencer http://classical-scene.com a virtual journal and blog of the classical music scene in Boston Wed, 23 May 2012 19:45:51 +0000 hourly 1 http://wordpress.org/?v=3.3.2 Comment on Of Pastiche and Profundity by Brian Robins http://classical-scene.com/2012/05/22/of-pastiche/comment-page-1/#comment-12671 Brian Robins Wed, 23 May 2012 19:45:51 +0000 http://classical-scene.com/?p=12748#comment-12671 I'm not sure where Mr Cohen has been recently, but it does not sound as if he has visited Europe for a while. Just where are these opera house able to "lavish major resources on seventeenth and eighteenth century operas"? I’m not sure where Mr Cohen has been recently, but it does not sound as if he has visited Europe for a while. Just where are these opera house able to “lavish major resources on seventeenth and eighteenth century operas”?

]]> Comment on Of Pastiche and Profundity by D. Tchil http://classical-scene.com/2012/05/22/of-pastiche/comment-page-1/#comment-12670 D. Tchil Wed, 23 May 2012 19:44:42 +0000 http://classical-scene.com/?p=12748#comment-12670 *Had the Enchanted Island been premiered in Europe, ehere baroque values are better understood,  it might have been a success.  This was a far better use of the Met's thing for extravagant machinery than the Ring. *Had the Enchanted Island been premiered in Europe, ehere baroque values are better understood,  it might have been a success.  This was a far better use of the Met’s thing for extravagant machinery than the Ring.

]]> Comment on Of Pastiche and Profundity by Ed Burke http://classical-scene.com/2012/05/22/of-pastiche/comment-page-1/#comment-12659 Ed Burke Wed, 23 May 2012 03:34:37 +0000 http://classical-scene.com/?p=12748#comment-12659 *No Thanks...no interest... just another example of the MET spending money foolishly.<BR><BR>I'am DVD-Xing the HD <EM>FAUST </EM>the Met hd shown in theatres this past season..its on WGBH-TV @ 1:00AM in HD..   Most of the major roles are with superb singers but the production... set in the current century promises to be even more hideous than the previous one... no doubt I'll only listen rather than watch. *No Thanks…no interest… just another example of the MET spending money foolishly.

I’am DVD-Xing the HD FAUST the Met hd shown in theatres this past season..its on WGBH-TV @ 1:00AM in HD..   Most of the major roles are with superb singers but the production… set in the current century promises to be even more hideous than the previous one… no doubt I’ll only listen rather than watch.

]]> Comment on Romantic sans Romanticism by Pianist Licad by liszt&chopin http://classical-scene.com/2012/05/21/pianist-licad/comment-page-1/#comment-12634 liszt&chopin Tue, 22 May 2012 14:09:36 +0000 http://classical-scene.com/?p=12734#comment-12634 When a critic hears more of himself on works performed rather than understand the point of view of the performer, that is when it contradicts music appreciation, because it makes him having the last voice like that of a judge. Virgil Thomson, the composer & critic called Horowitz the master if distortions. Harold Schoenberg, the late New York critic, hated Leonard Bernstein music making. But in the end, it is the great memories of the artists that are remembered not the pontifications of the critics including this one on Licad. What matter is that most of the audience got the message of the artist. Music can not be as an art atypical or standard and repititious, otherwise truly classical music is dead! Critics can pour a cold water to enthusiasm and appreciation. When a critic hears more of himself on works performed rather than understand the point of view of the performer, that is when it contradicts music appreciation, because it makes him having the last voice like that of a judge. Virgil Thomson, the composer & critic called Horowitz the master if distortions. Harold Schoenberg, the late New York critic, hated Leonard Bernstein music making. But in the end, it is the great memories of the artists that are remembered not the pontifications of the critics including this one on Licad. What matter is that most of the audience got the message of the artist. Music can not be as an art atypical or standard and repititious, otherwise truly classical music is dead! Critics can pour a cold water to enthusiasm and appreciation.

