On Demand
America’s Classical Music
By Terrance McKnight
May 26, 2008
The American Music Festival has been a staple on WNYC since 1940. It was launched as a response to the gathering forces of Fascism in Europe, to showcase the extraordinary richness of music and culture that is American, and not dependent on European imports. This year our week long celebration of American music is centered around “America’s Classical Music” and features ongoing conversations with composers, performers and scholars — including William Bolcom, Jason Moran and Gunther Schuller. As we celebrate this year’s AMF, please share your memories of the festival from previous years — and, I’d like to hear your thoughts on what is “America’s Classical Music.”
Comments
Comment from Lois
Date: May 19, 2008, 7:14 pm
Herr Bach must be rolling in his grave, rhythmically, while I am laughing above the cares of the day’s events. Thank you, for risking the thunderbolt aimed at sacrilege. You slide in after the finacial news, reminding me of the gold standard of music as soul medicine. Classical music has always been what my mother loved, what I heard while not listening, and now what I seek for life’s profound moments.
Comment from Tom, Cooper Sq.
Date: May 19, 2008, 10:31 pm
Thinking of the program’s deep even keel this evening, working directly from the ernest milepost of Bach’s Chromatic Fantasy, which is a revolution and is a monument to an unendable revolution. The Bach Dm Fantasy so gently opens the regions of chromaticism so that there can be a New World (Like ‘American’ music of classic over-the-boundary reaching.) Of course, the Bach has a highly non-original internal development structure, an emotional development-pattern that moves from refined beauty, into aesthetic challenge, and then keeps struggling to reach serenity (through its self-referential admiration for clever invention). (Such a contrast with the Brubeck Chromatic Fantasy!) Bach’s notion of what is vigorous now seems so removed from modernity and the cosmopolitan bluster of industrious commercial culture. We imagine and have to ask of Bach, why serenity was at the center of his aspiration? Why not energetic exuberance? Why not vigorous dancing in the streets by a great mass of unlettered and emotionally hungry emoto-sensorium body-worshipers? Why is Bach not authentically embracing the difficulties of emotional desires frustrated (chronically frustrated!)? Why is Bach not searching into social dislocation despite what is now known as human equality? Why not the drive to find a genuine, non-stereotyped introspective personal reform and compassionate elevation? Yes, these questions ARE showing up relative to Bach about 400 years late. :: chuckle, with the cheshire cat grin:: Well… perhaps these questions were the items left on the table for a later generation, one with non-renaissance aspirations, a far longer dictionary of mood-legitimacy and a materially different community aspiration? Shall we shed a nostalgic tear for the demise of the old regime, for it’s antique revolution? Poesis has it’s dauntless imperative, an imperative that is framed in subversive persistence, and in more-exhaustive imaginative transgress. In the old era, so few could dance albeit so splendidly, but now the stage is clear for inventions of an entirely new order, if we are willing to go and listen. Serenity revels, but reveals it’s inherent peril: stolid complacency. The vigor and rigor of continuously driving to burn with true social challenges and to aptly face in our arts the full dissatisfactions throughout our global society…. These frame for us a new imaginative frontier and it’s demanding order. How can there be an ‘American’ classical tradition in the age of able, borderless, and shameless inquiry? To progress, we must leave all the cliches behind forever.
Ciao, T
Comment from Dave
Date: May 20, 2008, 3:32 pm
What I listen to that raises eyebrows (and ire?) plus American classical music.
On last night’s show, Terrence asked what folks listened to that got strong reactions from others.
I am a classically trained composer who listens to all kinds of stuff. I live near a stop light and one of my favorite pastimes in summer is to sit on my stoop and listen to the variety of musical styles that come from individual car radios when they stop at the light. My own record collection is almost as varied as what I hear at the corner, and whether I’m listening to straight ahead jazz, classical or ethnic folk music, I have no worries about reactions. However, in these tense times, when I play Arab music (I’m proudly Arab-American) with my windows open, I do worry a little that I may be inviting my neighbors to call the FBI. So far none has, but I believe my concern represents a contemporary example of how loaded certain types of music might be. (Or perhaps just an Arab-American paranoia?)
My vote for American classical music? Ragtime and spirituals, bluegrass and the blues should all be counted along academic European-influenced styles, from Billings to the present.
Comment from Shanty
Date: May 26, 2008, 8:06 pm
A marvelous program.
Terence you are a great voice for music–keep the rap and deafening stuff.
What an America if we can have you and Obama!
