Gustav Wind's Thoughts on Music: November 2009

Monday, November 30, 2009

Truth is Stranger Than Fiction

Frequently a story comes along to remind us that truth is stranger than fiction. Email forwards are part of our daily lives, and many call for the delete button; but here is one, sent by a friend, for those who love music and study human behavior.   I simply had to share it with you.  Please let me know your thoughts.  

Gustav Wind
 gustavwind@lyricny.org

   Click here to read the original article in the Washington Post

Here’s a summary:
Washington, DC Metro Station on a cold January morning in 2007.
The man with a violin played six Bach pieces for about 45 minutes. During that time approximately two thousand people went through the station, most of them on their way to work. After three minutes a middle aged man noticed there was a musician playing. He slowed his pace and stopped for a few seconds and then hurried to meet his schedule.

4 minutes later:
The violinist received his first dollar: a woman threw the money in the hat, and without stopping, continued to walk.

6 minutes:
A young man leaned against the wall to listen to him, then looked at his watch and started to walk again.

10 minutes:
A three-year old boy stopped but his mother tugged him along hurriedly. The kid stopped to look at the violinist again, but the mother pushed hard and the child continued to walk, turning his head all the time. This action was repeated by several other children. Every parent, without exception, forced their children to move on quickly.

45 minutes:
The musician played continuously. Only six people stopped and listened for a short while. About 20 gave money but continued to walk at their normal pace. The man collected a total of $32.
1 hour:
He finished playing and silence took over. No one noticed. No one applauded, nor was there any recognition.

No one knew this, but the violinist was Joshua Bell, one of the greatest musicians in the world. He played one of the most intricate pieces ever written, with a violin worth $3.5 million dollars. Two days before Joshua Bell sold out a theater in Boston where the seats averaged $100.
This is a true story. Joshua Bell playing incognito in the metro station was organized by the Washington Post as part of a social experiment about perception, taste and people's priorities. The questions raised: in a common place environment at an inappropriate hour, do we perceive beauty? Do we stop to appreciate it? Do we recognize talent in an unexpected context?

One possible conclusion reached from this experiment could be this: If we do not have a moment to stop and listen to one of the best musicians in the world, playing some of the finest music ever written, with one of the most beautiful instruments ever made.... How many other things are we missing?

Wednesday, November 18, 2009

"Go, Dude," Gustav Wind Urges

There's a new "star" in Hollywood, and his story is for all mankind. In a well-orchestrated series of overtures, if you'll pardon the pun, this Dude is being thrust upon the world. How heartwarming to find substance and merit behind the launch, rather than the usual puffery, salesmanship, or drugs, sex, and violence.

A real role model at last, sorely needed, as we all know. PLUS a new dish named after him, the Dudamel Dog, a computer game, an app, three "60 Minutes" segments, and much more.. . .

A boy from the Systema has risen to be part of the system, in the best sense. And I watched him with my own eyes at Carnegie Hall several years ago. He was conducting a symphony orchestra of young musicians culled from the hundreds of thousands of poor children who are given a rare gift, music lessons, to enrich their lives and their souls. Those kids danced on stage with their instruments, twirled their bass fiddles, and oozed love of the venerable art of music.

Gustavo Dudamel is a product of the El Sistema program in Venezuela which should be replicated in every city and town in America. Those among us who call others 'backwards' should take note, literally! Are we offering music education to our children? Do we have HUNDREDS OF THOUSANDS playing together, peacefully, in orchestras in our great country? Why not? If the good ol' American spirit of competitiveness is operative, we should jump into the fray immediately, if not sooner.

At a free concert for 18,000 people at the Hollywood Bowl, the "Dude" conducted gospel, jazz, pop, and blues, with the "Ode to Joy" from Beethoven's Ninth Symphony titled in Spanish. Talk about reaching out to audiences!!

For those who moan and groan that classical music is dying, rather than sighing and crying, please study from whence he cometh and where he is going!

I laud Deborah Borda and the L.A.Philharmonic for their imaginative and fabulous approach to music-making. I can't wait to get my teeth into the Dudamel Dog that Pink's hot dog stand created to celebrate him: guacamole, cheese, fajita mix, jalapeno pepers, and tortilla chips.

As Americans, the subject of music education is something to chew on. Isn't it about time we get our teeth into music?

Please let me know your opinion. You can write to me at GUSTAVWIND@LYRICNY.ORG. I love getting attention! Please remember to use only the loftiest terms and the most elevated thoughts. Lyric's website and a person of my stature cannot and will not respond to inappropriate language which is so disgustingly prevalent in our society at this time.

Looking forward to hearing from you (and to seeing you, if you can find me. I am known for my varied disguises, and no one has recognized me yet, in my many venerable years of concert-going and reviewing. As a result, some are naturally curious about my identity, and others have gone so far as to speculate that I am not a man at all but might be a female. What a ridiculous notion! What parent would name a daughter Gustav? Catch me, if you can….)

