Tuesday, 25 April 2017

Krier on modernism

“Humanity lives by trial and error, sometimes committing errors of a monumental scale. Architectural and urbanist modernism belong—like communism—to a class of errors from which there is little or nothing to learn or gain. . . . Modernism’s fundamental error, however, is to propose itself as a universal (i.e., unavoidable and necessary) phenomenon, legitimately replacing and excluding traditional solutions.” The architect Leon Krier. Equally applicable to music.

Saturday, 22 April 2017

The smell of the lamp

  • "I confess that I am no longer thinking in musical terms, or at least not much, even though I believe with all my heart that Music remains for all time the finest means of expression we have. It’s just that I find the actual pieces — whether they’re old or modern, which is in any case merely a matter of dates — so totally poverty-stricken, manifesting an inability to see beyond the work-table. They smell of the lamp, not of the sun. And then, overshadowing everything, there’s the desire to amaze one’s colleagues with arresting harmonies, quite unnecessary for the most part. In short, these days especially, music is devoid of emotional impact. I feel that, without descending to the level of the gossip column or the novel, it should be possible to solve the problem somehow. There’s no need either for music to make people think! … It would be enough if music could make people listen, despite themselves and despite their petty mundane troubles, and never mind if they’re incapable of expressing anything resembling an opinion. It would be enough if they could no longer recognize their own grey, dull faces, if they felt that for a moment they had been dreaming of an imaginary country, that’s to say, one that can’t be found on the map." A most striking remark that is as appropriate for today's new music scene as it was around 1900 - it was written by Debussy in 1901 in a letter to one of his collegue-friends, Paul Dukas. So much new music of today - be it atonal, or tonal, or multiculti, or hip or whatever - sounds contrived, rationally-constructed without much feeling going into it, without depth. And the 'smell of the lamp' has in itself nothing to do with the style or progressivenss or conservatism of the composer, but is simply a matter of emotional capacities. The best music has an emotional dimension, and that has always been the case, from Gregorian chant onwards. It is this dimension which garantees the survival of musical works of the passing of time.

Thursday, 20 April 2017

Again, the Western crisis considered

Another attack in Paris.... and the extensive media coverage unintentionally helps the terrorists by sensationalizing the information, and treating such attacks as terrorism instead of crime. The aim of terrorists is, of course, to destabilize society by spreading fear and stimulate antagonism against immigrants and especially, muslem immigrants, so that jihadists can more easily recrute disenfranchized locals with their narrative of 'the West' being against 'Islam'.

As we know, it is not religion turning people into killers of innocent people, but individual personal frustrations and psychopathological problems, which are then wrapped in religiously-informed myth (mostly entirely misunderstood) to enhance an abject criminal deed towards the level of heroism for a worthy cause.

As we also know, it is not religion making people religious, but the other way around: people have religious / spiritual instincts and needs, and finding a religious form to express them.

When, years ago, North-Irish terrorists tried, over long tragic periods, to undermine British society and politics with terrorist deeds, they were treated by the British media as crimes, thereby removing the political overtones of such deeds. It would be much better if the media today would follow that example and thus de-politicize the avelanche of these crimes perpetrated by entirely deranged individuals.

What we now see in the West is the rebellion of the disenfranchized masses, neglected by the political elites who seem to have mainly supported big business and globalization without providing enough protection for the 'losers' of what only can be called wild capitalism. The rise of populism, which finds expression in extreme rightwing parties entering governments, is also being stimulated by terrorist attacks, which - for the masses - seem to be the result of both immigration and globalization, the same causes of the wide-spread distrust and suspicion of 'the system'. All this results in a strong backlash towards nationalism, rekindling neofascist ideas and emotions, anticultural and anticivilizational movements, and will relate terrorism again and again to muslems - since most of the attackers claim to represent Islam. If borders will be closed to any immigrants, hoping to stop incoming terrorists, that is forgetting that most of the attackers are home-grown young petty criminals, finding in the jihadist narrative an 'ideal' which gives 'meaning' to their miserable life. Closing borders and condemning 'Islam' will not stop these people, as re-nationalization and the cultivation of 'das Volk', an entirely fake idea and loaded with destructive potential, will only offer more munition to attackers of Western / European society.

