MEMETERIA by Thomas May

Music & the Arts

Happy Birthday, Ludwig!

lb

Portrait of Ludvig van Beethoven composing his Missa solemnis by Joseph Karl Stieler (1819) Beethoven Haus, Bonn, Germany/The Bridgeman Art Library International

Beethoven was my very first “classical music” love. And Beethoven remains inexhaustibly fascinating. I’m still digesting Jonathan Biss’s thoughtful performance of Op. 111 last weekend at Meany Center for the Performing Arts.

In honor of the composer’s (probable) birthday (we know at least that he was baptized on 17 December 1770), a few favorite quotes from the master:

“I must despise a world which does not feel that music is a higher revelation than all wisdom and philosophy, the wine which inspires one to a new generative process, and I am the Bacchus who presses out this glorious wine for humanity and makes it spiritually drunken.”

“My thoughts go out to you, my Immortal Beloved I can only live wholly with you or not at all-

“What you are, you are by accident of birth; what I am, I am by myself. There are and will be a thousand princes; there is only one Beethoven.”

“It seems I could wrest my ideas from nature herself with my own hands, as I go walking in the woods. They come to me in the silence of the night or in the early morning, stirred into being by moods which the poet would translate into words, but which I put into sounds — and these go through my head swinging and singing and storming until at last I have them before me as notes.”

“The true artist is not proud, he unfortunately sees that art has no limits; he feels darkly how far he is from the goal; and though he may be admired by others, he is sad not to have reached that point to which his better genius only appears as a distant, guiding sun. I would, perhaps, rather come to you and your people, than to many rich folk who display inward poverty.”

“Must it be? It must be.”

Filed under: Beethoven

Women’ s Indelible Mark on Classical Music

saariahoMy December began with one of the most thrilling performance experiences in a very long time: the Met Opera premiere of Kaija Saariaho’s L’amour de loin. Another highlight this year was Julia Bullock’s performance in the revised version of Saariaho’s La Passion de Simone at the Ojai Festival.

In honor of Saariaho, here’s a piece I wrote this past spring about women in music:

It took until 1920 for the 19th Amendment to the U.S. Constitution to be ratified, guaranteeing female citizens the right to vote. But almost 100 years later, the status quo in classical music still needs a whole lot of shaking up if women are to have any chance of fair representation.

continue reading

 

Filed under: essay, Saariaho, women composers

Patti Smith Covers Dylan at the Nobel Ceremony

And Bob Dylan’s speech:

Good evening, everyone. I extend my warmest greetings to the members of the Swedish Academy and to all of the other distinguished guests in attendance tonight.

I’m sorry I can’t be with you in person, but please know that I am most definitely with you in spirit and honored to be receiving such a prestigious prize. Being awarded the Nobel Prize for Literature is something I never could have imagined or seen coming. From an early age, I’ve been familiar with and reading and absorbing the works of those who were deemed worthy of such a distinction: Kipling, Shaw, Thomas Mann, Pearl Buck, Albert Camus, Hemingway. These giants of literature whose works are taught in the schoolroom, housed in libraries around the world and spoken of in reverent tones have always made a deep impression. That I now join the names on such a list is truly beyond words.

continue reading

Filed under: Bob Dylan, Patti Smith

Jonathan Biss Reflects on “Late Style”

6bc2a84e-9bd4-11e6-a8b4-94be1f9c615b-1020x1530

Jonathan Biss. (Benjamin Ealovega)

My Seattle Times interview with Jonathan Biss, who will perform in two events this coming weekend at UW:

At the advanced age of 36, Jonathan Biss finds himself fascinated by “late style” — the manner of expression an artist adopts as the end of life approaches.

continue reading

Filed under: Beethoven, Brahms, Kurtág, pianists, Seattle Times

Madrona Makes Music: Holiday Benefit

15171279_1140663509388714_7755008786534566943_n

Local readers please note this concert scheduled for Saturday 10 December, 3-4 pm, by the musicians of Madrona to benefit their neighborhood’s homeless shelter, Julia’s Place.

From the announcement: “These local performers, including accomplished professionals and aspiring young artists, present a holiday extravaganza that covers everything from Mozart and Schubert to Stevie Wonder and Leonard Cohen. Guests of all ages are welcome at this free community concert, and every donation collected goes directly to Julia’s Place to assist vulnerable families!”

Madrona Makes Music is presented by local violin studio Suzuki by the Sound

Performer lineup:

–Distilled, Seattle University alumni a cappella choir
-Aaron Grad, electric theorbo
-Tracy Hagen, cello
-Jen Kovarovic, violin
-Lizzie and Aimee
-Nelda & Clif’s little BIG band
-Rabbi David Basior
-Lewis Thompson, piano
-Violin students of Suzuki by the Sound

Filed under: miscellaneous

Elgar’s Dream a Transformative Experience at Seattle Symphony

49938-ed-gardner-5sep12-c-b-ealovega-orig-crop

Edward Gardner © Benjamin Ealovega

At this late date, it’s surprising how relatively little-known The Dream of Gerontiusremains among American audiences. Edward Elgar’s masterpiece – even if not the composer’s own favourite among his great oratorio trilogy – contains all the goods to move a concert audience to its core. ..

continue reading

Filed under: choral music, Edward Elgar, review, Seattle Symphony

Saariaho’s L’Amour de Loin: A Sea Apart

Excited about tonight’s opening: historic moment for the Met.

Thomas May's avatarMEMETERIA by Thomas May

1380x591_saariahoOn Friday, 1 December 2016, the Metropolitan Opera will premiere its new production of Kaija Saariaho’s L’Amour de Loin. It will mark the first time since 1903 that the company will have presented an opera by a woman composer.

Here’s my essay for the Met’s Season book on this stunning creation by Kaija Saariaho:

Since its world premiere at the Salzburg Festival in 2000, L’Amour de Loin has earned a place among the most acclaimed stage works of the 21st century. The opera won the prestigious Grawemeyer Award for Musical Composition in 2003 and has been performed in Paris, London, Santa Fe, Helsinki, Aspen, Darmstadt, and elsewhere. Yet it took years before Kaija Saariaho became convinced that opera could be a viable medium for what she wanted to express as a composer.

continue reading

View original post

Filed under: Uncategorized

Lisztomania

img_6030

Filed under: Franz Liszt

Learning To Listen: Fallujah Brings the Iraq War to the Opera Stage

fallujah

(c) Sarah Shatz/New York City Opera

The tag “CNN opera” was always a misleading way to refer to operas grappling with current events, but it’s downright insulting when it comes to a work like Fallujah, the chamber opera by the Canadian composer Tobin Stokes and the Iraqi-American librettist Heather Raffo that just received its East Coast première in a co-production by New York City Opera and Long Beach Opera.

continue reading

 

Filed under: new music, New York City Opera, review

Charles Ives: Thanksgiving and Forefathers’ Day

Filed under: American music, Charles Ives, San Francisco Symphony

Archive

Enter your email address to follow this blog and receive notifications of new posts by email.