Learning to Appreciate Modern Classical Composers

[wlotus]

I have never been a fan of modern classical music. Aaron Copeland is on the hairy edge; I like parts of some of his pieces--WQXR is playing a recording of the NY Philharmonic performing Copeland's "El Salon Mexico" under the direction of Leonard Bernstein, and it's enjoyable--but I can take or leave his music. Even more modern pieces, like "EXPO" by NY Philharmonic composer-in-residence Magnus Lindberg, sound like the musical equivalent of trash cans banging at 2AM to my ears. Where Copeland's music strikes me as harmonic but stop-and-go, very modern music (like Lindberg's piece) sounds like chaotic stop-and-go with little melody and even less rhyme or reason. Even as an artist, it is difficult for me to appreciate it. I prefer the flowing, continuous sounds of Strauss, Beethoven, Tchaikovsky, Wagner, and others of their ilk.

I would, however, like to give modern music a fair chance. I understand music is a matter of personal taste, so I may never like modern classical music, but I would like to understand it, at least to the point where I recognize it has structure, even if I don't like the chords and harmonics that make up the piece. Does anyone have any suggestions for modern composers and even written explanations of their music, so I can begin to understand what makes their music enjoyable to others?

Comments

[sophiaserpentia.livejournal.com]

The only pieces of modern music that I really like are Stravinsky's "Rite of Spring" and Samuel Barber's "Adagio for Strings." Much of it I find simply too inaccessible.

[wlotus.livejournal.com]

"Inaccessible" is an appropriate word for "art I simply cannot relate to or wrap my brain around". I wonder if such artists either consciously or subconsciously create their work so that only certain people can relate to it...a subtly classist dig at the rest of society. Then again, that could be said of most artists, except for those who specifically try to make their work more accessible...in which case, I would question how true to their artistic vision the final work really is.

[far-gone.livejournal.com]

I think in a lot of cases it's a structure, a reaction, an intellectual activity, not really meant to sound great, but rather meant to make a statement. Schopenauer, etc. I do like Rite of Spring, Adagio for Strings, Copeland and a few others, but I stay away from Cacophony for cacophonies' sake.

Thanks for turning me on to Tchaikovsky's 4th! The whole family enjoyed it! :)

[wlotus.livejournal.com]

That made me smile! You're very welcome!

Whenever I think of art that makes a statement, I also think of it looking/sounding great. I've only rarely thought of making something discordant (except in the case of music that accompanies a story, like the music behind "Pokoyo and the Big Scary Slide") just to make a statement. That's an interesting philosophy on music making.

[sophiaserpentia.livejournal.com]

It could be classist, I hadn't thought about that honestly. I don't know that I would make a blanket statement about modern music, but I do know that certain schools of thought in academic criticism look down upon "accessible" music as being lowbrow, popular, dumbed-down. Which starts a dialog about what the purpose and point of music (and art in general) is. I think there's room in the world for art at all levels of accessibility. I no longer subscribe to any strain of thought that prizes rarefied achievement over accessibility (though my own tastes tend to run middle of the road: I am likely to prefer jazz over pop).

[wlotus.livejournal.com]

I've fallen into that camp, come to think of it: classifying music that is popular (a.k.a. accessible to the general public) as "lowbrow" and "dumbed down". Quite frankly, it's what I think about most popular music, these days. It never occurred to me that there are some schools of academic thought that would consider my tastes in classical music "lowbrow". ('tis always easier to think of everyone else as "other".)

You're right: there is room in the world for art at all levels of accessibility. I want to be more careful not to look down on music that more or less complex than I prefer; I certainly do not appreciate anyone looking down on the music I prefer! (Simply not preferring something is different than looking down on it.)

[scream4noreason.livejournal.com]

If you ever want to make me kill myself, tie me to a chair and make me watch modern dance!

[wlotus.livejournal.com]

LOL!!!!!!!!! I have to agree with you on that one, though I admit to not giving that a fair chance, either!

[rockbirthedme.livejournal.com]

If you can find a full-length video (I can only find the first ten minutes, which leaves out the absolutely *marvelous* bit with the corps at the end), try Twyla Tharp's When Push Comes To Shove, with Baryshnikov and the American Ballet Theater. It is modern, but is still soaked in classical ballet. And, of course, it has Baryshnikov dancing the lead part, which would be delicious no matter what -- I'm not a ballet afictionado at all, but I caught this by accident years ago, and he's just marvelous to watch.

[wlotus.livejournal.com]

I am not a ballet aficionado, either, but Baryshnikov has always had a special place in my heart.

[sunfell.livejournal.com]

If there isn't a melody I can recognize, some sort of hook that engages me emotionally- it isn't music. It's noise.

And sadly, that seems to be the problem with most 'modern' composers- they make all sorts of disphonic, atonal racket, but it isn't something you would want to listen to again and again.

In order to engage yourself with modern 'classical' music, you have to veer away from the pure artists, and wind your way into motion picture and television soundtracks.

Romantic? John Barry, Michael Giacchino.
Operatic? John Williams, Jerry Goldsmith, James Horner
Avant Garde? Hans Zimmer, Danny Elfman

You get the idea. Here, go dip your ears into this:

http://en.wikipedia.org/wiki/Film_score

I collect film scores. I love them- not only for the memories of the movies they accompany (which could be seen as the 20/21st century operatic or programmatic form) but on their own strengths. I mean, when you hear the "Launch" sequence from "Apollo 13" or the opening battle with the Celts in "Gladiator", it really gets your attention. And if "Admiral and Commander" from "Battlestar Galactica" doesn't engage you, then that's a problem.

Forget high art. What people tend to forget is that yesterday's classical composers are the equivalent of today's film and television composers. And that is a good thing.

[wlotus.livejournal.com]

I had forgotten you are a music afficionado. I am VERY glad you weighed in on this post.

I have the same complaint that you have about modern composers. I like complex music, but I also like for it to make sense. If there is no coherent melody, I find myself thinking, "I could have banged on some keys and gotten that."

It never occurred to me to listen to motion picture soundtracks as a matter of course. I will have to pay more attention; I don't watch a lot of movies, so that music has mostly gone under my radar.

What do you mean when you say yesterday's classical composers are the equivalent of today's film and television composers? Were they not considered main-stream in their day?

[spritely-ariel.livejournal.com]

Have you listened to Shostakovich? He's probably my favourite composer. My favourite piece is his Piano Trio No. 2.

I imagine you would like 'Assault on Beautiful Gorky'.

[wlotus.livejournal.com]

I can't say I have listened to Shostakovich (not deliberately; I am sure I have heard his music, but I didn't know what it was), but I want to check him out, now.

[greenminions.livejournal.com]

I'm liking more classical music than I used to but I still prefer the modern stuff. I like the experience of the symphony in general though. That's why we have season tickets.

I really like Terry Riley, Steve Reich and John Adams. I've seen Adams' opera Nixon in China twice and saw the Met's simulcast of Dr. Atomic once.

[wlotus.livejournal.com]

When I lived in Syracuse, I used to love to attend Syracuse Symphony concerts. It wasn't nearly as pricey as the NY Philharmonic, but it was world-class music just the same. I'll never forget being a few rows back one year when James Galway played for Opening Night. Heaven!

The new musical director of the NY Philharmonic seems to like modern composers, so if I follow his tenure, I'll be exposed to more of them. Maybe I'll find something I like.

[greenminions.livejournal.com]

When we ordered our season tickets we somehow got the 2nd row! The SYR symphony is pretty good for its size. The conductor does so many lectures too for the audience before and after concerts and the free pops concerts in the summer are nice too.