February 13, 2011 § Leave a comment
By Rebecca Liao
Have you heard? Barneys is opening up an additional store in the Mission! The new location is part of the company’s long term strategy to attract more buyers who already have avant-garde, cutting-edge taste. Now, before you get excited and call the Barneys store on O’Farrell St. in SF, I’m only kidding. I’m merely referring to the imprint of the LA Philharmonic on the exciting Berkeley Symphony Orchestra concert coming up December 3. The program for the evening is a mini-reproduction of the Philharmonic’s 2007-08 season, unofficially known as the “Season of Steven Stucky,” featuring the composer’s Radical Light and “Elegy” from August 4, 1964, juxtaposed with Sibelius’ Seventh symphony and a Stravinsky piece (a new take on Les Noces two years ago and the Firebird Suite for this concert). Incidentally, Stucky is currently Consulting Composer for New Music in LA and was the matchmaker responsible for pairing Joana Carneiro, Music Director of the Berkeley Symphony, and Gabriela Lena Frank, the new Creative Advisor.
Since the classical music world is so small, these interconnections are nothing out of the ordinary (there’s another word starting with i and ending with t that could be used, but this is a family publication). Given the timing and this particular cast of characters, though? This concert continues the steady chant begun this season, “Classical music is chic again.” It is young and dynamic, drawn forth with passion that is romantic in its strength and edgy in its similarity to ecstasy-induced highs. Carneiro and her SoCal counterpart, Gustavo Dudamel, are both regularly described as charismatic, energizing visionaries— the subject as well as the instigator of conversations at trendy gatherings. You can practically hear Ellen Degeneres singing into her Kanye West Autotune, “Change you ca-an believe in.”
Looking at Stucky’s accounts of his inspiration and intentions for Radical Light and “Elegy,” however, it is hard to understand why classical music has not always had this status in contemporary culture. Indeed, Stucky employs a breadth of modern references that rivals Marc Jacobs in his most successful collections. Let’s go through them: Lao-Tse and the inadequacy of words; poetry and the ability of art to do more than hold up a mirror; and for “Elegy,” the Gulf of Tonkin, murder of three civil rights activists on August 4, 1964, and John Adams’ affinity for Greek chorus and the dramatization of historic figures. In fact, Adams offers lists like this. Come to think of it, so does every contemporary composer. We have been, overall, good postmodernists.
Critically, however, we have not mastered the concept of high-low, throwing in the H&M pants or the Forever 21 dress. In music, the equivalent would be regularly aiming for visceral reaction or basing the success of a piece on pure alchemy. This is why any good performance of Sibelius’ Seventh is still an event, and even Stravinsky, for that matter. We listen wanting the rare feeling of wonder that something so wrong sounds like fresh genius. It does not happen often enough, but do you hear that chanting?
A version of this article appeared on sfcv.org.