I feel compelled to comment on Steve Smith's latest post on Night after Night:
Night After Night - Conspicuous consumption of music, live and otherwise, in New York City.
- In spite of some training, practice, and enthusiasm, I am at heart a music consumer and it's great to see a blog that understands that dynamic (in the spirit of Christgau). And even in the reasonably supplied Bay Area, we still want to know the NY musical life.
This afternoon, I received a most unexpected phone call from a friendly representative of the American Society of Composers, Authors and Publishers (ASCAP), who called to tell me that I'd won this year's Deems Taylor Internet Award for my nocturnal ruminations here at Night After Night.
- Nocturnal ruminations pay off as we all know. Congratulations.
And clearly Mr. Portico is mistaken to claim that my listening consists entirely of the new.
- And not to belabor the point, but as I focus on my particular "genre cage" (see the Amazon editor review of this recording re: cages), I'm surprised in the amount of music that is new by impact if not by calendar.
During the years that I've been active in classical music journalism and especially criticism, I've often been stricken with an envy of peers whose grasp of the canon is deeper than mine.
- And I happen to blog about a topic where every perfomer/composer/writer/educator/researcher who happens to read aworks knows infinitely more about the subject than I do. And yet, I hope point of view also matters. In Steve's case, it clearly does.
Writing about Corey Dargel means knowing something of Franz Schubert, David Garland and Morrissey, at the very least.
- Ok, I've shared my enthusiasm for the music of Dargel, Schubert, and Garland. And for the record, I've known Morrissey enthusiasts, even if I preferred Electronic by Johnny Marr et al. (And a different Morrissey set up my first date with Laura. Hi, another Steve/Morrissey.)
And truthfully, it works both ways: Knowing Mozart's music doesn't require me to know Schnittke's, but knowing Schnittke's music enriches my engagement with Mozart's.
- This is so wrong <grin>. Every year that I listen to Ives/Cage/Reich, I lose my ear for European music. I need to be precise here; I've probably listened to Sibelius more recently than any other non-American composer but it's all those German/Austrian guys, circa 19th century, that I no longer relate to. I never expected that. Still, Haydn is a newfound pleasure.
Enough with the detail. Why is Night after Night worth reading night after night? I think it's because of the attempt to document the comprehensiveness of the musical world, which is the world, I at least, live in.
playlist: Vivaldi for Organ - Guillou. The Welcome Table - Super Numeri. U. S. A. - Nancarrow, Carter, Ives, Yim, Feldman, Lucier, Young, Cage - Arditti String Quartet. The Association's Greatest Hits. Phaedra - Tangerine Dream.
david garland: what's new myspace