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Posted September 6, 2010 by zxchjkls in Business, Family & Home


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Posted September 6, 2010 by fgdfg in Family & Home

What is important now is to recover our senses. We must learn to
seemore, to hearmore, tofeelmore. ... In place of a hermeneutics we need
an erotics of art.

-Susan Sontag, Against Interpretation

ALTHOUGH
THE INDEX TO ALEX ROSS'S THE REST IS NOISE includes a few references to
Ralph Vaughan Williams, there is in fact no account of this composer in
Ross's review of twentieth-century Western music, and in the text of
the book itself Vaughan Williams is only a name mentioned in passing. On
the other hand, Ross's treatment of Aaron Copland is extensive.
Moreover, there is a good deal of cheerleading by Ross for Webern, Berg,
and Sch锟絥berg, enough to induce me to buy a copy of James Levine's
Berlin Philharmonic collection of their orchestral pieces, a CD that
Ross recommends but that I seem never to have a desire to listen to.
This is a set of circumstances that says more than meets the eye - and
Christian louboutin shoes desire is at the heart of it: not only the
aesthetic desire of music listeners that drives their response but the
motivational desire of Vaughan Williams that expressed his compositions.

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Despite
all of his pages touting Copland, Ross fails to face the fact that the
living repertoire of Copland's works is minuscule. How many times can
one listen to Appalachian Spring, for all its excellences? When the
infrequency of their performance is taken into account, Copland's early
experimental and atonal compositions (however much their weight) might
just as well not exist, and his other ballet music, however much fun, is
rarely performed and, at best, can only be regarded as lightweight.

Vaughan
Williams is another story altogether. And a good deal of that story is
enriched by Oxford's publication of Letters of Ralph Vaughan Williams
1895-1958, an elegant volume, well edited, annotated, and introduced by
Hugh Cobbe.1 With the help of Ursula Vaughan Williams, Ralph's second
wife (who died at 96 in October 2007, a month after Cobbe's book was
completed), about 3,300 letters had been collected, of which 757 were
selected for this volume. A foreword by VWs most assiduous expert,
Michael Kennedy, tells us, "In Vaughan Williams' letters you will not
find the personal confessions and the insights into creative processes
that illuminate Elgar's correspondence. He refused to discuss his music
with anyone except his very closest friends." As discouraging as this
might at first appear, it turns out that these letters add up to a
powerful portrait of a great Cocktail Dresses composer and man,
eminently worth reading. Moreover, the letters in fact do deal mainly
with his music, but from the outside, the world of performance, of
newspaper reviews, of daily life, of relations between the composer and
his friends as well as both his wives, Adeline Fisher for fifty-four
years and Cocktail Dresses
Ursula Wood for the last five. So a good deal is learned about the
musical milieu of VW and his times, even while parts and Cocktail
Dresses wholes of some of these letters have appeared in earlier books
and articles.2

After several
centuries of famine in English music, Ralph ( "Rafe"3) Vaughan Williams,
born in Gloucestershire in 1872 and buried (as ashes) in Westminster
Abbey in 1958, was a fully appreciated feast in the U.K. during his
lifetime. He vied perhaps with Elgar as the first such superstar since
Henry Purcell, who died in 1695 at less than half of VWs age. Today,
available CDs of VWs music exceed in number even those of Copland.
Admittedly, compared to limited performance in the U.S., in the U.K. the
airwaves and concert halls were saturated with VWs music during his
lifetime and ever since. Here in America, in the forties, fifties, and
sixties, his music was often performed by luminaries such as Mitropoulos
and Bernstein, and even Leopold Stokowski could claim a first with his
recording of the Sixth Symphony in the early days of LPs. Today, you are
more likely to hear VW on classical music radio stations in the U.S.
than in the concert hall. But the reason for this is not far to seek.

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Vaughan
Williams' early years were distinctively English, as might befit
someone who was closely related to the famed Wedgwood and Darwin
families (Charles was his great uncle). After music school and
Cambridge, VW spent large blocks of time roaming the U. K countryside
for folk songs from the unlettered who could still sing or say the texts
of traditional indigenous music. Folk songs became the foundation of
almost everything he did in the earlier years, from printed collections
and composer-scored versions to original compositions based upon them
(everyones knows his version of "Greensleeves") and then as themes in
various of his later works. They fueled his obsessive desire to
resurrect an unmistakably English music minimally beholden to the
nineteenth-century Viennese tradition of Mozart, Haydn, Beethoven and
the Romantics that dominated Western music almost everywhere. In a
letter to a German musical acquaintance, VW writes, "Do not force a
'Little Austria' on England . . . There is a tendency, clearly, among
English people to take it that 'Schmidt' is musical - while Smith is
ipso facto unmusical." And in a long letter of advice to an aspiring
musical son of an English friend, he remarks that "creative work must
grow out of its native soil." In "Introduction to English Music" (1931),
he wrote, "In every nation except ours the power of nationalism in art
is recognized. It is this very advocacy of a colourless cosmopolitanism
which makes one occasionally despair of England as a musical Satin Prom Dress
nation. . . . The great composer of the twentieth century is yet to
come. By all the historic precedents he should be born in 1985 just as
John <sic> Sebastian Bach was born in 1685 .... The artistic
surroundings into which Bach was born were distinctly 'parochial.'" A
good thing, he felt. Christian Louboutin Shoes
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