How To Plan Your Music Production
MUSIC
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Training for a Marathon String Quartet at the Cloisters
Morton Feldman’s String Quartet No. 2 (1983) lasts roughly five hours, about as long as the average time taken to run a marathon. The Calder Quartet, who will perform this exceedingly quiet behemoth in the Fuentidueña Chapel at the Metropolitan Museum’s Cloisters on Saturday, is modeling its rehearsal schedule on the training program that the quartet’s violist, Jonathan Moerschel, follows to prepare to run marathons.
The musicians have been experimenting with a practice of making micro-adjustments to body position in order to avoid fatigue as they play the same gesture many, many, many times. Andrew Bulbrook, one of the quartet’s violinists, recently told me that the greatest challenge is going to be the fight against gravity: To play the violin quietly the bow arm must resist the pull of gravity. To relax the arm into a bow stroke produces a sound that is much too loud for most of this vast collection of miniatures that whispers to the audience.
⇒The Calder Quarter will perform Morton Feldman’s String Quartet No. 2 in the Fuentidueña Chapel at the Met Cloisters (99 Margaret Corbin Drive, Fort Tryon Park, Manhattan) on Saturday, November 12 from 11:30am–4:30pm.
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The Only Known Footage of Louis Armstrong in a Recording Studio
Why Hartmann Is The Composer Of The Moment
Karl Amadeus Hartmann was born in Munich in 1905 into a bohemian family of painters. Unlike his brothers and sister who became painters in turn, he turned towards music, eventually becoming a trombonist in the Munich Opera orchestra. In 1918 he witnessed the Bavarian workers revolt which broke out at the end of World War One and seemed for a time as if it might establish Bavaria as a separate, radical workers republic – a very curious thought now! The politics of this uprising were a lasting influence on Hartmann who continued to hold partly disguised Marxist views for the rest of his life.
After the war, Hartmann was one of the very few surviving musicians still in Germany untainted by direct association with the Nazis, and was appointed dramaturg of the Bavarian State Opera. In addition, he was generously patronised by the Americans, keen to re-establish German culture and hence, political stability. Hartmann carefully airbrushed out his Marxist past, and in return the Americans generously helped him to found his extremely influential Musica Viva series which was generous in repatriating many of the composers stamped out by the Nazis, as well as giving ample opportunities to younger talents like Hans Werner Henze. Hartmann’s subtle and intelligent ability to move with the wind enabled him to achieve significant cultural advances, and his open spirit re-invigorated post war musical life in Germany.
Simplicius is in some ways at odds with this cultivated and sophisticated approach. The original story, a masterpiece from the 17th century, reflects a brutal history of violence unequalled in Europe until the catastrophic but brief Fascist era. (In between, Europe had exported its violent tendencies to its colonies!) This relentless horror is ironically seen though the eyes of a helpless innocent, through whom it is visible in all its naked fury. The humane and compassionate Hartmann here finds a voice through whom he can speak about the evils of war with unrestrained loathing and abhorrence.
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