]]> Comment on Romantic sans Romanticism by Pianist Licad by liszt&chopin http://classical-scene.com/2012/05/21/pianist-licad/comment-page-1/#comment-12633 liszt&chopin Tue, 22 May 2012 13:57:45 +0000 http://classical-scene.com/?p=12734#comment-12633 The formidable critic and composer Virgil Thomson had been prejudiced by Horowitz pianism and creativity that he called the latter the "master of all distortions". Likewise with the late New York critic Harold Schoenberg who hated everything about Leonard Bernstein's music making, but in the former's retiring years acknowledged that  in the end Bernstein would be treated by history as a genius and a monument will be erected. And the irony for him as a critic was he simply tried to pontificate his beliefs in manner by which shoukd be interpreted. the above writing is another type of writing as if to say, the critic would render those repertoire better than Licad. He was listening unto himself but not rather understanding what Licad is communicating. For him it was idiocyncratic, but for the majority it was a living interpretation of the moment of time. Interpretation should never be typical but rather alive and individual. If the audience love it, the critic's opinion is dull and pointless. The formidable critic and composer Virgil Thomson had been prejudiced by Horowitz pianism and creativity that he called the latter the “master of all distortions”. Likewise with the late New York critic Harold Schoenberg who hated everything about Leonard Bernstein’s music making, but in the former’s retiring years acknowledged that  in the end Bernstein would be treated by history as a genius and a monument will be erected. And the irony for him as a critic was he simply tried to pontificate his beliefs in manner by which shoukd be interpreted. the above writing is another type of writing as if to say, the critic would render those repertoire better than Licad. He was listening unto himself but not rather understanding what Licad is communicating. For him it was idiocyncratic, but for the majority it was a living interpretation of the moment of time. Interpretation should never be typical but rather alive and individual. If the audience love it, the critic’s opinion is dull and pointless.

]]> Comment on Journal of A Piano Juror by Mark Kroll http://classical-scene.com/2012/05/19/journal-of-a-piano-juror/comment-page-1/#comment-12628 Mark Kroll Tue, 22 May 2012 06:22:14 +0000 http://classical-scene.com/?p=12701#comment-12628 Dear Friends,I am writing from Bordeaux at present, where I am participating in a Hummel Festival, but a few weeks ago I served as President of the Jury for the Prague International Harpsichord Competition.  I have served on the jury of this competition, and others, for many years, and I have always found Prague to be a model of professionalism and high-standards. This year the good people who run it outdid themselves in all respects. That said, I have to agree with those who object to Mr. Gerber's comments.  As both a competitor in my youth, and as a juror, one should expect confidentiality, and respect, at the very least. These are two of the most important principles that those on a competition jury should follow, but unfortunately they were not sufficiently in evidence in Mr. Gerber's article. <br>Sincerely,Mark Kroll Dear Friends,I am writing from Bordeaux at present, where I am participating in a Hummel Festival, but a few weeks ago I served as President of the Jury for the Prague International Harpsichord Competition.  I have served on the jury of this competition, and others, for many years, and I have always found Prague to be a model of professionalism and high-standards. This year the good people who run it outdid themselves in all respects. That said, I have to agree with those who object to Mr. Gerber’s comments.  As both a competitor in my youth, and as a juror, one should expect confidentiality, and respect, at the very least. These are two of the most important principles that those on a competition jury should follow, but unfortunately they were not sufficiently in evidence in Mr. Gerber’s article. 
Sincerely,Mark Kroll