If, in Europe, nations of the European Union will leave the union (as the French Front National intends if they win the elections), this will not offer any solution to the problem. The only direction in which something of a solution can be found, is the Westernization of immigrants, and in Europe: Europeanization, with drastic educational programs which already happen in Germany, and the reinforcement of a European, not a national, identity. What could be done against these undermining attacks? I see only the necessity of at least doubling police forces everywhere, working together with the armies to protect public space, and an ever closer collaboration between nations on the points of information and policing, in the context of EU institutions. What is needed, alas, is a society that will look like a police state, where the presence of authorities is not there to suppress the people but to protect them. However unpleasant, it cannot be escaped, until the breeding ground of terrorism within Europe has been treated effectively. Also, freedoms will have to be restricted and limited, as already is happening in terms of self-censorship. (One would wish that the media would begin to censor their own coverage of terrorist attacks, as to stop helping terrorists with their sensationalism.)

If everywhere in Europe nationalism and rightwing politics win the day, this will isolate immigrant communities and add to the breeding ground of aggression and discrimination. It will set in motion a downwards spiral which will, if not stopped, end in civil wars all over the place and the breakdown of economies and the accessibility of public space. But if more rational ideas will prevail, this may help reform the EU, create a different momentum towards unification where social justice will undercut the instinctive but self-destructive movements of the masses who vote for the extreme right.

What does all this mean for culture? It underlines the strong necessity for culture to work towards a reinforcement of European, or/and Western, identity, towards civilizational values as expressed through mimetic art, reminding audiences of their humanity and the civilization they inherited. The West, including Europe, is in a crisis not only of politics (democracy underming itself), but of values and identity. This is something to be dealt with by all the thinking and artistic elites, to mobilize all the civilizational forces which are still there and embodied in the best of what Western civilization has achieved in the past. In political terms, this will have to include a thorough reform of aims, to begin with the awareness of the obligation to make sure that everybody in society has access to the basic assets which have been fought for over the ages, in short: a more socially-just politics instead of the wild capitalism we see today. That does not mean a totalitarian society but a free society with a strong legal system protecting civilians against both the inroads of economic exploitation and the regulation of the effects of globalization in such a way that there are no victims of what is seen as 'progress'.

At the heart of all these problems lies the strange fact, that Western civilization as it has developed over time, has reached a universal level of humanistic values, which can be implemented everywhere on the globe. Western, free, democratic, liberal, secular society however, merely creates an overall framework based upon universals that leaves most of culture untouched. Hence the possibility of people living in the West, well-adapted to these universals, and in the same time living in the style of a non-Western culture. Where these cultural values clash with the overall Western framework, they are adapted, simply because that makes life easier. And that is something that is happening all the time. This means that religion or culture are no longer part of the overal Western civilizational framework, but belong to the private sphere. In this direction, certainly a lot more research and exploration can be done and results formulated which can clarify, for both the Western locals who don't understand their own society, and for non-Western immigrants who need to understand and adapt.

The distinction between these two levels: the overall framework of universals and the cultural and religious level, is a key to understanding both the predicament of the West and of the process of globalization.

Sunday, 19 March 2017

Chaos and order as seen in early 19C

In 'Ueber dramatische Kunst und Literatur' the early 19C German poet A.W. Schlegel describes the relationship between order and the underlying non-order which he calls 'the romantic imagination'. Schlegel, who was a strong influence on the early developments of romanticism in the arts, sensed something about nature and the human psyche, seeing in both the outer form of nature and human consciousness as floating on a layer of chaos. So, within the universe which appears to be ordered, a chaos lies concealed, striving after new births of order.

19C romanticism found 18C rationalism, of which the Enlightenment is the most important fruit, a bit on the dry side, and tried to compensate for it by pointing towards the irrational, the mysterious, the far-away or deeply-hidden, to the secret forces of nature and the unfathomable workings of fate, and the often un-ordered flows of human emotions. Related to the art of music, one could say that these undercurrents represent the expressive layer of a musical work, which is given form by a superstructure of order. This explains the intensity of much of Bach's music, which is so well-ordered on the surface, and the balance of freedom and order in Beethoven's works.

