On the consumption of music.
Art (not Futbol) is Life.
Yesterday I was reading Charles Olson’s 1951 essay, “Human Universe,” in which he suggests that “man is stuck, without act-ion.”
“Art is the only twin life has - its only valid metaphysic. Art does not seek to describe, but en-act [emphasis mine]. And if man is… to possess intent in his life, and to take up the responsibility implicit in his life, he has to comprehend his own process as intact, from outside, by way of his skin, in, and by his own powers of conversion, out again.”
Art gives us the energy to re-en-act, thereby re-engaging with intention and responsbility. “He who possesses rhythm possesses the Universe.”
Active vs Passive Engagement.
Art (and classical music, specifically) has to be engaged with, actively. Its value demands the struggle. Olson suggests that “the notion of fun comes to displace work as what we are here [alive] for. Spectatorship crowds out participation as the condition of culture… All individual energy and ingenuity is bought off at … the cinema. Passivity conquers all.”
Shakespeare wrote works for the stage. Imagine putting on his works in the background. One might argue that the problem is that those are old english / hard to follow. Mozart and Bach are “easy” to listen to. Yes and no.
Mozart and Bach wrote a lot of background music for parties or when people were shuffling into church. But when I actively listen to those works, using everything I have ever learned in order to follow what they’re doing (understand the structure, the harmony, the melody, the way the motives evolve) it takes all my brain power. Though highly trained, I know I miss details (which is why score study is an important part of engaging with these works, too).
At some point around the time of Beethoven, we elevated chamber music into the concert hall from its role as background music. It evolved into more complex forms, signaling that it was now and forever meant to be listened to actively. But that complexity means that it can feel like work to engage with it; it’s easier to listen to something simpler, or more passively.
“In America [and everywhere else, he says] the goods [mass-produced products] are as the fruits [are], and the people [are] as the goods [are]: all glistening but tasteless. Value is perishing from the earth because no one cares to fight down to it beneath the glowing surfaces [that are] so attractive to all.”
We must engage with art and life actively, rather than passively, to have intent and be ready for what life throws at us. So, like the food we consume, we need to be careful of the art we consume.
What Art should we consume?
“… If man is active, it is exactly here where experience comes in that it is delivered back, and if he stays fresh at the coming in he will be fresh at his going out. If he does not, all that he does inside his house is stale.”
This idea related directly to an evaluation of my own art consumption. This year I have been guilty of more passive engagement with less “cultured” art. I read less, I listened less, I composed less, I thought less. Except for brief spikes after attending a concert or going to an art museum.
I invite you to reflect: when is the last time that - instead of Netflix - you sat down (no phone, no distractions) and simply listened to a piece of music all the way through? It had been a surprisingly long time since I listened for the sake of listening instead of another purpose, e.g. programming a concert.
I’d like to suggest that this week you make it a point to sit down and listen to an entire work of classical music.
Ranked ways to consume classical music
9/10 - Concert Hall
The listener is captive, so the concert demands one’s full attention. There was transit and preparation to arrive, so time and effort were involved. There is a price tag on the ticket that further connects value to experience.
The experience still has its flaws. The coughing audience member, the risk of falling asleep or realizing your own stomach could gurgle so loudly!
Why would I choose this?
For performers; I will go see Zlatomir Fung, a great cellist, play works that I don’t care about and find boring.
For composers; I will go see someone that I’ve never heard of play a concert of works by composers I like.
For newness; I will go to see premieres by composers that I’ve never heard of, hoping to hear something great, novel, new.
For the excuse to have an experience; I will buy season tickets to an ensemble or venue to ensure that I have experiences. #millennial
8/10 - CD (vinyl, tape, etc.)
The listener is less captive but probably still in a space of some sort. There was the opening of the box, putting it in the player, using a remote to switch tracks, etc. It is more active listening. There was a price tag to purchase it that connects value and ownership to experience.
Why would I choose this?
The composer or performer is why you bought it, and you expect to get to know the work inside and out; the permanence of having it in your archive to explore it more deeply.
In high school, I liked Shostakovich. I bought the complete symphonies (Rostropovich conducting National Symphony) and I bought the complete string quartets (Borodin String Quartet). I bought Rostropovich and Oistrakh premiering the 1st cello and violin concertos. Then I bought every cello concerto recording to hear more nuances. Then I bought every violin concerto recording to hear more nuances. Etc.
7/10 - Berlin Philharmonic App
With Berlin Philharmonic, the quality is high. The list isn’t as extensive as CD’s, it’s curated -choose from these. The payment experience is passive; subscriptions disconnect value from experience, somehow.
Why would I choose this?
We know the ensemble is one of the best in the world - we trust them to play well.
The composer is why you listen to any given work, since the ensemble is the same.
6/10 - IDAGIO app
IDAGIO’s video concert archive has high quality and curated performances. Then, there’s clearer (if fewer) audio recordings than Spotify, at a higher audio quality. Passive subscription model again.
Why would I choose this?
I want to listen on-the-go and/or to performers other than Berlin Phil.
I want the constraint imposed by being a classical music app, not a general listening app.
I want the highest-quality audio.
4/10 - YouTube
The quality varies and YouTube’s algorithm is really concerned with you clicking the next thing - virtuosity of performer (to be visually impressed), or exploring a composer’s works (less likely). You will sometimes sit thru ads. And it’s way too easy to get distracted by cat videos, or skip somewhere else on the timeline, or answer a text message that pops up, or open a new browser window.
Why would I choose this?
I’m searching for something new to watch.
I want to reference archival video footage of some concert. Emmanuel Feurmann’s effortless Popper “Spinning Song.” Pierre Boulez conducting the full ballet “Rite of Spring” in Paris… with horses. Or Yanni, live at the Acropolis ;)
3/10 - Spotify Playlists
Curated high quality, but you don’t get to choose and it’s usually only a movement at a time, so you’re not hearing full works, they are devoid of context, and you definitely aren’t getting to know performers at all, nor the works deeply. Passive listening at its finest. Subscription model also covers podcasts, rock, etc, so disconnected from classical experience.
Why would I choose this?
I like a certain composer’s work, usually modern, and want to explore their contemporaries in the background while I do something else. That said, IDAGIO has better playlists.
I don’t want to pay for this subscription plus IDAGIO too.
2/10 - Radio
Curated high quality, but you don’t get to choose and it’s usually only a movement at a time. Lowest possible audio quality, generally you’re in your car so it’s compounded by noise and distraction. And you sit through ads.
Why would I choose this?
My phone ran out of power when I was driving cross-country.
1/10 - TikTok, Insta, YT Shorts
They want your attention - virtuosity or gimmick. Look at me!
Why would I choose this?
I invite you to think of a worthwhile answer. I can’t.
Invitation
I invite you to create a listening log of works you actively listen to (and/or art that you consume). I’ll post mine at the end of each month. Listen over speakers, if you can. Listen distraction-free.
It will be hard at first. It will get easier. “Fight beneath the glowing surfaces.”
-Jan 10, 2024