Gustav Wind's Thoughts on Music: Political Scandals and Sheldon Harnick

Tuesday, March 2, 2010

Political Scandals and Sheldon Harnick

You may have missed it - - or you may not. The subject matter is as old as civilization but timely, new, and refreshing. And there’s talk of a revival….

Piqued your curiosity? Mystified yet?

“Why on earth is the windbag (which so many curiously choose to call me, to my surprise and dismay) blathering about politics?” you may justifiably ask. “How about sticking to music?”

I’m talking about politics, my friends, in music. Politics as seen through the inventive, charming, witting, brilliant talent of Sheldon Harnick and Jerry Bock, who, as you probably know, created Fiddler on the Roof. But this is not about the famous family politics of a shtetl in Eastern Europe, but about our own backyard, New York City, and its homespun, big-hearted, charismatic character, Fiorello! and his cronies. With Sheldon Harnick narrating and singing in a memorable performance for a man in his 80’s or any age. An incredible “New York” evening with an educational twist….

Something to bring joy to the hearts of those wishing for more arts education: The event was a concert version on Monday night at the New York Historical Society as part of the Broadway Musicals of the American Musicals Project, a teacher-training program that uses musical theater masterworks to teach 7th and 8^th grade students social studies and English language arts. AMP is reaching over 50,000 students in 800 schools.

Insider information # 1: A Deep-Throat-like Informer told me that the Roundabout is considering a new production, if they can find a star.

My recommendation: Do it immediately, if not sooner! A little merriment about governing, corruption, love, and tragedy should be a great success with our world-weary contemporaries.

Little known political fact: When Fiorello was accused of anti-Semitism, he dared his opponent to debate him in Yiddish, the language his mother taught him. The opponent declined!

Our New York, so beloved in the world, is an ageless topic. Remember Charles Dickens’ Martin Chuzzlewit, who arrives in New York on a boat from England, and is greeted by newsboys vying for sales at the dock:

“ ‘Here’s this morning’s New York Sewer!’ cried one. ‘Here’s this morning’s New York Stabber! Here’s the New York Family Spy! Here’s the New York Private Listener! Here’s the New York Peeper! ‘Here’s the New York Plunderer!. . . .‘Here’s the New York Sewer!’ cried another. . . . ‘Here’s the Sewer’s exposure of the Wall Street Gang, and the Sewer’s exposure of the Washington Gang, and the Sewer’s exclusive account of a flagrant act of dishonesty committed by the Secretary of State when he was eight years old; now communicated, at a great expense, by his own nurse….’ ” (And more in Chapter 16….)

Since the world needs a little - - or a lot - - of levity, bring it on. Fiorello! is a no-brainer, a natural for our time.

Insider information #2: Another informer told me that Sheldon Harnick is a supporter of the Lyric Chamber Music Society of New York, which so kinds allows me to post my thoughts.

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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?"