The Well-Tempered Ear

Did Beethoven and his Fifth Symphony foster racism, exclusion and elitism in the concert hall? The Ear thinks that is PC nonsense. What do you think?

September 19, 2020
8 Comments

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By Jacob Stockinger

Controversy has struck big among classical music critics and fans — just in time for the Beethoven Year that will celebrate the 250th anniversary of the composer’s birth this December. Plans call for celebrations by the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, the UW-Madison’s Mead Witter School of Music, and others. 

At question is what seems yet another fallout and dust-up from the Black Lives Matter movement and the current struggle to foster social justice and racial equality.

In some ways, it all seems inevitable.

Now the history-denying advocates of cancel culture are suggesting that Beethoven (below) and his music – especially the popular Fifth Symphony (you can hear the famous opening in the YouTube schematic video at the bottom)  –  fostered white privilege and the rise of racism, sexism and homophobia in the concert hall.

That seems like quite an accusation for a single composer and a single piece of music that was premiered in 1808.

The assertion is food for thought. But not much.

In the end The Ear finds it a stretch and a totally bogus argument. He thinks that Beethoven attracted far more performers and audiences than he repelled. Others, including famed critic Norman Lebrecht in his blog Slipped Disc and a critic for the right-wing newspaper The New York Post, agree:

https://slippedisc.com/2020/09/beethovens-5th-is-a-symbol-of-exclusion-and-elitism/

https://nypost.com/2020/09/17/canceling-beethoven-is-the-latest-woke-madness-for-the-classical-music-world/

The Ear also thinks it is political correctness run amok, even for someone who, like himself, advocates strongly for diversity of composers, performers and audiences – but always with quality in mind — in the concert hall.

Just because Beethoven was such a great creative artist is hardly cause to blame him for the inability of other artists to succeed and for non-white audiences taking to classical music. Other forces — social, economic and political — explain that much better.

Yes, Beethoven is a towering and intimidating figure. And yes, his works often dominate programming. But both musicians and audiences return to him again and again because of the originality, power and first-rate quality of his many works.

Beethoven himself was deaf. That would certainly seem to qualify him as inclusive and a member of an important category of diversity.

No matter. The writers are happy to blame Ludwig and his work for exclusion and elitism. They argue that people of color, women and LGBTQ people have all felt alienated from classical music because of Beethoven’s legacy.

Of course, there is elitism in the arts. People may be equal, but creative talent is not.

And clearly, Beethoven was a towering and intimidating figure – more for the quality of his music than for the simple fact that it exists. Such exclusion and elitism have to do with other factors than the composition of the Fifth Symphony.

If The Ear recalls correctly, when he died Beethoven was given the largest state funeral up to that time for a non-royal, non-politician or non-military person.

And how do you explain that Beethoven’s music, so representative of Western culture, appeals deeply to and attracts so many Asians and Asian-Americans, and became both banned and symbolically central to those opposed to Chairman Mao’s Cultural Revolution in China?

But these days being provocative can become its own reward.

You can read the analysis and decide about its merits for yourself, then let us know what you think in the Comment section.

Here is a link to the opinion piece in Vox Magazine, a free online journal: https://www.vox.com/switched-on-pop/21437085/beethoven-5th-symphony-elitist-classism-switched-on-pop

What do you think about the idea that Beethoven played a large and seminal role in fostering an elitist and exclusive culture in classical music?

Did you ever feel alienated from classical music because of Beethoven or know others who have?

What is your favorite Beethoven composition?

The Ear wants to hear.

 


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Classical music: What will the fall concert season will look like? And what will the post-pandemic concert world be like?

May 18, 2020
3 Comments

PLEASE HELP THE EAR. IF YOU LIKE A CERTAIN BLOG POST, SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event. And you might even attract new readers and subscribers to the blog.

By Jacob Stockinger

This past week, The Ear listened to and read a lot of news about COVID-19 and the arts.

And it got him thinking: What will happen this fall with the new concert season? And even later, what will a post-pandemic concert world look like? (Below is the Madison Symphony Orchestra in a photo by Peter Rodgers.)

As you may have heard, the Tanglewood Festival, the summer home of the Boston Symphony Orchestra, has been canceled this year. So too has the Ravinia Festival, the summer home of the Chicago Symphony Orchestra.

Locally, American Players Theatre in Spring Green also just canceled its summer season.

So far, the summer season seems to be one big cancellation for the performing arts.

True, there are some exceptions.

The Token Creek Chamber Music Festival has yet to announce its plans for August.

One also has to wonder if crowds of up to 20,000 will feel safe enough to attend the Concerts on the Square (below), now postponed until late July and August, by the Wisconsin Chamber Orchestra?

Will people still want to attend the postponed Handel Aria Competition on Aug. 21 in Collins Recital Hall at the UW-Madison’s new Hamel Music Center, assuming the hall is open?

Fall events seem increasingly in question.

Last night on CBS’ “60 Minutes,” Jerome Powell, chairman of the Federal Reserve, said that sports events and concerts will be among the last mass gatherings to take place safely, probably not until next spring or summer or even later, depending on when a vaccine becomes available.

Some public health experts also offer dire predictions about how easing up lockdown restrictions too soon might lead to an even worse second wave of the coronavirus virus pandemic this autumn and winter, despite all the happy talk and blame-shifting by Team Trump.

So, what do you think will happen beyond summer?

The Ear wonders what the fallout will be from so many music groups and opera companies turning to free online performances by solo artists, symphony orchestras and chamber music ensembles.

Will season-opening concerts be canceled or postponed? What should they be? Will you go if they are held?

Will at-home listening and viewing become more popular than before?

Will the advances that were made in using streaming and online technology (below) during the lockdown be incorporated by local groups — the UW-Madison especially comes to mind — or expected by audiences?

In short, what will concert life be like post-pandemic and especially until a vaccine is widely available and a large part of the population feels safe, especially the older at-risk audiences that attend classical music events?

Will larger groups such as symphony orchestras follow the example of the downsized Berlin Philharmonic (below, in a photo from a review by The New York Times) and play to an empty hall with a much smaller group of players, and then stream it?

Will some free streaming sites move to requiring payment as they become more popular?

Live concerts will always remain special. But will subscriptions sales decline because audiences have become more used to free online performances at home?

Will most fall concerts be canceled? Both on stage and in the audience, it seems pretty hard to maintain social distancing (below is a full concert by the Madison Symphony Orchestra). Does that mean the health of both performers – especially orchestras and choral groups – and audiences will be put in jeopardy? Will the threat of illness keep audiences away?

Even when it becomes safe to attend mass gatherings, will ticket prices fall to lure back listeners?

Will programs feature more familiar and reassuring repertoire to potential audiences who have gone for months without attending live concerts?

Will expenses be kept down and budgets cut so that less money is lost in case of cancellation? Will chamber music be more popular? (Below is the UW-Madison’s Pro Arte Quartet during its suspended Beethoven cycle.)

Will fewer players be used to hold down labor costs?

Will imported and expensive guest artists be booked less frequently so that cancellations are less complicated to do? 

Will many guest artists, like much of the public, refrain from flying until it is safer and more flights are available? Will they back out of concerts?

Will all these changes leave more concert programs to be canceled or at least changed?

There are so many possibilities.

Maybe you can think of more.

And maybe you have answers, preferences or at least intuitions about some the questions asked above?

What do you think will happen during the fall and after the pandemic?

What do you intend to do?

Please leave word, with any pertinent music or news link, in the comment section.

The Ear wants to hear.


Posted in Classical music
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