I think it is as close to a truism of writing about music as you will get: The better you know a piece, the more you understand it. The more you understand it, the more you value it. The more you value it, the better you write about it.<\/p>\n
In converse is also true- bad \u00a0or condescending writing about a piece you don\u2019t value usually serves primarily to expose the holes in your understanding of a work.<\/p>\n
I can hardly think of an example of a major piece of music by an accomplished composer where a writer said something negative that was the result of them knowing the piece better than someone who has a more positive take on the work at hand.<\/p>\n
I was reminded of this truism the other day when I was sent the program notes for an upcoming concert. Although the notes included some good factual detail about time and circumstances, and weren\u2019t explicitly negative about the works on the program, the annotator did accuse the composer of \u201chollow bombastry\u201d in one of his most famous and hugely important masterpieces, and called another, equally important and masterful symphony by the same composer \u201ca colossal but musically patchy work.\u201d<\/p>\n
This sort of thing really, er, pisses me off.<\/p>\n
Over the years, I\u2019ve read program notes that called Mahler hollow and superficial, Bruckner lacking in structural judgement, and slandered Schumann as a bad orchestrator, Shostakovich as empty, Sibelius lacking rigor, and Haydn as pedestrian and predictable. These are, admittedly, opinions that a regrettable number of people hold. That\u2019s not what really bothers me. Nor is the fact that nobody who knows and understands the work of any of these composers intimately would ever say those things or agree with such half-baked opinions that gets my forehead creased. It\u2019s the fact that they\u2019re half-baked, ego-driven non-assessments I\u2019ve read in program notes.<\/strong><\/em><\/p>\n At least, in this case, the program annotator was decent enough not to slag off the works being played on the concert, but I still think it is extremely rude and disrespectful to the audience to use the program booklet as a venue for beating your chest about your own bugbears and blindspots. The concert program should be a resource to help the audience member ENJOY THE CONCERT more, to help them understand and engage with the music they are hearing. It\u2019s not the place for ranting, or snide and snooty comments about the composers being heard. For that matter, it\u2019s not the place to show off your own abilities as a writer or musicologist. The notes are there for the benefit of the listener, not the writer, not even the orchestra or even the composer.<\/p>\n Especially in Britain, where you have to pay extra for a program (or, more accurately, a \u201cprogramme\u201d was the Franco-phobe Brits still spell it \uf04a), everyone who gets a word of their prose printed ought to be focused on enriching the concert experience of the listener, and nothing else.<\/p>\n And remember, chances are, if you accusing a great composer of \u201chollow bombastry\u201d you\u2019ve almost certainly missed the point of a major work of art. Why make the audience pay \u00a31 just for the privilege of getting to know your prejudices and shortcomings as a listener or analyst? Why waste one line of print when you could use that space to help bring the concert to life. You\u2019re just making yourself, and, by association, the orchestra, look like an ass.<\/p>\n There are so many great note writers out there- Malcolm MacDonald, Richard Bratby, \u00a0Peter Davison have all written notes for concerts I\u2019ve done in the last few years that deserved to be published in \u201cproper books\u201d for all time. Michael Steinberg\u2019s magical \u201cproper books\u201d of program notes, The Symphony and The Concerto are a perfect example of the annotator\u2019s craft elevated to the point of bringing to the reader truly profound insights into great music that any listener, novice or expert, can use and understand.