classical music

Comment Of The Day: “‘Kill A Western Cultural Institution, Wear Its Skin’: The Case of Classical Music”

/ Jack Marshall / 14 Comments

Orchestra2

Ethics Alarms’ resident musician has a fascinating Comment of the Day humming with informative observations, and best of all, it has nothing to do with the Wuhan Virus vaccine

Here is David Rohde on the post “‘Kill A Western Cultural Institution, Wear Its Skin: The Case of Classical Music”…

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Jack, it makes perfect sense that you bring Heather Mac Donald’s very long, two-part screed to your readers’ attention. It’s gotten a lot of notice in the music world. Personally I respect Ms. Mac Donald’s place in the overall cultural and political discussion, whether I agree with her writings or not. I’ve noted either her research or simply her references to the variables of two-parent families and basic levels of educational attainment as fundamental explainers of personal achievement, independent of ethnic background. Her views are part of the overall discussion in America today, or should be.

All that said, her big article about classical music is flawed in at least three ways. Here are those issues:

1. A lot of the article confuses music with musicology. The latter field has been kind of nuts for a while, extending way back before last year. The principal educators of today’s and tomorrow’s performing artists are not theoretical musicologists. They’re a combination of distinguished performers themselves and effective pedagogues, often combined in the same person. I’m not going to excuse some of the crazier things that have recently come out of Juilliard and elsewhere, but conservatory education remains very rigorous and performance-focused, indeed arguably too much so given the supply-demand imbalance for classical music talent.

2. The article is not really fair to the Sphinx Organization. One of the things that Sphinx does is to deal with the same overwhelming problem of expenses for families of limited means that you see in sports such as baseball and soccer. This time of year they bring in, for example, string players – yes “black and brown” ones – to top schools and institutions for intensive education and opportunity for rehearsal and performance experience. An example of someone who came out of the Sphinx Organization is the fantastic violinist Melissa White – yes that’s her name. Melissa has performed in our region at the Phillips Collection in D.C. and the Richmond Symphony, and she has numerous recordings to her name with the Harlem Quartet (which actually performs a huge range of traditional classical and other, adventurous music). And as you know, I believe it is completely valid to assert that, just as in other fields of employment, classical music employers should assess the whole person and what they can bring to an institution, even if their performance chops are obviously the primary criterion.

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“Kill A Western Cultural Institution, Wear Its Skin”: The Case of Classical Music

/ Jack Marshall / 20 Comments

Beethovan

Scholar and essayist Heather Mac Donald has written a thorough, fascinating and depressing study of how, as absurd as this sounds (and is), the fact that a drug-addicted petty criminal died under a white cop’s knee in Minneapolis has led to the death throes of classical music. The plot is familiar: seizing upon and exploiting white guilt and using the all-purpose weapons of race-baiting and threats of “cancellation,” various alliances of progressives, activists, academics, journalists, politicians and easily recruited naive rich liberals band together to claim that institution X is a feature of white supremacy and must be eliminated, shunned, replaced or destroyed. Taken by surprise and lacking the integrity, courage and fortitude to fight for Western cultural values, the groups that should be the guardians of our icons and institutions easily fall into postures of submission.

Mac Donald’s essay, “Classical Music’s Suicide Pact,” is in two parts (I and II), both published in City Journal, where she writes regularly. Perhaps the most telling part of the work is this one, at the end of Part II:

“Though the keepers of our tradition know that classical music is a priceless inheritance, fear paralyzes them as that legacy goes down. Among the leaders contacted for this article were conductors Daniel Barenboim, Dudamel himself, Riccardo Muti, Franz Welser-Möst, Valery Gergiev, Gianandrea Noseda, Charles Dutoit, James Conlon, Neeme Järvi, and Masaaki Suzuki; pianists András Schiff, Mitsuko Uchida, Lang Lang, Evgeny Kissin, and Richard Goode; singers Anna Netrebko, James Morris, and Angel Blue; and composers John Harbison and Wynton Marsalis. All either declined to comment or ignored the query. Company managers were just as tight-lipped. The Met’s Peter Gelb refused an interview; the Philadelphia Orchestra’s Matías Tarnopolsky, Jonathan Martin of the Cincinnati Symphony Orchestra, and Jeff Alexander of the Chicago Symphony Orchestra were also unwilling to speak. Simon Woods’s assistant said that he was caught up in moving to New Jersey and thus unavailable. (A source said that he had been in New Jersey for months already.) Those music professionals who did speak to me, with few exceptions, required that they be referred to in so generalized a category that it would contain thousands of members.”

This is, of course, fear, but also a betrayal of the culture. Things that are important and deserve protection must be protected, and those in a position to do so have an obligation to the public and the culture not to hide from controversy and confrontation, but to engage in both. But artists are notoriously lacking in fortitude, and this is especially so when what is required of them involves defying the Left, which is where most artists have gravitated for centuries.

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