Gustav Wind's Thoughts on Music

Music and Other Drugs, plus a Prescription

2010-12-07T09:45:00.000-08:00

America is a drug-addicted society, in my humble opinion. There’s a pill for everything and a mental predisposition to take a pill for anything and everything. Pharmaceutical sales are fueled by advertising and those practitioners, who recommend “medicine” at every turn, slight ache, or pain.

How about “take a walk” or “listen to music” as a prescription?

The Harvard Bulletin had an article on the hypothetical “miracle pill” which might cure all; the answer is exercise. Over the years, I have discovered its power to affect my mood and spirit as well as to get the blood flowing. Increased circulation can help fight infection as well as depression. Moving the body seems to be a word-of-mouth–advice shared by those with longevity and experience.

We all know about music’s positive effects, yet it is curious to me how we humans walk around and behave as if our bodies were not intertwined with our minds. No one can dispute that our heads are connected to our shoulders, but the extent to which they interact is a big topic. After thousands of years of carrying noggins on our necks, many seem to be relatively oblivious to the interconnections.

Some scientists and members of the medical profession, pioneering with new tools for investigating what is within, are studying music and the brain, awakening to a subject that is age-old.

But pills a-poppin’, backs a-achin’, heads a-hurtin,’ most Americans march on daily, push themselves ahead, often beyond their own strength. Voodoo may be out, and tribal medicine men may be sneered at, but our society prays at the altar of the pharmaceutical industry, bowing down to the latest idol released in capsule form, vowing commitment for 10 days to life sentences, without many questions about the consequences to the body or the mind. Americans seem prone to reach quickly for the pill or liquid chemical that can alter our bodies with alarming rapidity.

Occasionally a retro-wind blows, and a powerful, supposedly life-saving marvel is withdrawn from the market, after proof of adverse effects or numerous deaths. I don’t mean to imply that every item in our drug stores is harmful; many do indeed save lives, allay misery, and help human beings. What I am referring to is an attitude, an instantaneous reaction and belief that there must be ‘something’ to take, ingest, rather than listen to music, exercise to drum up endorphins, or rest to reduce tension.

Compounding the childlike trust in the next tablet or salve, Americans take all-too-short vacations - - or none at all - - and suffer from sleep deprivation and the consequences of insufficient rest. Stress, hair standing on end, as it were, and irritable nerves are the chief actors in the drama called living, especially in a big, bustling city like New York.

As winter settles in, “Give me an antibiotic” will be a common cry, even though we all know the powerful life-saving concoction may not even touch the little critter residing in your respiratory system - -and may even be harmful. Rest, chicken soup, honey, and time may be the truly effective prescription, but the current, common practice is to quiet the patient by giving something.

My cry is for MORE MUSIC!

I can’t wait to get into my seat on Wednesday, December 8, 2010 for the next Lyric Chamber Music Society Exciting Young Virtuosos concert, with music by Rachmaninoff, Beethoven, Szymanowski and Schumann. The exceptional new talents for that evening include Venezuelan pianist Gabriela Martinez; violinist Noah Geller, Acting Assistant Concert Master of the Philadelphia Orchestra; Mark Holloway, an up-and-coming viola player; and Joshua Roman, who was made principal cellist of the Seattle Symphony at just 22 years of age.

You can get a pre-taste of this magnificent quartet and their exceptional artistic virtuosity on WQXR, Bob Sherman's Young Artists Showcase, which aired last Wednesday at 9:00PM on 105.9FM. Details on the radio program can be found here.

I don’t know about you, but I rarely think of my circulatory system or my bony underpinning, except when I go to the doctor. Luckily I don’t have to. But can the scary word skeleton possibly apply to you or to me? Surely it refers to those rattling creatures that were en route to a new graveyard in a Mark Twain short story or the medical school model Berlioz put on stage in the Weber Wolf’s Glen Scene of Freischutz. Fragile but miraculously inner workings are simply ‘there,’ functioning without question, as I hum merrily along, using my legs and muscles to walk for miles, my arms and fingers to type, swim, play the piano, gesticulate, hail a taxi or a bus, eat, and so on. It seems so simple: I am here, therefore I am.