Comment from Richard Mitnick
Date: May 27, 2008, 7:03 pm
Still available for people who want a really good history of American music, go to
http://musicmavericks.publicradio.org/
at Minnesota Public Radio.
WNYC originall aired all of the 13 programs, curated by MTT and narrated by Suzanne Vega.
You can still get all of Kyle Gann’s essays, save’em, print’em out, print a book to read on your next flight. That’s what I did.
Listen to the 70 or so interviews.
Fabulous resource.
>>RSM
Comment from Richard Mitnick
Date: May 27, 2008, 7:08 pm
The programs might be hard to get from the main page of the web site.
Use
http://musicmavericks.publicradio.org/programs/
>>RSM
I just checked all of it, it’s all still there.
Comment from Josephine
Date: May 27, 2008, 9:28 pm
I am going off-topic here to ask a website/info question. I am feeling a bit demented. Is there a way to find out what’s going to be played during this festival–before it happens? Or do we have to wait until the next day or so to see the playlist?
Comment from Bill
Date: May 27, 2008, 10:15 pm
Dear Terrance, Thanks for playing Paul Moravec, whom you keep calling “Moravick.” “Vec” rhymes with “Shrek.” Enjoying your show! Bill, NYC
Comment from Dan Terpening
Date: May 28, 2008, 2:41 pm
Wonderful gospel jazz pipe organ and piano Tuesday night, 27 May - sorry I missed your commentary on composers and artists. Who were they - Help, SVP, and thanks!
Comment from Gary
Date: May 28, 2008, 9:07 pm
Is there a set list for the show tonight or can anyone tell me who was performing Rhapsody in Blue jus after 8:30ish? Sounded like the LCJO. I must get it! Thanks.
Comment from Dennis Maher
Date: May 29, 2008, 7:19 pm
Gunther Schuller must be talking about Ellington.
Comment from CJ
Date: May 29, 2008, 7:20 pm
Was Gunther Schuller talking about Leonard Bernstein or Herbert Von Karajan?
Comment from joe friel
Date: May 29, 2008, 7:24 pm
it could only be SIR DUKE whose mistress was music.
thanks
Comment from joe friel
Date: May 29, 2008, 7:27 pm
sorry about that incorrect e mail address.
Comment from Greg Fuchs
Date: May 29, 2008, 8:14 pm
great music you are playing
Think about playing Harry Partch
Comment from Joseph Neumayer
Date: May 29, 2008, 9:09 pm
Hi,
I’m a long time listener to Evening Music, and appreciate the eclectic energy you’ve brought to the show. This week’s “American Classics” is both stimulating and reverential. One question, however—why does the Writers Almanac get overlooked, dismissed and forgotten? The five minutes of the show are like being in church. — Thank you.
Comment from Sandy Michael
Date: May 29, 2008, 9:43 pm
Hi Terrance,
Your show just gets better and better. Thanks for the dedication. Please tell me what CD the gospel singer is on who sang “Fix me Jesus” this evening.
Comment from lance Rutledge
Date: June 12, 2008, 8:05 pm
why is it so hard to find this blog? where do I go to find most recent comments? Like tonight’s show?
Comment from Gus Solomons jr
Date: June 23, 2008, 8:04 pm
Terrence,
I like your musical taste, but sometimes your reading is a little third grade level. For DBR’s website, try thirsty ear instead of thirst year. Get it?
Comment from Allan karson
Date: June 24, 2008, 7:22 pm
With all the great music of the world, I do not understand why you played the gibberish that you played at 7:20 PM today, the xylophone stuff.
Yes, I frequently question why you play what you do. It is as if you are trying to ‘teach your audience’–rather than playing great, enjoyable music. Tonite, 720, was just too much.
Allan Karson.
Comment from Bet-at-home
Date: July 17, 2008, 10:32 am
Nice blog, i have added it to my favourites, greetings
Comment from Jenny Hirschowitz
Date: August 5, 2008, 7:21 pm
Thank you , thank you Terrance for making my evenings so lovely when most days are so awful. Must say, it was rather difficult to find this blog. Please consider a lot of William Grant Still and some 30s and 40s Paris cafe stuff. A little “les six” and some Couperin would be nice too. Jenny in Manhattan.
Comment from Jenny Hirschowitz
Date: August 5, 2008, 7:39 pm
To Mr Neumayer comment#16: This has puzzled me too. When I’m infrequently upstate (Woodstock), the Writer’s Almanac is aired at least once daily and it brings great joy to my literary but otherwise not altogether satisfying existence. I wish it were so here in the city. Do you know where I could get a cd of these programs? Jenny in Manhattan: hirschowitz1@gmail.com
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