At 19:03 10-08-2012 +0100, you wrote: >Viggo, > >For some reason I hopped over your post and have just discovered it. I enjoyed >Marstal's piece. Go along with it. > >Keith
Good to hear it was indeed readable "as is" as well as enjoyable! I thought so myself, but then I also had the advantage of the text in Danish. Viggo. >At 19:02 09/08/2012, you wrote: >>Below is a Google Translation of an article from the Danish newspaper >>Politiken's online site only a few weeks ago. I can't spend time on >>making it a near-perfect translation. I've gone loosely through it and >>replaced a couple of Danish words that Google apparently couldn't >>manage, and I've noticed a few wordings, where even I would have to >>compare to the text in Danish in order to fully understand it. But it >>shouldn't be too hard a read, and maybe it contains enough info to >>find something similar on the net in proper English. >> >>In short, free classical concerts in the streets, let the music come >>to the people on their conditions instead of choking it to death >>indoors with the poshness of the uberclass and upper middle-class to >>show off their expensive clothes and stuck-up manners. I mean: When >>Daniel Barenboim can do it, then what excuse could anybody else >>possibly have? There is no telling how much classical music would >>benefit from this on a much larger scale, crisis or no crisis. >> >>A full-sized orchestra is obviously expensive to keep on the payroll >>not to mention additional choir and singers sometimes, but the genre >>has become its own worst enemy by insisting on being treated with awe >>and "silence! we're playing now, don't distract us!" behind closed >>doors. It has to find a compromise closer to the informal settings of >>other genre concerts. Free or entrance fee is not the point. People >>still have money to burn off on concerts, but they have to be able to >>feel that the music is played for their sake, and that expressions of >>their enthusiasm and gratitude is not unwelcome, even if it happens >>in the middle of a symphony movement. It's so dumb, really. When else >>should it happen, up to several minutes later, when the composer has >>decided that now and not a second sooner is it time for a break? >> >>It's not Wimbledon, it's music. >> >>Viggo. >> >>http://politiken.dk/debat/profiler/marstal/ECE1676794/roll-over-tjajkovskij-and-tell-beethoven-the-news/ >> >> >>2. jul. 2012 Henrik Marstal >>Roll over Tchaikovsky and Tell Beethoven the News >> >>In my last blog I allowed myself to go right with Politiken classical >>music editor Thomas Michelsen, because he is as a facilitator for my >>opinion does not address sufficiently open to both interesting and >>useful experiments with the classical music concert framework, which >>over the past few years have been good examples of home. >> >>In spite of these experiments sometimes affected by the next, >>anyone - arrangers, musicians, audiences and critics - in force them to >>learn more about how classical music institution can become an even >>more dynamic, contemporary cultural bastion of the 21st century. >> >>The key must always be that the classical music institution can be >>experienced by an ever more culturally differentiated audience on a >>unbiased way (and it goes well, to feel both ways), and thus it may >>continue to be very dynamic, contemporary cultural bastion of the 21 >>century. And if it is necessary to experiment to get there, then the >>musical world as a whole actively endorse it. >> >>An amazingly competent and successful example of how such a experiment >>can be done, I experienced yesterday in Berlin in the middle of the >>boulevard Unter den Linden at Bebelplatz the Deutsche Staatsoper and >>Humboldt University. The boulevard was the apartment closed to >>vehicular traffic and instead filled with concert-goers by Deutsche >>Staatsoper and the car company BMW had been invited to a free concert >>by symphony orchestra Staatskapelle Berlin, conducted by the >>Argentine-Israel Semitic pianist and conductor Daniel Barenboim. It >>was not a single event but something that has regularly taken place in >>recent years. >> >>Here's how I experienced it: Thousands are bypassed up and has sat >>itself directly on the asphalt, with or without blankets and pillows, >>but all bear with sun hats, sunglasses, picnic baskets, beer, pizzas >>and umbrellas. In addition, possess a great deal of concentrated >>listening with their eyes fixed on the two big screens to the right >>and left of the stage. which there are to a microphone amplified >>symphony orchestra. And of course Barenboim himself, who leads the >>orchestra through Tchaikovsky's first piano concerto in b-minor with >>the Uzbek-Israeli Yefim Bronfman as soloist, and then same composer's >>fourth symphony. >> >>The shape is classic, traditional concert with all that include - and >>yet not quite. The concert is not just underway, but is informally >>presented by the two partners respective directors. It helps to >>concretely put an sender or a face at the concert, mind you, in a >>manner that is both earthy, warm and appreciative of the present >>audience. >> >>It also plays into that almost no institutional expressions can be >>traced: No controllers, no fixed seats, no bell there for three laps >>before calling the concert to herding people in place, and no implied >>claims to the audience to be / Connaisseurs / or for that matter be >>suitably dressed for the noble even allowed to be present. >> >>Similarly, they act predominantly male band members did not in dark >>clothing, as tradition prescribes otherwise, but only in white shirts >>with complete individual dress code what their tie is concerned. How >>both release and hold the words on the forms of German musical life! >> >>Concert in which, of course, differ from those in a concert hall as a >>result of the slightly modified sound conditions that the necessary >>microphone gain brings about, and as a result of individual gusts >>which sometimes threatens to overthrow the node racks. >> >>The triumphant conclusion of the piano concerto first movement leads >>to a spontaneous, thunderous applause from the audience - something >>that might otherwise be regarded as a marked break in the concert hall >>etiquette of silent devotion between rates. >> >>Barenboim and Bronfman appears