I can understand why Nero fiddled when Rome burned. Obviously, turning his attention to music was his way of coping with the harsh realities of his existence and times. And perhaps he was not such a fool after all, and maybe we can learn a lesson from him….
“Trill, Baby, Trill,” I cry.
What a slogan to call attention to what music has always done. Simply bring on more music to soothe the heavy heart and take the mind away from the savage beastliness of political animals, lying-cheating-fast-talking-self-serving folks slip-sliding along the edges of legality, justice, and truth, and numerous other mind-boggling distractions.
For example, in the midst of this season’s many hubbubs, the New York City Opera presented Handel’s Partenope, an outpouring of glorious melodies, a flow of musical ideas, a ‘gusher’ of pure genius. No need to cap such a production, despite the usual story of deceptive political figures and their conquests.
At the Lyric Chamber Music Society, concert after concert has filled my heart and soul with joy. Excellent performances by great artists in an intimate setting, with wood-paneled walls covered with paintings, and a reception afterwards. A lovely escape from our beloved urban jungle and from the daily trials and tribulations.
Don’t miss the last concert of the season on June 9 featuring pianist and composer Matt Herskowitz. After Dave Brubeck heard Matt, he declared that he (Dave) was quitting. Quite a tribute - - which should give you an idea of the ingenuity, talent, and virtuosity of Lyric’s Artist in Residence.
With the fabulous percussion player, David Rozenblatt, the legendary Trumpeter, Lew Soloff, and the great bass player, Mat Fieles, Matt and Lyric will be celebrating the music of Beyle Schaechter-Gottesman. The concert is part of “Chamzz,” Lyric’s inventive series showcasing multi-faceted musicians who can play classical and jazz equally adeptly.
“Trill, Baby, Trill! Bring the music on….”
I’ll be there. Please look for me. Despite my busy schedule and life, I wouldn’t miss a Lyric concert. And you shouldn’t either….
I look 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….)
Remember 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 elicited. 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.
"Yours,
Gustav Wind, E.C. (Eminent Critic), R.C. (Revered Critic) and
E.G. (Eminence Grise)"
"Copyright Gustav Wind 2010. This copyrighted work is the property of the author and may not be reproduced or used without permission of the author."
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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 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 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.
