Klarinet Archive - Posting 000298.txt from 1994/11

From: "David B. Niethamer" <NIETHAMER@-----.BITNET>
Subj: Re: Contemporary orchestral music
Date: Tue, 22 Nov 1994 00:20:24 -0500

Dan Leeson raises a very important issue about contemporary music and the
present day orchestra situation. Alas, Orchestras are now businesses, and
often businesses first and artistic organizations second.

To talk about the value of learning a new work (leaving aside for the moment
the perceived quality of the work) in purely financial terms misses the mark
to my mind. I feel it is very important to learn new works. As a player,
it often stretches my limits, teaches me things about my playing and musical
skills, and, when it includes working with the composer in person, often
provides insights into music of all kinds that was not available to me
before. I can't put an economic value on that sort of benefit. Of course
we see a lot of derivative trash, too(my opinion only!). But how many
Hummels, Dittersdorfs, etc. (Sussmayers?!?) did we need to get through to
arrive at a repertoire of Beethoven, Mozart, Haydn? And, before I get
flames from the Dittersdorf Society, I only mean to say that to get a
pint of cream, we need to have a whole keg of milk.

As I get older and busier, I understand why it is that most of us tackle
fewer new works. The rewards are iffy - maybe worth the effort, maybe not.
The old familiars are easier - we know the vocabulary, and we've heard
many works lots of times, so that we can ride the crest of the wave and
refine those pieces. Whether that is Mozart, Brahms, Bartok, Stravinsky,
Corigliano, the comfort and familiarity is like a beloved reading chair,
and that comfort is very tempting as a way of life.

Dan mentions that he finds merit in the piece which so occupied his time,
and I suppose that it is his call whether he got as much as he gave. His
investment of time and energy is certainly commendable - would that we
all could devote that kind of time to every new piece. For me, that sort
of time is well spent, although I must confess that it usually involves
chamber music and solo work, and is rare in the orchestra. I think
repetition is critical too, for the performer and the audience as well.
I'm working toward a recording of Allan Blank's new Concerto for Clarinet
and String Orchestra, and the tape from the first performances is my
constant companion - teaching me the piece now from "the outside in".

But I often wonder what an audience can garner from just one performance.
I think if the piece is multi-layered, it stands a better chance of
survival. Andrew Porter often wrote in The New Yorker about his gauge -
the desire to hear the piece again, and I've found that to be a useful
guide in explaining to others what I see in a particular piece. "Did you
like it? Hate it? Good!! You had a reaction. Worst of all is to be bored,
and not care about the experience. I'm reminded of Dan Leeson's quote
"I've played this piece 50 times, and I know it". In that case, you've
worn it out. Good music teaches you something new each time.

As far as the orchestral "new music" experience is concerned, I'm afraid
we're at the mercy of our Music Directors and their taste (if any). Why
they choose particular new pieces is anybody's guess. Where I find fault
with this process is when the MD has to apologize for new works. If one
doesn't feel strongly that a piece is worth doing, and can't "sell" it to
the players, the audience and the board, then why program it? Often the
answer has more to do with grant writing documentation and politics than
with musical quality (or any perception thereof).

To sum up what has been an over-long and rambling post, I find I have to
separate in my mind the personal musical considerations from the business
considerations. These performances are important to me, to their
composers, and to the development and evolution of our western art music.
Who knows which composers and what repertoire will survive fifty years
from now? What conductor will "rediscover" another Bach or Mahler from
his present obscurity? And our performances, with all the care and
diligence we can bring to them, may be part of that process.

with thanks for all your patience,

David Niethamer, Richmond Symphony