Okay okay me and my nephew were just stumbling around Europe on trains
fast and slow, and while he dragged me into the music stores to check
out all the latest deutschesrap CDs, I haunted what he referred to as
"the geezer bins."
Here's my Europick of the Week:
J.S. Bach: 7 Harpsichord Sonatas
Harmonia Mundi / HMU 907283.84
Richard Egarr, harpsichord
The Academy of Ancient Music
Andrew Manze, violin, director
Rachel Brown, flute (Triple Concerto)
CD1
Concerto in D minor BWV1052
Concerto in E major BWV1053
Triple Concerto in A minor BWV1044
CD2
Concerto in D major BWV1054
Concerto in A major BWV1055
Concerto in F minor BWV1056
Concerto in F major BWV1057
Concerto in G minor BWV1058
I'd really appreciate comments from those of you who might be familiar
with this recording or these artists. I just barely have a grasp on GG
and piano Bach, and have little critical or technical familiarity with
historical instruments and playing. But I plunked it on the Victrola
when I got home and it shore sounded real purdy to me.
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One long-time f_minorite, since departed (only virtually!), is a piano
teacher, and was getting increasingly bitter and angry about the
intrusion of competition into her work with young people. They (perhaps
with the collusion of their parents) were constantly pushing her toward
repertoire choices oriented toward entering and winning competitions, in
the same way my more ambitious high school classmates made choices about
their activities designed to look good on their college application
transcripts.
I'm not a piano teacher and not even a musician, but I am an artist of
another sort, and this other sort is certainly not without competitions
and their ubiquitously negative influence.
What, ultimately, are we concerned about? Searching for the next Glenn
or Glenda Gould? (Apologies to fans of Ed Wood.) Competitions, however
thuggish and intrusive, can neither create musical genius, nor succeed
in burying, destroying, diverting or detouring it. Gould had such a
clear focus about what he wanted to achieve at such a young age and how
he wanted to achieve it, and such a strong personality backing his great
talent, that he seems to have been largely able to transcend the
corrupting effects of competition.
Competitions are a modern reflection of the miserable fact, constant
throughout history, that musicians and artists need to make a buck
somehow. In capitalist societies they have to scramble and scheme, play
in subways, wait table, and back up Tom Jones concerts in Las Vegas.
I just had the wonderful pleasure of re-visiting Prague; I'd been there
before in 1987 when the Socialist Heroes, with their machine guns in
everyone's face, were in charge.
Then and there, if the government designated you a professional
musician, you had a job for life (or for as long as you kissed the
party's ass the way they liked it, which was counterclockwise). No
worries about job security. It should have been a classical musician's
paradise, free of the dog-eat-dog competition and recording contract
environment.
And the result? In the few stale and dusty music stores and in the
officially permitted performance venues, the repertoire was predictable,
stale and moribund. There was not a musical surprise during my whole
stay there. I heard no startling talent. (I didn't even hear anything
uniquely horrible -- it was all the musical Eastern European version of
Kraft Cheese on white bread with mayo.) Seeking out music in
competition-free Prague was a dull, obligatory, museumesque experience.
The only musicians who were having a thrilling time were the young
amateur bands in the underground cavern discos who had managed to get
their hands on electric guitars and were playing Elvis standards --
under the scowls and disapproval of the official government music
program, but they let it go on because they desperately needed Western
hard currency from the tourists.
Musical Prague today -- classical, jazz, rock, pop, hip-hop, tekno,
avant-garde -- is a thrilling city, an assault of choices and flux, a
community of equally happy musicians and listeners. And that's with all
the corrupting, dog-eat-dog pressures of the new economic system.
Artistic competitions suck, no doubt about it. Who's gonna fix it? And how?