Alex Ross: The Rest Is Noise

Bookshelf

New and recent publications of interest.

Melissa Burrage, The Karl Muck Scandal: Classical Music and Xenophobia in World War I America (Boydell and Brewer)

Cate Haste, Passionate Spirit: The Life of Alma Mahler (Basic Books)

Shayne Carter, Dead People I Have Known (Victoria UP)

Mark Stryker, Jazz from Detroit (University of Michigan Press)

Walter Everett and Tim Riley, What Goes On: The Beatles, Their Music, and Their Time (Oxford UP)

Susan Neiman, Learning from the Germans: Race and the Memory of Evil (FSG, out 8/27)

Katherine M. Kuenzli, Henry van de Velde: Designing Modernism (Yale UP)

The Karl Muck affair

For the New Yorker website, I've written a Cultural Comment on two recent books that describe the absurd and frightening Karl Muck hysteria of 1917-18. Above is a cartoon from the period. One rumor pegged Muck as Wagner's illegitimate son, prompting a poem from Lincoln Kirstein: "Karl Muck conducts the symphony; a steel svelte villain, he— / Ma says he's Wagner's bastard son ('Daddy, what's bostordy?')" Other eminent German- and Austrian-born musicians suffered consequences during the First World War, including Ernst Kunwald, who was interned; Frederick Stock, who temporarily stepped down from the Chicago Symphony; and Fritz Kreisler, who stopped performing for the duration of the war.

Miscellany

"No musical administrator is more widely respected or well liked than Ara Guzelimian," I wrote on this blog in 2007, shortly after Ara left Carnegie Hall to become Dean of Juilliard. Ara recently announced that he will step down from Juilliard next year, and the song remains the same. During his tenure, Juilliard has diversified and deepened its mission while retaining an exalted status among American conservatories. I look forward to seeing what institution will profit next from Ara's wisdom and warmth.... The keen critic and Bruckner authority Richard Lehnert has left Stereophile after thirty-four years of service as the magazine's copyeditor. He's written a delightful memoir of his adventures in editing.... The Louth Contemporary Music Society, whose leader Eamonn Quinn won the Belmont Prize last year, has an entrancing new CD out, KLANG, on which the Goeyvaerts String Trio plays Wolfgang von Schweinitz's Sounds on Schön Berg La Monte Young.... On August 10, Indexical will take over much of the Californian city of Santa Cruz, as Carmina Escobar leads a daylong event entitled Feast of Beams, Keepers of Light. Indexical is seeking musicians, dancers, artists, surfers, and bicyclists.... The NYC activist orchestra The Dream Unfinished ends its season on July 11 with a program devoted to climate change and its effect on communities of color.... Composer and YouTube analyst Samuel Andreyev has a fine segment on Ruth Crawford Seeger's awesome Quartet.

Monk's ATLAS, Davis's Central Park Five

Earth Songs. The New Yorker, July 1, 2019.

Thought of the day

"When Wagner 'thinks,' he stumbles."

                                            — Nietzsche

Stockhausen's LICHT in Amsterdam

Infinity Opera. The New Yorker, June 24, 2019.

Gay life

On the occasion of the fiftieth anniversary of Stonewall, I've assembled some of my writing on gay topics, going back to the first piece I wrote for The New Yorker, in 1993. The photo is from my marriage to Jonathan at Toronto City Hall, 2005.

Love on the March. Nov. 4, 2012.

Gay Berlin, Jan. 26, 2015.

Oscar Wilde, Aug. 9, 2011.

Willa Cather, Oct. 2, 2017.

Corigliano's First Symphony, May 30, 2019.

Gay opera, July 27, 2017.

Julius Eastman, Jan. 15, 2017.

Women, gays, and classical music. Oct. 3, 2013.

Beyond the gay-marriage victory, March 25, 2013.

Gay-rights victories, Nov. 7, 2012.

Thomas Mann, March 11, 1996.

In memoriam River Phoenix, Washington Post, Nov. 7, 1993.

On Wayne Koestenbaum's The Queen's Throat, April 12, 1993.

Corigliano's First Symphony

Revisiting a Symphonic AIDS Memorial, New Yorker website, May 30, 2019.