<\/p>\n To all note-writers, from the overworked pro to the well-meaning amateur, I just implore you, if it comes time to write about a piece or a composer you don\u2019t like, or don\u2019t get, please remember my grandmother\u2019s advice about life in general \u201cIf you can\u2019t say anything nice, don\u2019t say anything at all.\u201d<\/p>\n And if you really, really, really, really need to convince the world of the\u201d hollow bombastry\u201d of one of the 20th c.\u2019s greatest composers?<\/p>\n I recommend blogging.<\/p>\n _________________________________<\/p>\n Have you read anything lately in a concert program that got your blood boiling? Please share your favorite “I can’t believe I bought a program to read that crap” moments…<\/p>\n <\/p>\n UPDATE-<\/p>\n The Twitter reaction (In reverse chronological order) was unusually lively….<\/p>\n AnnaAmbrose<\/strong><\/a>\u00a0Anna Ambrose<\/p>\n RT\u00a0@RichardBratby<\/a>\u00a0I’d still agree with everything\u00a0@kennethwoods<\/a>says here even if he hadn’t flattered me senseless:http:\/\/j.mp\/oZe7fU<\/a>\u00a0-YES<\/p>\n 1 hour ago<\/a>\u00a0Favorite<\/a>\u00a0Retweet<\/a>\u00a0Reply<\/a><\/p>\n <\/p>\n RichardBratby<\/strong><\/a>\u00a0Richard Bratby<\/p>\n @<\/p>\n @igortoronyi<\/a>\u00a0@kennethwoods<\/a>\u00a0Think it’s only the trashings\/damnings with faint praise that are the issue, to be honest – they do exist tho’.<\/p>\n 1 hour ago<\/a><\/p>\n <\/p>\n igortoronyi<\/strong><\/a>\u00a0Igor Toronyi-Lalic<\/p>\n @<\/p>\n @RichardBratby<\/a>\u00a0@kennethwoods<\/a>\u00a0Was once warned by a chef not to order something. He said I wouldn’t enjoy it cos I was western. He was right<\/p>\n 2 hours ago<\/a><\/p>\n <\/p>\n igortoronyi<\/strong><\/a>\u00a0Igor Toronyi-Lalic<\/p>\n @<\/p>\n @RichardBratby<\/a>\u00a0@kennethwoods<\/a>\u00a0Can agree fully with that. I’m not asking for a trashing. Just some space for other perspectives.<\/p>\n 2 hours ago<\/a><\/p>\n <\/p>\n RichardBratby<\/strong><\/a>\u00a0Richard Bratby<\/p>\n @<\/p>\n @igortoronyi<\/a>\u00a0@kennethwoods<\/a>\u00a0Agreed, but there are ways of doing that; important that writer comes down on side of work.<\/p>\n 2 hours ago<\/a><\/p>\n <\/p>\n RichardBratby<\/strong><\/a>\u00a0Richard Bratby<\/p>\n @igortoronyi<\/a>\u00a0@kennethwoods<\/a>\u00a0What other biz charges you \u00a340 for a product, then makes you pay \u00a33 more to read that it’s actually worthless?<\/p>\n 2 hours ago<\/a><\/p>\n <\/p>\n igortoronyi<\/strong><\/a>\u00a0Igor Toronyi-Lalic<\/p>\n @<\/p>\n @RichardBratby<\/a>\u00a0@kennethwoods<\/a>\u00a0Useful for people to be told of critical divide over a work. Otherwise they feel stupid if they don’t enjoy it<\/p>\n 2 hours ago<\/a><\/p>\n <\/p>\n RichardBratby<\/strong><\/a>\u00a0Richard Bratby<\/p>\n @igortoronyi<\/a>\u00a0@kennethwoods<\/a>\u00a0“Not the chef’s finest creation,but interesting as a precursor to the far better dish we’re not serving tonight”.<\/p>\n 2 hours ago<\/a><\/p>\n <\/p>\n RichardBratby<\/strong><\/a>\u00a0Richard Bratby<\/p>\n @<\/p>\n @AlexLaing<\/a>\u00a0@kennethwoods<\/a>\u00a0Absolutely; you have to help them enjoy it as much as possible on one listening.Not too much detail;not too little.<\/p>\n 2 hours ago<\/a><\/p>\n <\/p>\n AlexLaing<\/strong><\/a>\u00a0Alex Laing<\/p>\n @RichardBratby<\/a>\u00a0@kennethwoods<\/a>\u00a0as you both are. It’s also why I think a good spoken intro usually goes down a treat – not always suitable tho<\/p>\n 2 hours ago<\/a><\/p>\n <\/p>\n AlexLaing<\/strong><\/a>\u00a0Alex Laing<\/p>\n @<\/p>\n @RichardBratby<\/a>\u00a0@kennethwoods<\/a>\u00a0I reckon you just need to be engaging about aspects of the music that you know the particular audience will get<\/p>\n 2 hours ago<\/a><\/p>\n <\/p>\n RichardBratby<\/strong><\/a>\u00a0Richard Bratby<\/p>\n @<\/p>\n @igortoronyi<\/a>\u00a0@kennethwoods<\/a>\u00a0Brilliant in a review. When you’re a first timer who’s just paid \u00a340 specifically to hear Shosta – less helpful.<\/p>\n 2 hours ago<\/a><\/p>\n <\/p>\n RichardBratby<\/strong><\/a>\u00a0Richard Bratby<\/p>\n @igortoronyi<\/a>\u00a0@kennethwoods<\/a>\u00a0Can you imagine it on a menu? “A second-rate dish, regrettably over-spiced but worth eaing a few small mouthfuls”<\/p>\n 2 hours ago<\/a><\/p>\n <\/p>\n igortoronyi<\/strong><\/a>\u00a0Igor Toronyi-Lalic<\/p>\n @richardbratby<\/a>\u00a0@kennethwoods<\/a>\u00a0Am reminded of Boulez accusing Shostakovich of being a ‘ninth pressing of Mahler’. Much prefer that to niceties<\/p>\n 2 hours ago<\/a><\/p>\n <\/p>\n RichardBratby<\/strong><\/a>\u00a0Richard Bratby<\/p>\n @igortoronyi<\/a>\u00a0@kennethwoods<\/a>\u00a0Programme notes are no place for belittling music the audience has paid to hear,even if point is completely true.