Wednesday, 8 March 2017

Music and interiority nr 2

There were some interesting comments under the post 'Music and interiority' of 4th March.... which make you think again. There was not enough space for an adequate response, so here we go - it is recommended to first read the comments concerned.

That different people with different types of perceptive sensibilities experience different music differently, does not mean that the characteristics of the music concerned, can only be found in the listener.

The similar aspect of Bach and sonic art (say, of Boulez) is that both forms use patterns. Compared on the point of pattern making, Bach is very regular and rather straight-forward in terms of timbre, and Boulez extremely rich in variety in both patterns and timbres. Listened to Bach in terms as with Boulez, Bach is rather boring. But in music like Bach's, the pitches are tones in a musical network of relationships which together form an 'inner space' where energies flow from one note to the next and from one location to the next in a linear narrative, creating an imaginary space as if something flows like a river in a bedding, forming a structure from A to B to C etc., complete with directions, articulation points, balanced stretches and the like, creating a coherent structure in the mind during the performance. This creates a certain emotional effect in the listener, unfolding the many layers of meaning embedded in the structure. With Boulez, the pitches do not form such relations and do not create this inner space, and the patterns as such (and the gestures they make), is all there is. This is the difference between music and sonic art, and expecting mere patterns from Bach and a musical flow in a bedding within an inner space from Boulez, would be unfair to both art forms. 

Order and chaos: I just wanted to describe how music reflects the dynamics of the human psyche. And music which creates the balance in such way that both aspects are working together in a harmonious way, has the effect of harmonizing such dynamics in the listener, or at least: getting the listener in touch with the 'Self' on the level where these dynamics are operating'. This is the 'therapeutic' effect of much classical music and the reason that so many people want to hear such music again and again, and again. They derive not only pleasure from it, but feel the restoring effect of the listening experience. This is not some sort of nice romantic wishful thinking, but is evidenced by many music lovers, and has been described by people capable of putting such interior experiences in words. I can't remember the author, but somewhere in a novel, the protagonist - a young woman in some difficult situation - unexpectedly hears some classical music coming from an open window, and she suddenly has the strange experience as if the music is 'speaking' to her, as an individual voice with something stringent to tell her, and telling her something about herself, touching her on a level deeper than words. That is why it is so hard to describe the experience and you have to be a novelist, a poet or a philosopher to find the right terms.

Music is 'non-conceptual' in the sense that it is abstract and can be put under different words and still function in the same way. The essence of emotion is non-verbal and non-conceptual in a similar way, this is the way music relates to emotion at all: it is a psychic art, bypasing the intellect, and capable of resonating with emotional processes in the listener. Sonic art does not do that, and does not want to do that, it wants the listener to become aware of the 'object in itself' which is the work. That can also have an emotional effect but the quality of that effect is different from music, sonic art is not addressing the deeper psychic layers of the listener in the same way. It can affect the listener as any thing in the outside world can affect him - like the repulsion one may feel by looking at the dirty, unmade bed of Tracey Emin, the British artist who put a dirty bed in a gallery as a work of art. It does not express anything as a painting of a dirty bed would, but merely presents the thing itself. (The 19C painter Delacroix painted a canvas with an unmade bed as subject, and suddenly such subject becomes art, expressing something about the mystery of reality, as filtered through an emotional and aesthetic sensibility.)