Nightafternight playlist

George Benjamin, Lessons in Love and Violence; Stéphane Degout, Barbara Hannigan, Gyula Orendt, Peter Hoare, Samuel Boden, Benjamin conducting the Orchestra of the Royal Opera House (Nimbus)

Sibelius, Kullervo; Helena Juntunen, Benjamin Appl, Thomas Dausgaard conducting the Lund Male Chorus and BBC Scottish Symphony (Hyperion)

Pierluigi Billone, FACE; PHACE (Kairos)

Antón García Abril, Six Partitas; Hilary Hahn (Decca)

Kaija Saariaho, True Fire, Trans, Ciel d'hiver; Gerald Finley, Xavier de Maistre, Hannu Lintu conducting the Finnish Radio Symphony Orchestra (Ondine)

Carl Hockh, Violin Sonatas; Mikołaj Zgółka, Jarosław Thiel, Aleksandra Rupocińska (NFM)

Antony Panteras, Collected Works Vol. II (2005–2018); various performers (Immediata)

Salieri footnotes

Salieri's Revenge. The New Yorker, June 3, 2019.

I first had the idea for writing an article about Salieri back in 2012, when, while researching my lecture on "Black Wagnerism," I came across the libretto of Salieri's final opera, Die Neger. When I discovered that that opera includes an interracial love story, one that ends happily with an onstage kiss, I began to think twice about Salieri's place in music history. I am grateful to Timo Jouko Herrmann, John Rice, Christophe Rousset, and Andrea Harrandt of the Musiksammlung der Österreichischen Nationalbibliothek for their assistance during the peculiarly long gestation time for the resulting piece.

Rousset's recording of Tarare, Salieri's collaboration with Beaumarchais, is being issued next week by Aparte. Rousset and Les Talens Lyriques have previously recorded Salieri's operas La grotta di Trofonio, Les Horaces, and Les Danaïdes. Some other notable recordings: Il mondo alla rovescia, from the Arena di Verona (Dynamic); Andreas Staier's disc of the two piano concertos, with Concerto Köln (Teldec); Cecilia Bartoli's album of Salieri arias (Decca); Diana Damrau's disc of Salieri, Mozart, and Reghini arias (Virgin); Riccardo Muti's video of Europa riconosciuta from La Scala (Erato); Falstaff with the Madrigalists of Milan (Chandos); L'Arte del Mondo's La scuola de' gelosi (Deutsche Harmonia Mundi); the Requiem in C Minor, with Lawrence Foster and the Gulbenkian Foundation (Pentatone); and the Mannheim Mozart Orchestra's two bracing volumes of overtures (Hänssler).

A brief bibliography:

Timo Jouko Herrmann, Antonio Salieri: Eine Biografie (Morio Verlag, 2019)

Herrmann, Antonio Salieri und seine deutschsprachigen Werke für das Musiktheater (Friedrich Hofmeister Musikverlag, 2015)

Mozart, Salieri, Cornetti, Per la ricuperata salute di Ofelia, ed. Herrmann (Friedrich Hofmeister Musikverlag, 2016)

John A. Rice, Antonio Salieri and Viennese Opera (University of Chicago Press, 1998)

Volkmar Braunbehrens, Maligned Master: The Real Story of Antonio Salieri (Fromm, 1992)

Ian Woodfield, Cabals and Satires: Mozart's Comic Operas in Vienna (Oxford UP, 2018)

David J. Buch, Magic Flutes and Enchanted Forests: The Supernatural in Eighteenth-Century Musical Theater (University of Chicago Press, 2008)

Mark Darlow, Staging the French Revolution: Cultural Politics and the Paris Opera, 1789-1794 (Oxford UP, 2012)

Jessica M. Abbazio, Antonio Salieri’s "La calamita de’ cuori" (1774): Sources, Form, Context (PhD. diss., University of Maryland, 2016)

Thomas Betzwieser and Arthur Groos, "Exoticism and Politics: Beaumarchais' and Salieri's 'Le Couronnement de Tarare' (1790)," Cambridge Opera Journal 6:2 (July 1994), pp. 91–112.

Christopher H. Gibbs, "Writing Under the Influence?: Salieri and Schubert's Early Opinion of Beethoven," Current Musicology 75 (2003), pp. 113–40.

John Spitzer, "Musical Attribution and Critical Judgment: The Rise and Fall of the Sinfonia Concertante for Winds, K. 297b," The Journal of Musicology 5:3 (Summer 1987), pp. 319–56.