]]> Comment on Journal of A Piano Juror by Richard Buell http://classical-scene.com/2012/05/19/journal-of-a-piano-juror/comment-page-1/#comment-12620 Richard Buell Tue, 22 May 2012 02:18:22 +0000 http://classical-scene.com/?p=12701#comment-12620 What about a contest for Taking Umbrage? The prizes: (1) a high horse, and (2) a suit of armor befitting one who is in given to outbursts of righteous wrath, unbidden, on other people's behalf.<br><br>Item #1 below describes a competition that is not a competition. What a good idea!<br><br>http://www.nytimes.com/1991/04/28/arts/a-pianist-succeeds-without-really-trying.html?ex=1337745600&en=2049b56259af6f85&ei=5070<br><br>Item #2 -- http://www.nytimes.com/2009/08/08/opinion//08iht-edjohnson.html?_r=3 -- notes that there were "about 750" competitions in existence at the time (2009) the article was published. As of the present moment there surely can't be fewer.<br><br>And to what end?<br><br><br><br><br><br><br><br> What about a contest for Taking Umbrage? The prizes: (1) a high horse, and (2) a suit of armor befitting one who is in given to outbursts of righteous wrath, unbidden, on other people’s behalf.

Item #1 below describes a competition that is not a competition. What a good idea!

http://www.nytimes.com/1991/04/28/arts/a-pianist-succeeds-without-really-trying.html?ex=1337745600&en=2049b56259af6f85&ei=5070

Item #2 — http://www.nytimes.com/2009/08/08/opinion//08iht-edjohnson.html?_r=3 — notes that there were “about 750″ competitions in existence at the time (2009) the article was published. As of the present moment there surely can’t be fewer.

And to what end?

]]> Comment on Journal of A Piano Juror by Simon Philips http://classical-scene.com/2012/05/19/journal-of-a-piano-juror/comment-page-1/#comment-12612 Simon Philips Mon, 21 May 2012 23:12:49 +0000 http://classical-scene.com/?p=12701#comment-12612 A final word: yes, it would be one thing to write an article really examining how competitions work from the inside.  But this piece is very far from being an interesting analysis or look inside competitions themselves and is really just a boorish anecdote without any serious reflection or nuance.<br>Moreover, Mr. Gerber, the publication of this "journal" is a violation of the trust these young musicians placed in you when they walked out on stage 11 years ago.  You were the amateur on the jury, and have indeed marked yourself as such -- but not by having lesser ears or musical perceptions, but by being unprofessional and dishonorable in your actions. A final word: yes, it would be one thing to write an article really examining how competitions work from the inside.  But this piece is very far from being an interesting analysis or look inside competitions themselves and is really just a boorish anecdote without any serious reflection or nuance.
Moreover, Mr. Gerber, the publication of this “journal” is a violation of the trust these young musicians placed in you when they walked out on stage 11 years ago.  You were the amateur on the jury, and have indeed marked yourself as such — but not by having lesser ears or musical perceptions, but by being unprofessional and dishonorable in your actions.

]]> Comment on Romantic sans Romanticism by Pianist Licad by Fred http://classical-scene.com/2012/05/21/pianist-licad/comment-page-1/#comment-12609 Fred Mon, 21 May 2012 20:49:16 +0000 http://classical-scene.com/?p=12734#comment-12609 Music appreciation can indeed be a matter of personal taste and/or opinion. I, for one, thoroughly enjoyed the whole recital with no reservations. The encore is not by Liszt. It is "Souvenirs d'Andalousie" by Louis Moreau Gottschalk.  Music appreciation can indeed be a matter of personal taste and/or opinion. I, for one, thoroughly enjoyed the whole recital with no reservations. The encore is not by Liszt. It is “Souvenirs d’Andalousie” by Louis Moreau Gottschalk. 

]]> Comment on Journal of A Piano Juror by Zoe Kemmerling http://classical-scene.com/2012/05/19/journal-of-a-piano-juror/comment-page-1/#comment-12608 Zoe Kemmerling Mon, 21 May 2012 20:29:21 +0000 http://classical-scene.com/?p=12701#comment-12608 I second Mr. Philips. These days there is a lot of (justifiable) worrying going on about the future of classical music in American society. No wonder, if people in positions of mentorship use the opportunity as fodder for cheap gossip. I second Mr. Philips. These days there is a lot of (justifiable) worrying going on about the future of classical music in American society. No wonder, if people in positions of mentorship use the opportunity as fodder for cheap gossip.

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