The anecdote of the African tribesman is a well-known one, I heard it told as an Arab visiting a concert in W-Europe. But the accessibility of Western classical music does not automatically mean that everybody has the perceptive framework for it. There is a difference between accessibility and perception, if music is not understood it can still be and remain accessible, as a potentiality. The problem is not located in the music, but on the side of the listener. This non-European was obviously not familiar with the music, and if he were musically sensistive he could, in the course of time, become perceptive, I'm sure. Since music - all musics - are human, it is possible to understand any music from any tradition. It works also the other way around: I remember a class at Cambridge were Arab music was treated and many recordings of the same 'maqam' were played with all the variations the performers are allowed. After a while it became clear that not every singer was on the same artistic level, you could distinguish the more primitive rendering from the more sophisticated one, even without completely knowing the fine analytic properties of the maqam concerned - the aesthetic effect was different: poorer or richer, less or more musically expressive. So it is with all music, and of course, people differ immensily in their perception, also within traditions - lots of Westerners don't hear the music but only the sound it makes - but that does not mean that all perception of music is entirely subjective and that for that reason, there are no artistic standards. The properties of classical music are part of the music, however differently interpreted. Cultural relativism may open perception to other cultures, but may also 'remove' the properties of works of art and treating all art as merely existing in the perception. (In the end, this is a philosophical problem, going back to Kant.)

Monday, 6 March 2017

The relevance of classical music

The Danish Minister of Culture has proposed to disband of the Danish Radio Orchestras and chorusses, to sell the concert hall and turn the national broadcast company into a pure media company (source: Slipped Disc 6/3/17).


Shocking..... but not surprising. The same happened in the Netherlands some years ago when the State Secretary of Culture (there is no Ministery of Culture in Holland) wanted to close-down the entire music department of national radio, including 3 orchestras (among which the famous Radio Filharmonisch Orkest), the chorus and the extensive music library with scores, parts and an enormous data base of radio recordings. Protests throughout the country achieved that the cancellation was reduced to a subsidy cut which more or less broke the department in half, but saving the Radio Filharmonisch Orkest (the other orchestras had to fold).

Such burbs of commercial populism don't come out of the blue, they have been fostering for years, possibly decennia, growing on the increasing mood of rejection of art in general by 'the masses'. Politicians see in this mood a chance to ride on the waves of enthusiasm to break down 'elitism' and of course, orchestras and opera houses are the obvious, vulnerable targets. Small, petit-bourgeois countries like Denmark and Holland are especially prone to such cultural self-destruction because they don't have a strong European tradition to preserve. The safest fundament of their national identity is 'the masses'. Anything above that level is 'the enemy'. It is strange though, that politicians, in fact, say to the world: 'We Danes / Dutch are mere garden gnomes and we are proud of it!'

The funding of orchestras by the state is a tradition coming down to us from the ancien régime, the prerevolutionary times when art and music were considered as underlining the legitimacy of the monarchy and symbolizing the high cultural level of the nation, 'the glory of civilization' which reflected positively on the character and professionalism of the king. With the current erosion of civilization and cultural awareness, partly brought about by a misunderstood 'democratization' and failing educational systems, the question of how relevant the arts are, and especially classical music which is so costly (expensive orchestras and opera houses, in Europe paid for by the state), is pressing as never before. I have attempted to formulate a justification on the website of the Future Symphony Institute:





Saturday, 4 March 2017

Music and interiority

Since classical music as a genre - in the widest sense - is often seen as not compatible with modernity (whatever that may mean), classical concerts are sometimges 'sold' with the reassuring information that what audiences are going to hear, is exciting, fun, hip and the best entertainment choice within the wide range of contemporary free time spending. The idea is, that this approach will draw new, i.e. young, listeners to the art form. But classical music is not  entertainment (although entertainment is often a part of it) but an art form that adresses interior awareness. It can be exciting, yes, and engaging, and wild, as well as reflective, meditative or spiritual. But it addresses the listener's interiority, his inner emotional and reflective life which is as present, lively but also as non-conceptual as the art form itself. We can produce pictures and descriptions of our inner experiences, but the experience as such is word- and picture-less. Visualizations and descriptions are metaphorical, not 'the real thing'.

