When I had my phone interview with one of the internship’s sponsors, I asked what he thought the strengths and weaknesses of my proposal were. I anticipated requests for a more detailed itinerary, an outline of texts and music I intended to learn, explanations for why I would choose said body of work, and an overview of my plans for musical coaching*. Instead, I heard this:
- Travel more
- Travel outside of German-speaking Europe
- Keep your project as general as possible
- Be flexible and open to experiences outside of your project
Now, I had originally restricted my traveling to German-speaking areas, such as Germany, Switzerland, Austria, and other areas that spoke Germanic languages, such as Sweden and the Netherlands, in order to immerse myself as much as possible. The sponsors had a different perspective though and suggested that I shift the focus from immersion to understanding how German language and art are handled by a variety of European cultures. Travel more? Attend a wider variety of concerts/festivals? You mean I can shamelessly add Paris and Prague and Barcelona to that list?!?!? Kein Problem.
In order to realize this change, I will attempt to contrast interpretations of the same pieces and/or pieces by the same composer. I use the word “interpretation” as loosely as possible, including program notes, pre-concert lectures, the musical performance itself, audience reactions, text translations, soloist choices, other music on the program, placement in a festival schedule, venue, ensemble, etc. in my definition. In keeping with the sponsor’s request, the emphasis will be on the big picture.
For example, anti-Semitism in the music of Wagner interests me quite a bit. Wagner infused many of his works with prejudice, especially in the case of The Ring cycle and Die Meistersinger. Wagner’s prejudice also extended beyond compositional practice and performance into musicology, where he published many articles condemning Jews in the Neue Zeitschrift fuer Musik. While these articles have drifted out of popular discussion, the mythological heroism of Wagner’s work has retained its strength. Moreover, the huge sounds produced from performers of these works are among the most lauded throughout the musical world. Why? How does this happen? When the operas are performed, is Wagner’s vehement anti-Semitism even mentioned? What form does the mention/omission take? Is it active or passive? Are the motivating factors apparent? Who performs this music? Do they specialize? Where is this music performed? Where is it celebrated? Where is it not? How does this differ in Germany, France, Austria and England?
I also think that it’s worth noting that musicians hazard their livelihood—their hearing—by playing and continuing to increase the decibel level in this music. It’s heroic to increase the decibel level, and it’s heroic to do violence to our ears. Though it may be taking the concept too far (and would take far more discussion than this blog post permits), I think it bears asking if there’s a lingering connection between the violence effected by anti-Semitism and the violence effected by the decibel level.
At the very least it’s food for thought.
More importantly though, do I invest in quality earplugs?
