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Goneril's and Regan's declarations of love for their father ought to be done in the style of a treacly pop ballad, a la "My Heart Will Go On." At that moment in the play Lear should personify the people who like that kind of thing: fake sentimentality rather than genuine emotion. The play's conflict between honesty and hope will be embodied in the music. Everything fake (or calculated to preserve the inauthenticity) in the play will be in simple musical styles: 3/4 or 4/4 ...
1. Beethoven: Piano Sonata #32 in C minor (op. 111) 2. Beethoven: Symphony #5 in C minor (op. 67) 3. Schubert: String Quintet in C (D 956) 4. Stravinsky: The Rite of Spring 5. Bach: The Well-Tempered Clavier 6. Shostakovich: String Quartet #8 in C minor 7. Beethoven: String Quartet #14 (op. 131) 8. Beethoven: Piano Sonata #30 in E (op. 109) 9. Rachmaninoff: Piano Concerto #2 in C minor (op. 18) 10. Mozart: Requiem Mass in D minor (K. ...
I've often heard classical music fans worry that not enough people like our music. Classical music is dying, only old people go to concerts, etc.... I've become convinced that at least some of this is wishful thinking. A lot of us wish to be the only people who like classical music. We hope to distinguish ourselves by our good taste from the rubes around us. We hope younger generations won't listen to the music so that we can be more elite, relative to them. We discourage ...
So I'm preparing to enter, someday, the fray. There are several armies afield already: the partisans of objective taste, the partisans that all taste is subjective, the partisans of tonality, the partisans of what I'll for convenient shorthand call avant-gardism. Maybe there are more subtleties hidden in their ideologies and military alignments. Though I realize it is self-indulgent, I want to re-post a few things I've written recently on this, both in the hope of getting constructive ...
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