Can music change the world? That it can and does functions as a truism across many spheres of U.S. culture. Attali canonically argued that music, an element of what Marxists call the “superstructure,” can actually influence or foreshadow world-historical changes in the “base” of economic relations and production. The belief that music can change the […]
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A View from Emptiness
I. It opens mid-motion, as if caught unraveling. A noise, brisk and grained, emerges from the second violin, bow hairs pressed against string. Col legno: The cello draws the wooden back of the bow upward and then down—a rustle makes itself heard and is gone. Now the second violin traces light, oblique arcs, upward, then […]
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Bartók and Janáček At the End of Liberal Society
When the Austro-Hungarian Empire was collapsing, but a new order remained uncertain, two extraordinary musical works grappled with questions now central to our understanding of the 20th-century political catastrophe. Bartók’s “The Wooden Prince” (1914–16) and Janáček’s “Taras Bulba” (1915–18) help us understand the cultural and ideological forces that prepared the ground for totalitarianism and the end of liberal society […]
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“Something that has to do with … leaving … ”
Between the winter of 1950–51, when he began mapping out a series of “Projections” in squares on graph paper, and the attenuating final breath of “Piano, Violin, Viola, Cello” in 1987, there were fewer than 37 years. Between then and the centenary that falls on January 12 this year, there have been 39. We have […]
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Listening to Classical Music in Recovery
Long before I became addicted to—or had even tasted—alcohol, I was hooked on music. Ever since discovering classical music’s mood-altering effects at the age of ten, while listening to the “Lacrimosa” from Mozart’s “Requiem,” I had abused it like a hardened junkie, turning to it constantly to regulate moods over which I had increasingly little […]
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Music From the Inside of the Sun
Last winter, Georg Friedrich Haas mentioned to me that the composer Arash Yazdani, a former student of his and a friend of mine, had given him a word he’d been looking for his entire career. That term is “plasmatic music.” I’ll let the two artists define the term in the correspondence below, which covers that […]
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Eccentric Physics
Set and Setting It was Wednesday, early October. I had borrowed a friend’s kitchen to make 100 servings of strudel for my six-year-old son’s school event, and I was listening to John Cage’s “Music of Changes,” which takes form through chance operations and the wisdom of the I Ching. Earlier in the morning, I’d made […]
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The Last Romantic
“Guero” for piano Soft, almost imperceptible sounds for minutes. In concert, the work has a paradoxical effect: What we see is the traditional virtuoso performance situation. What we hear is a microcosm of perforated percussion sounds in quadruple pianissimo. And then, at the very end: Two different strings in the high register are softly plucked. […]
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The Unexplainable Residue of Silence
For Ramón Andrés, Spain’s most gifted contemporary writer on music, poetry is the hidden measure of his prose. In a recent article for VAN, he told me that whenever he wishes to express something with particular clarity and resonance, he writes in meter, in decasyllables. The result is prose of exact proportion, tempered and lucid, […]
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Classical Music’s Weirdest Popularizer
Have you ever wondered what Richard Wagner would have looked like in a superhero costume? Or how Ursula Vaughan Williams jived on the dancefloor? Or how good Nikolai Rimsky-Korsakov was in bed? Fifty years ago this month, Ken Russell’s “Lisztomania” was premiered in London. In this film, the most outrageous of the 12 pictures the […]