So, classical music is indeed not compatible with modernity if we understand this modernity as the typical characteristics of our time as observed in public space, and as it invervenes in our private daily lives, in the form of practical technologies, contact and information opportunities and computers, as well as the extensive media culture mushrooming in every corner of human activity. But if modernity is understood as simply our present life: the reality of our experience in the here and now, classical music can be an organic part of it, but in which way? It seems to me that classical music is part of modernity in the sense that it offers an alternative to modernity: where modern life has the tendency to draw-out the individual from his private psychological shelter into the outer world, classical music offers an alternative space where he can recover his inner awareness of Self and balance, and can take distance from the outside world with its many pressures. This is not escapism but a mental therapeutic recovery place. As a balancing act, in its profound contrast to modern life, classical music is a necessary counter weight for emotional and mental sanity.

From this it follows that the materialistic nature of sonic art ( which is all about the sound as such) is not suited to such function, because it does not address the emotional realm which can be reached and touched by music with its expressive aims, with its psychological dimension. Also music which balances at the edge of insanity like Schoenberg's Pierrot Lunaire and Erwartung or Berg's Wozzeck, is not the best means of re-confirming the Self - but at least it can function as a recognition, and as such: a confirmation, of the listener's inner turmoil, and where this turmoil is suppressed, such music can make it conscious which is in itself therapeutic. But it seems to me that such music can only be located at the margins of the predominant meaning of the art form in general.

The best classical music is driven by two contrary energies: the one that binds, and the one that diffuses; the centripetal and the centrifugal forces, which can also be seen as reflecting the two main drives in the human emotional realm, or to put it differently: the balancing of order and chaos, or: regular structure and freedom. It is the underlying intensity of instinct that wants to be liberated that gives even the most ordered music its energetic life, as so many works of J.S. Bach demonstrate.

Classical music is non-conceptual, also where it functions as emotionally-intensifying a text, and its interiority means that it takes distance from the environment in which it was born. This makes it universal and understandable for listeners in very different times and places: it is contemporary for ever. In this way, classical music is an organic part of modernity and not a 'museum culture' with fossilized works of art which we can observe but with which we can no longer engage.





Saturday, 18 February 2017

Musical meditation premiered

Here, I want to express my gratitude and admiration for conductor Jaap van Zweden, who has premiered my 'Solemn Night Music' with the Dallas Symphony Orchestra and the Hong Kong Phiharmonic Orchestra, both ensembles under his music directorship. Over a sunny morning breakfast on a terrace in Amsterdam, he simply asked me to write a piece for him of ca. 10 minutes, which took me by surprise - especially when he immediately took his mobile phone and set the process of commissioning in motion with the staff concerned. Before any idea of the piece even existed in my mind, he planned the performance dates, which gave me ample time to start the writing process. Since I could not attend the rehearsels and performances, I simply sent-in the printed score which he realized brilliantly without ever raising a question - in those days, I was carrying my mobile phone with me as an extra limb. Listening to the recording later-on was not only a satisfying experience but, above all, a surpising one, as if I had posted a score into a magical machine which spawned-out the full-blooded, live realization, without needing any intervention or advice from the composer, as if he were one of those old dead ones making-up most of the repertoire.

It is normal, that with a premiere, the composer makes slight adjustments during rehearsels, when his ideas are tried-out for the first time and the result may be a bit different from how it had been imagined, like tempi which are always faster in the mind than how they are experienced with the physical instrumental sound, and with the acoustics. And indeed, there were some very small things I could polish afterwards and which will add to the overall sound at a next performance. But what I would like to stress is, that this experience, for me, confirmed the distinction between 'language' and 'content' of a musical work. This piece makes use of a very traditional language with a vocabulary entirely familiar as it would have been used by composers at the beginning of the 20th century. But what is being 'said' in the language, the 'content', is not familiar, because it is new. This means that there are no problems with the language, which conductor and players will feel familiar with, and all rehearsel time can be spent on the content: expression, getting ensemble playing together and the balance right, and the players simply getting used to the piece. I was very impressed by Van Zweden's rendering the music so well and with such feeling of narrative and fluency.... truly a musical mastermind and especially, -heart.