Yours,

Gustav Wind, E.C. (Eminent Critic), R.C. (Revered Critic) and

E.G. (Eminence Grise)

Copyright Gustav Wind 2009. This copyrighted work is the property of the author and may not be reproduced or used without permission of the author.

ABOUT GUSTAV WIND

To receive a review from the eminent critic, Gustav Wind, is always an unexpected surprise - - and windfall. As The Lyric Chamber Music Society of New York is being acclaimed for its activities, we are, of course, pleased by interest in us in the press. You may have seen Gustav’s writing in prestigious publications and learned journals throughout the world, so we are especially delighted by his attention.

Gustav Wind has given us permission to post his writing on our website www.lyricny.org, alongside our 2009-2010 Season programs, Music Player, Photo Gallery, and myriad of additional treats for the eye and mind. If you have not yet visited our site, please do; and let us know your reactions.

Beware: Gustav Wind has threatened to review our website, to monitor its electronic effectiveness and elegance, and to alert readers to changes, updates, and content he may or may not like.

Please note: The Lyric Chamber Music Society of New York is proud to reproduce the writings (and ravings) of the unique windbag and extraordinary music critic, Gustav Wind. Gustav’s high standards are consistent with our own; and we believe that we can stand up to his scrutiny with our world-class artists, world-class concerts, and world-class music-making. We never fear when Gustav is near - - although we cannot say the same for all other critics.

However, his reviews and writing represent the opinion and the writing of Gustav Wind and not of the Lyric Chamber Music Society of New York, which disclaims all responsibility for its content.

ABOUT ME, GUSTAV WIND, IN MY OWN WORDS

A bit of background: (Lest the Lyric misquote or misrepresent Gustav Wind's uniqueness, we add the following, in his own words:)

"First, my customary caveat: writing about music is a very difficult task, even for a most experienced critic like me. Many of my colleagues don’t seem to notice the inherent problem in trying to describe a series of sounds which evaporated long ago. They usually chatter on and on, wielding their carving sets, making mincemeat out of the sincere, hardworking, well-intentioned mortals who set themselves the Herculean task of trying to recreate what they think the composer wanted. To complicate the issue, the musicians are always expected to give note-perfect, memorable performances in public."

"Who can really tell you how a symphony orchestra or a single musician sounded last week? I say: no one! I would like to bring their sounds to life, to place them in your ear and mind, to revive the emotions they ellicited. Telling you that someone played fast, slow, loud, soft, in English, Italian, or any other language, simply does not achieve the intrinsically impossible goal. Yet we critics must go on, lest we be outdated like the covered wagon and replaced by recordings. I try to report in ways that may make you feel as if you were there, but you weren’t; and you can’t really know what happened. And if you were there, most often, when you read a review, you wonder if you and the critic were really in the same room at the same time."

"Please let me know your opinion of my writing and reviews. You can write to me at GUSTAVWIND@LYRICNY.ORG. I love getting attention! Please remember to use only the loftiest terms and the most elevated thoughts. Lyric's website and a person of my stature cannot and will not respond to inappropriate language which is so disgustingly prevalent in our society at this time."

"Looking forward to hearing from you (and to seeing you, if you can find me. I am known for my varied disguises, and no one has recognized me yet, in my many venerable years of concert-going and reviewing. As a result, some are naturally curious about my identity, and others have gone so far as to speculate that I am not a man at all but might be a female. What a ridiculous notion! What parent would name a daughter Gustav? Catch me, if you can….)"

"Yours,
Gustav Wind, E.C. (Eminent Critic), R.C. (Revered Critic) and
E.G. (Eminence Grise)"

"Copyright Gustav Wind 1999 - 2009. This copyrighted work is the property of the author and may not be reproduced or used without permission of the author."

GUSTAV WIND'S CUSTOMARY CAVEAT

"Writing about music is a very difficult task, even for a most experienced critic like me. Many of my colleagues don’t seem to notice the inherent problem in trying to describe a series of sounds which evaporated long ago. They usually chatter on and on, wielding their carving sets, making mincemeat out of the sincere, hardworking, well-intentioned mortals who set themselves the Herculean task of trying to recreate what they think the composer wanted. To complicate the issue, the musicians are always expected to give note-perfect, memorable performances in public.

Who can really tell you how a symphony orchestra or a single musician sounded last week? I say: no one! I would like to bring their sounds to life, to place them in your ear and mind, to revive the emotions they ellicited. Telling you that someone played fast, slow, loud, soft, in English, Italian, or any other language, simply does not achieve the intrinsically impossible goal. Yet we critics must go on, lest we be outdated like the covered wagon and replaced by recordings. I try to report in ways that may make you feel as if you were there, but you weren’t; and you can’t really know what happened. And if you were there, most often, when you read a review, you wonder if you and the critic were really in the same room at the same time.

I can only give you a hint of the soulful tones that emerged from the musicians and surrounded us. You simply have to make every effort to hear him for yourself. For after all, isn’t that what reviews are about? Reports to help you to decide what to hear and what to miss, in your busy life, with limited time? Or is a review a field day for psyche destruction?"