NY Times exposes shocking musical fraud!

In describing Mahler's 9th Symphony - not a particular performance of it, but the composition itself - Anthony Tommasini informs us that this work "begins and ends with slow movements of nearly 30 minutes each."*

      Without imposing extravagant interpretations on the meaning of familiar English words, I take it for granted that any event lasting 25 minutes or less cannot be meaningfully  described as being "nearly 30 minutes".  (It is an arithmetical fact that 25 is as near to 20 as it is to 30.)  Which brings me to the shocking discovery - thanks to Dr. Tommasini - that some of our cherished recorded live performances of Mahler's 9th are actually examples of musical fraud because their timings (in the last movement) make it impossible for them to qualify as performances of Mahler's music: 

Bruno Walter & Vienna Philharmonic (1938): 18 min 12 sec
George Szell & Cleveland Orchestra (1969): 21 min 30 sec
Otto Klemperer & Vienna Philharmonic (1968): 24 min 11 sec

Of course, some may object to the charges of musical fraud against these three conductors by pointing out that two of them (Walter, Klemperer) were Mahler's friends and disciples, while the third (Szell) was already a young performing conductor and pianist in Vienna when Mahler was still alive.   Alas, this feeble attempt to protect the reputation of the above maestros is laughably unconvincing.  After all, when it comes to how long a movement of a Mahler symphony must last, who would you believe: some baton-waving Mahler's pals who probably didn't even have college degrees, or chief music critic for the New York Times who has a doctorate in music?

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* Tommasini, A., "Mahler's Haunting Ruminations at the Abyss", New York Times, June 6, 2008, italics mine.

What's in a name?

When two or more mathematicians, working collaboratively or independently, make essential contributions to solving a particular mathematical problem, the result is traditionally given a hyphenated name, such as the Kolmogorov-Arnold-Moser theorem in dynamical systems theory, or the Fokker-Planck equation in statistical mechanics.

     

I wonder what would have happened to this naming tradition if the German-American mathematician Jürgen Moser and the Dutch mathematical physicist Adriaan Fokker had proved the same important theorem.  Just put yourself in the shoes of a mathematics professor who has to announce to his class:

Today we will be discussing  the Moser-Fokker theorem.

Ways to use one's senses...

In a recent article from The Telegraph, Victoria Scott, a British woman living in Qatar, describes various worthwhile things one can do to feel more at home in that tiny country.  One of such things (italics mine) is to

... watch the Qatar Philharmonic play.

I expect that after Ms Scott gets to live in a few more places around the world, she will suggest for us to

smell the Bolshoi Ballet while in Moscow,  

listen to Rothko paintings while in Houston, and

taste the pyramids while in Egypt.

In the mean time, congratulations to The Telegraph (founded in 1855) on filling their editorial positions with hopeless cultural retards...

I must be missing something...

For a woman who plays not a note of contemporary music in her public recitals, what does this publicity photo supposedly promise to those who pay to hear Khatia Buniatishvili play the numbingly familiar works of Liszt, Chopin, and Schumann?  A sensuous massage backstage during the intermission?  A slow striptease to accompany the dying away of final notes in Schumann's Fantasy Op.17?   Or is it simply a desperate attempt to divert everyone's attention from the fact that Khatia has never been able to give a clean execution of a single technically demanding piece in her repertoire (at least not in the dozens of live recordings I've heard before giving up on this pianist)?

Language on holiday

Horse gives birth to twin girls

April 12 - Horse owners in Oklahoma celebrate the birth of extremely rare twins, but worry about the health risks. 

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Girls?  When did Reuters begin to employ as writers and editors such hopeless imbeciles?  Not only do they seem ignorant of a perfectly good English word - filly - for a young female horse under the age of four, but they also see nothing wrong with a headline that belongs in a supermarket tabloid like the National Enquirer.

Lest you think I made this up, here is the URL of that Reuters webpage.

A birthday gift of a lifetime...

Composed in 2004 as a gift for Pierre Boulez on his 80th birthday, Carter's 10-minute long sparkling and playful ensemble piece Reflexions strikes me as his most overt hommage to Haydn's musical humor.  It is impossible to hear the comic contribution from contrabass clarinet (at the limit of the instrument's low register) without recalling the comic bassoon fart in the Andante of Haydn's Symphony No.93.

Recently I was surprised to discover that the best engineered live recording of this piece in my collection has never been offered on this blog.  This performance - with Boulez conducting Ensemble Intercontemporain - took place at the Concertgebouw on February 26, 2005 (only 10 days after the world premiere in Paris).