<\/p>\n 2 hours ago<\/a><\/p>\n <\/p>\n RichardBratby<\/strong><\/a>\u00a0Richard Bratby<\/p>\n @<\/p>\n @igortoronyi<\/a>\u00a0@kennethwoods<\/a>\u00a0It’s not about value of thoughts, it’s purely about the context in which they’re expressed.<\/p>\n 2 hours ago<\/a><\/p>\n <\/p>\n OperaCreep<\/strong><\/a>\u00a0George<\/p>\n @<\/p>\n @kennethwoods<\/a>\u00a0Can we blame the commissioners of programme notes for picking unsuitable writers? I think so.<\/p>\n 2 hours ago<\/a><\/p>\n <\/p>\n igortoronyi<\/strong><\/a>\u00a0Igor Toronyi-Lalic<\/p>\n @<\/p>\n @RichardBratby<\/a>\u00a0@kennethwoods<\/a>\u00a0Couldn’t disagree more. It’s just as valuable to hear a wise man’s negative thoughts as his positive ones.<\/p>\n 2 hours ago<\/a><\/p>\n <\/p>\n RichardBratby<\/strong><\/a>\u00a0Richard Bratby<\/p>\n @kennethwoods<\/a>\u00a0@alexlaing<\/a>\u00a0I fear that classical music writing for an “intelligent general” public(eg the Penguin guides) is a vanishing art.<\/p>\n 2 hours ago<\/a><\/p>\n <\/p>\n RichardBratby<\/strong><\/a>\u00a0Richard Bratby<\/p>\n @<\/p>\n @kennethwoods<\/a>\u00a0An element of intellectual overkill at times;Schenkerian analysis might not always help you express spirit of a Strauss polka.<\/p>\n 2 hours ago<\/a><\/p>\n <\/p>\n RichardBratby<\/strong><\/a>\u00a0Richard Bratby<\/p>\n @alexlaing<\/a>\u00a0@kennethwoods<\/a>\u00a0But put it this way: he’s more of an Elliott Carter man. By the time note arrived, too late to commission another.<\/p>\n 2 hours ago<\/a><\/p>\n <\/p>\n RichardBratby<\/strong><\/a>\u00a0Richard Bratby<\/p>\n @<\/p>\n @AlexLaing<\/a>\u00a0@kennethwoods<\/a>\u00a0It was printed by my employers yrs back, written by a writer of immense knowledge and style, whom I respect hugely.<\/p>\n 2 hours ago<\/a><\/p>\n <\/p>\n OperaCreep<\/strong><\/a>\u00a0George<\/p>\n @<\/p>\n @kennethwoods<\/a>\u00a0Absolutely…there aren’t that many good writers around that are devoid of ego.<\/p>\n 2 hours ago<\/a><\/p>\n <\/p>\n RichardBratby<\/strong><\/a>\u00a0Richard Bratby<\/p>\n @kennethwoods<\/a>\u00a0No-one’s saying it’s Mahler 10, but if you can’t find & express the joy of the piece, give commission to someone who can.<\/p>\n 2 hours ago<\/a><\/p>\n <\/p>\n AlexLaing<\/strong><\/a>\u00a0Alex Laing<\/p>\n @<\/p>\n @RichardBratby<\/a>\u00a0that is an excellent article written by\u00a0@kennethwoods<\/a>\u00a0– I agree with you – and him obviously<\/p>\n 2 hours ago<\/a><\/p>\n <\/p>\n RichardBratby<\/strong><\/a>\u00a0Richard Bratby<\/p>\n @<\/p>\n @kennethwoods<\/a>\u00a0Never got over seeing one of our very greatest music writers dismiss “Capriccio Espagnol” as “insignificant” in 150 words.<\/p>\n 2 hours ago<\/a><\/p>\n <\/p>\n RichardBratby<\/strong><\/a>\u00a0Richard Bratby<\/p>\n @<\/p>\n @kennethwoods<\/a>\u00a0Thanks Ken, blushing here. I always, always, remember Tovey: prog note writer is “counsel for the defence”.<\/p>\n 2 hours ago<\/a><\/p>\n <\/p>\n OperaCreep<\/strong><\/a>\u00a0George<\/p>\n @<\/p>\n @kennethwoods<\/a>\u00a0I like programme notes with a personality to them…maybe asking someone that likes the composer should help cut the crap!<\/p>\n 2 hours ago<\/a><\/p>\n <\/p>\n Lindygeek<\/strong><\/a>\u00a0Nicole Stevens<\/p>\n @<\/p>\n @kennethwoods<\/a>\u00a0I once read program notes that gushed Tony Williams “plays the drums as if they were a fine tuned instrument!” *head desk*<\/p>\n 2 hours ago<\/a><\/p>\n <\/p>\n RichardBratby<\/strong><\/a>\u00a0Richard Bratby<\/p>\n I’d still agree with everything\u00a0@kennethwoods<\/a>\u00a0says here even if he hadn’t just flattered me senseless:\u00a0j.mp\/oZe7fU<\/a><\/p>\n 2 hours ago<\/a><\/p>\n <\/p>\n RichardBratby<\/strong><\/a>\u00a0Richard Bratby<\/p>\n Rt\u00a0@Kennethwoods<\/a>\u00a0It\u2019s a terrible piece by an idiot composer, & you\u2019re wasting your time and money by listening to it!\u00a0j.mp\/oZe7fU<\/a><\/p>\n