The piece is a shortish meditation on the passing of time, with themes and motives gradually being transformed, and in the last episode returning but in another guise, so that we hear things developing and changing, but their character remaining intact, like how people develop over time, keeping their identity but in changing forms. Press reactions were favorable: "... evocative.... arching lyricism... fine sense of traditional orchestral colour... unashamedly beautiful.... this overripe chromatically complex music is gorgeous....." That is, apart from one critic who found it beautiful but not contributing to contemporary musical developments: if it were uglier, he would probably be more happy with it. I was surprised by these positive reactions, since often I get really irritated or even: angry reviews, full of scorn about 'oldfashioned idiom', as if the musical language is all there is to music. This is one of the devastating inheritances of postwar modernism, the idea that musical developments take place along a line of progressive musical language into an unforeseen but utopian future. That in art history, there are as many revivals and revisions as explorations of the language, is forgotten or denied. Also, a revival can be - at a certain moment in history - truly modern, as the historical record shows.  I won't go into this, since I have treated it exhaustively both in 'The Classical Revolution' and on my website. The book, by the way, will be issued again in its 2nd edition (paperback for a very attractive price) by Dover Publications NY this August.





I only hope that also other orchestras and other conductors will see the point of new classical music, instead of shying away from something they (still) don't know. It is regrettable that in the musical field, there is not much interest in what happens in other artistic fields, otherwise one would have been pleasantly surprised by the new figurative, or realist painting, and new traditional, or classicist, architecture as - for instance - by Leon Krier, the great explorer of classical languages in his field, and builder of the traditionalist town Poundbury in Dorset (UK).


Revival

It seems that the techinical problems with this blog have subsided.... So, I will resume posting, probably irregularly, due to busy work and bad weather conditions.

Monday, 9 January 2017

To be continued....

Due to continuous technical problems with this blog, new posts can be found, from today onwards (10 January 2017), on my website:

www.johnborstlap.com

This blog will be 'freezed', for the time being - and no longer be fed with additions.

Monday, 2 January 2017

Ideology and truth

I stumbled into an interesting article on the site of The New Criterion, about the corruption of the German universities in the early 20th century, where ideology gradually replaced academic freedom in the pursuit of truth.

A comparable process we have seen in the last decades where academic curriculae have been politicized and academic pursuits were defined not by the search for truth but by the service to a political cause: in the footsteps of Foucault's marxist ideas that institutions, including the university, are mere instruments of political power applied by the bourgeoisie to protect its privileges.



The article set in motion a train of thoughts about the politization of academia and of culture...

The pursuit of truth is based upon the assumption that there is something like an objective truth, which can be discovered by different means and through different routes. This implies the necessity of pluralism, a field where competing approaches try to get to grips with reality. The philosophical cul-de-sac which claims that the world is merely our perception of it, i.e. entirely subjective, has to be rejected out of hand since it is clear that our senses, including our intelligence and intuition, developed in accordance with the evolution of the world. We are part of the world and our perception of it forms part of the world's reality. Instead of the world's nature being subjective, it is our mind's nature which is objective - as long as we assume that reality exists.

Only in a pluralist field something of truth can be found, and academia should be one of the islands where pluralism is accepted as normal. After all, every definition of truth and reality is, at least partly, provisional, until better definitions have been found.

For culture, ideology is the worst possible incarceration. Works of art are, most of the time, restricted by limitations of available means, of circumstances, places and periods, local cultures, financial possibilities, the talent of the maker etc. etc., but such restrictions are not - or don't have to be - ideological, and thus can be transcended by the artist. But an ideology cannot be transcended because an ideological work of art has, in the first place, to be a political expression. That is why the portraits of Velasquez of his king who commissioned them, are truly free works of art which speak of truth in characterization and expression, because they only had to present the monarch as such, while the many decorations which Charles le Brun made for the palace of Versailles are not, and although they are well-done, they are not so good as his free works because the painter had to express a political idea: the glory of the king and of France as a powerful nation.



Gerelateerde afbeelding

Velasquez




Afbeeldingsresultaat voor Charles LeBrun VErsailles

Le Brun: 'The King Rules by Himself', decoration at Versailles




Afbeeldingsresultaat voor Charles LeBrun pieta

Le Brun: Pietà