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In Reply to: RE: Of all the current composers, I think Adams is one of the few with "legs." nt posted by tinear on October 22, 2009 at 21:22:37
...as his music has changed. I very much enjoyed City Noir because it was characterized by some of the traits I truly enjoy about contemporary classical, including an "epic" feel, glorious colors and textures in the orchestration and use of instruments and the apparent objective of the composer/composition to simply "not sound like anything else" out there -- a very original (and serious work). I can't wait for a commercially available recording.
That said, to a "classical outsider" I feel that the music is too abstract (no immediately recognizable melody, a lot of nuance and activity that doesn't grab the attention of the casual listner etc.). So, I'm not sure that John Adams (or many contemporary composers) can "have legs" in the long run. This kind/style of music (which I will re-state I REALLY enjoy) seems to be, at its roots, built to be "a product of its times" and, as such, transitional in terms of its impact on the listening audience. I think all we need to do is look back 50, 60, 70 years ago to the "new wave" of Diamond, Piston, Schuman (just to keep things American for now) to see that their time has probably in the past.
Finally, the LA concert was a hoot. The camera pans around the audience revealed a LOT of celebrities...it was a "red carpet event" like the Oscars. This is simply not typical, and I have a hard time believeing that these celebs listen to a lot of Mahler. As for Dudamel (not Adams, whose music, IMO, MADE the concert), I'm stuck on his overall presentation -- the idiot-robot conducting mannerisms put me off: I simply cannot connect his movements to the musical message being presented, and I cannot imagine that the musicians are actually responding in some tangible way to this spasm-dance.
For me, the core enticement of classical music is its architecture, emotion and sound. The "wrapper" that is live concerts, big venues, personalities, etc. just read as pretentious, context-based and, ultimately, disposable. I'd like to think that the few truly strong contemporary works that get thrown into this nonsense can outlive the pimping.
Follow Ups:
That *probing* Mahler discussion between Dudamel and Andy Garcia was also a hoot.
It would have been worthwhile if Andy had done some homework before the "interview". With all of the over the top hype about wunderkind Dudamel, I hope he doesn't become just another David Beckham for LA.
Dudamel has plenty of enthusiasm, a big clear beat, and his orchestra plays well for him.
The Mahler 1 on PBS had its moments, but betrayed a general lack of long line. The music was episodic even when it shouldn't be. Phrasing could be quite apt and felicitous, followed by a page of what sounded like sightreading by the band. Good ideas ran side by side with pedestrian, bar-by-bar playing. I don't know quite what to make of it all.
Give The Dude a few seasons to settle in, and we'll see.
I heard a "live" performance of Tchaik 4 over the weekend (with a youth orchestra) that had me musing similarly.
Jeremy
I only listened for 30 seconds, so I didn't want to make assumptions. All I can say is that in the hands of Dudamel Mahler is a LONG way from home!:-)
I didn't mind hearing Dudamel talk about why he likes to conduct the piece in language suited for the casual fan but the "interview" felt so stilted and Garcia seemed like he was completely uninterested in the subject or in letting GD talk without interrupting him.
"The man is only half himself, the other half is his expression." -- Ralph Waldo Emerson
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