July 30, 2015

Hitler loved 12-tone music

If you will insist that, as a matter of fact, Hitler did not like 12-tone music, you are an over-educated imbecile who clings to a hopelessly outdated notion of truth as somehow rooted in facts.
  I suggest you wake up and get acquainted with the modern, de-factualized notion of truth long championed by the sanctimonious and perpetually self-congratulating New York Times - not only in its political coverage (going as far back as its Pulitzer-earning reports of cheerful and happy life in the USSR during Stalin's purges) but also in its music criticism (a, b, c).
     A good example of the latter is Vivien Schweitzer's review of recent concerts of contemporary music at the Tanglewood Festival.  In describing compositional preferences of the featured composers, she had this to say about Elliott Carter:

Some of the featured composers, like Mr. Carter, were partial to the 12-tone method — a system for atonal music invented by Schoenberg in the 1920s involving all 12 pitches of the chromatic scale. [1]

As a matter of fact, although Carter appreciated the 12-tone music of the Second Viennese School, he himself did not use the 12-tone method and had expressed a rather dismissive view of the method's aesthetic significance with respect to his own creative goals: 

I have found that [the 12-tone method] is apparently inapplicable to what I am trying to do, and is more of a hindrance than a help. [2]

 Of course I do not suggest that Ms Schweitzer was deliberately lying in her review.  With no formal musical training and with only a superficial understanding of musical composition she is simply unqualified to write about serious music, let alone the complex post-War avant-garde music of Carter, Boulez, and Wuorinen.  Which, I would guess, is precisely what makes her such a valuable long-term asset to the New York Times - a sinking outfit desperate to plug its financial leaks by replacing highly competent but costly critics with cheap but incompetent freelancers.
[1]  "Tanglewood's Contemporary Music Fest Milks Many Sources", New York Times, July 26, 2015.
[2]  Elliott Carter, "Shop Talk by an American Composer", in Elliott Carter: Collected Essays and Lectures, J.W. Bernard (ed.), U. of Rochester Press, 1997, p.220.

1 comment:

laybl said...

The New York Times, whose motto should read, "All the news that fits, we print...", brings to mind a Yeats poem, "To a Friend Whose Work Has Come to Nothing",
that reads in part,
Now all the truth is out,
Be secret and take defeat
From any brazen throat,
For how can you compete,
Being honor bred, with one
Who were it proved he lies
Were neither shamed in his own
Nor in his neighbors' eyes;