Reader Antoine Leboyer writes to point out that the New York Philharmonic has made its programme archive available online and that the archive shows how past programmes were far more varied than those played today. Here are just some of the composers that Antoine highlights from past concerts by the orchestra: Siniaglia, Busoni, Bosi, Chadwick, Stanford, Loeffler, McDowell, Hadley, Goldmark, Pfitzner, Enesco, Vieuxtemps and Grétry. Antoine also remarks on how Webern's music has virtually disappeared from New York concerts in recent years. One of the many confidence tricks of the digital era is how a long tail of cultural riches was promised , but a short head immaculately coiffed by audience whoring celebrities was actually delivered. I suggest that one of the key search criteria for the New York Philharmonic's new music director should be a passion for giving audiences permission to like unfamiliar music . Graphic is grabbed from the New York Philarmonic archive lan
Comments
There is a world of difference between transcriptions and truncations, and I listened a lot to Bernstein's LP of the Mitropoulos transcription of Op 131 when it was first released in 1979. (The Opp 131 and 135 are now coupled on one CD).
But have to confess I listened to Bernstein's transcription again a few months ago and didn't get beyond the first few minutes.
But it is a fascinating curiosity, and worth listening out for. (Morning on 3 is available on 'listen again')
And yet ...
"...sounded horribly like film music..."
Seems to me that this is where your "noses" metaphor falls flat - the noses are still easily recognizable as a part of the whole, and to my ears, the same thing is true of the Beethoven.
"...which is presumably what the BBC producer intended."
A fascinating comment, and I'm really curious why you presume this.
"...the market driven BBC will say the audience ratings justified it,"
Am I supposed to conclude that "market driven" is an unqualified negative?
"Some time ago the BBC Radio 3 dropped its policy of only playing complete works,..."
Being from the colonies, I can't really comment. However, you make an absolute statement. Does this policy really apply to all programming, or only to some?
'the alert and receptive listener, who is willing to make an effort to select his programming in advance and then meet the performer half-way by giving his whole attention to what is being broadcast'.
Times change, but BBC Radio 3 now expects very little effort from the listener (such as listening to a whole Beethoven Quartet). Instead the schedules are dominated by compromises in the increasingly frenetic fight for listeners with 'populist' Classis FM.
In my recent postabout Arvo Pärt's Passio I wrote how Pärt determined the duration of the silences between the sections determined by the number of syllables in the final word of the preceeding sentence.
Pärt's Passio is a through-composed work, not a succession of movements separated by silences. In my view a Beethoven Quartet, such as the Op 131, is exactly the same.
I can see no reason for the BBC to have programmed a single movement. It was not a time constraint. As mentioned in my comment above, the same programme is tomorrow broadcasting the orchestrated Op 135 which lasts 32 minutes. The Op 132 lasts 38 minutes.
I'm not trying to defend any "dumbing down" initiatives, but I do recognize that trying to play to my own particular tastes would be a fast way to drive down any live or remote audience. Not all compromises are inherently evil, but I'm really not close enough to this particular example to judge ...
Van Beethoven?
Van? Not Von. Why?
Because his ancestors (parents, grandparents)were from Mechelen.They emigrated to Bonn.
Still .. great organ linked musicians over there.