in the first place Nor brand with it, >>but after 10-15 seconds travel Bronfman nevertheless slightly awkward, >>overwhelmed by his piano chair in order to acknowledge the audience's >>applause. The incident helps to lift the mood and make the audience >>even more hungry in the subsequent second movement, however, concludes >>that subtly that nobody when to clap before the third and final >>movement is in full swing. >> >>Since piano concert is over, the applause is so resounding that >>Bronfman himself may contribute to the degradation tag by making a >>small additional number. How do you normally certainly not in the >>middle of a concert, but it helps only to make the atmosphere even >>more uplifted the audience. >> >>No sooner is Bronfman complete before the piano is rolled away from >>the scene, and the orchestra is currently the fourth symphony. Again >>applause after first rate, and this time also after each of the next. >>Barenboim seems to not even now do not notice it, but does during both >>happy and inspired, especially in the third movement he allows to >>flirt with the conductor's baton and act / showman / in a way that he >>guaranteed could not afford in a concert hall. >> >>The audience is hardly connoisseurs of the work, making sure Barenboim >>also for his gesture to signal when the work is over. And the applause >>bursts, therefore with the same loose again, ecstasy and with a >>weight, as an ovation can only have when the audience actually have >>immersed themselves in music and had an experience. In applause goes >>all the way to Barenboim every corner of the stage and throws hand >>kisses out to audiences and obligatory bouquet of flowers that he has just >>been handed, then becomes Also thrown far beyond the audience >>acknowledged with an enthusiastic hoot. >> >>Barenboim is inspired, you feel, and he now keeps a short speech is >>about how the ongoing alteration of the Deutsche Staatsoper seem quite >>capable of protracted (it has just been postponed yet one year), >>playing musicians now even always at the time they are advertised to. >>He asks rhetorically: What if we instead of playing today had said to >>you: Ahhh, come back tomorrow - and that we morning so had said: Ahhh, >>come again on Wednesday - >> >>The audience enjoying themselves, but I think they also understand >>very well Barenboims point: The music is always present here and now, >>and that in Contrary to world builders can never afford to let his >>audience waiting. And as if to substantiate precisely the point, he >>concludes by saying that if someone does not think they played well >>enough, or that they did not play long enough, so here are a little >>encore - after which the orchestra plays a sweeping waltz, before >>everything is finally over. >> >>It's an interesting power relationship that unfolds between audience >>and musicians. The concert hall's formal, quiet environment takes >>things institution's own terms. But an outdoor concert is something >>else - as true as that - street belongs to the people - is the concert >>by. definition a popular event, highlighted by the sale of beer and >>pizza, of free admission and the informal / setting / with street >>pavement as seating surface. >> >>The highbrow dimension has a number of plans put completely out of >>power, the music here is nowhere else than at street level with the >>audience. And it makes itself useful, not nice. This reduces the >>opportunity for increased to connection between the sender (the >>composer) and receiver (audience) is precisely such as Beethoven took >>as the motto of one of its works: - From the heart - it had to go to the >>heart. >> >>It's an important point at the concert that not only the public, but >>also musicians are more unrestrained, more free and more informal when >>situation allows it. The result is that the mood is better, energy >>flows more freely, and the musicians can be more tear with the >>audience's enthusiasm, because this can flow freely. Alone Therefore, >>alternative concert forms like this worth pursuing, even of the reason >>that they eventually will undoubtedly be able to draw a new curious >>audience right into the concert halls. >> >>And Tchaikovsky himself, I wonder what he would have said that two of >>his masterpieces of yesterday was played in this way - I think he would >>have been happy to see how his music streamed over Thousands of >>concentrated and receptive listeners, as freely and as rampant in the >>streets. And, to paraphrase Chuck Berry's famous Rock 'n' roll number, >>I do not think that Tchaikovsky would have anything against a change >>in the chorus line for - Roll over Tchaikovsky and tell Beethoven the >>news. >> >>Precisely Beethoven is for the rest the next composer who Barenboim >>takes on the program when he knows an outdoor concert in Berlin in >>late July with the Seville-based summer orchestral West Eastern Divan >>Orchestra, consisting of young Arab and Israeli musicians. Again, play >>with two of the composer's most weighty symphonies, the legendary >>Eroica-Symphony and the no less legendary Destiny Symphony. Again: no >>fine sensations of inherited gold is durable, and quality of High >>performance. >> >>And now when we talk about the quality that many are afraid of losing >>every single time for experimenting with classical music form and >>Content: The quality, completeness and sincerity were at the concert >>on Under den Linden never squandered. It / can / be possible to >>experiment with shapes without tivolisering - while create the best >>possible conditions for that music can unfold optimally for the >>benefit of each and every one who listens. >> >>I think it is worth remembering - also in the continued and necessary >>debate on the classical music means and ends at home. >> >>HENRIK MARSTAL >> >>_______________________________________________ >>Futurework mailing list >>[email protected] >>https://lists.uwaterloo.ca/mailman/listinfo/futurework > >Keith Hudson, Saltford, England http://allisstatus.wordpress.com > >_______________________________________________ >Futurework mailing list >[email protected] >https://lists.uwaterloo.ca/mailman/listinfo/futurework _______________________________________________ Futurework mailing list [email protected] https://lists.uwaterloo.ca/mailman/listinfo/futurework