My white cells, heart, and other organs are mere words, until someone is poking me with a needle, drawing blood, lacing me with metal plates for an electrocardiogram, rubbing a wand for a sonogram, squeezing, flattening, or shoving me like a pizza into a silent chamber for yet another esoteric investigation of my innerds. Then my literally blue blood, circulatory system, pumping heart, aerating lungs, web of muscles, and other such wonders come to mind. I confront my mortality, until I leave and retreat to the outside-of-the-doctor’s-office-world, where my physical body seems to function without needing my attention, except to eat and sleep.

Or perchance to find great music making, like the Lyric’s.

"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 2010. This copyrighted work is the property of the author and may not be reproduced or used without permission of the author."

-----------------------------------------------------------------------------------------------------

Please note: 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 2010-2011 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.

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, Gustav’s 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.

Tips on Elections, Defaults, and Headspinning

2010-10-26T14:31:00.000-07:00

Are elections, defaults and politics making your head spin, like mine? Here’s a tip for you. You can elect for a default mode and do something politic which will really make your head spin, in the most positive sense, as I did recently and plan to do again.

Now what’s the ol’ windbag winding up to preach about this time? - -you may be asking yourself.

Escaping from the current divisive national mood and rampant dissension and having your head filled instead with exceptional beauty, that’s what. Being blown away by the likes of by Liang Wang, Principal Oboe of the New York Philharmonic, on Opening Night of the Lyric Chamber Music Society of New York October 5. And soon, on Wednesday, October 27 with Lyric’s Bach to Brubeck “Chamzz” (Chamber Music and Jazz) evening.

I have been accused of ‘going on and on.’ People have even dared to suggest that Gustav Wind is a pseudonym, an excuse to blab a lot about what I love. In an age of buzz, hype, and tweets, this character can and will not be limited to 140 characters. No way! This is important.

You might say I’m old-fashioned, like Beethoven. Do you really think he should have limited himself to 140 notes in the Missa Solemnis or the Ninth Symphony? Despite our emphasis on multi-tasking and high praise for a visual garble-stream of simultaneous images on TV and computer screens, I am proudly among the few screaming for a return to profundity, depth, and serious reflection.

Listening to and watching Liang’s marathon recital was a glorious experience and a worthwhile expenditure of time. If you’ll pardon the obvious pun, punster that I am accused of being, I was blown away. His virtuosity, sensitivity, caring for every note, gorgeous, soulful flow of meticulously controlled sounds, as well as the musical variety of compositions, were simply astonishing.

Matt Herkowitz, David Rozenblatt, Mat Fieldes and the Sweet Plaintaine promise another such a positively headspinning evening. Don’t miss it. I certainly won’t, although you may not be able to identify me, because of my latest disguise, of which I am sooooo proud, so close to Halloween.

The more I listen to music while the world is in an uproar, the more I understand why Nero fiddled while Rome burned.

About Me, Gustav Wind, in my own words:

A bit of background: (Lest the Lyric misquote or misrepresent Gustav uniqueness, we add the following, in Gustav’s 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 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."

"Yours,

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

E.G. (Eminence Grise)"

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

----------------------------------------------------------------------------------------------------------

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.

Trill, Baby, Trill

2010-05-21T09:05:00.000-07:00

When I think about the crescendo-ing coastal catastrophe along the Louisiana shore, I am happy that I am neither a duck or a turtle. As if we poor mortals didn’t have enough to worry about with our landmark economic ‘upheavals,’ multiple wars, supergerms, and, most recently, superweeds - - to name only a few ‘challenges’ (the latest euphemism to avoid and describe big problems simultaneously.)

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."

-----------------------------------------------------------------------------------------

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.

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.

Secrets

2010-03-18T08:35:00.000-07:00

New York City makes my minute-ly, hourly, daily, relentless search for great art a breeze and provides a windfall. Although I must admit that I have only compassion, sympathy, and impatience for second rate, we all know that there is no shortage of the first rate, the extraordinary, and the superb all around us. One challenge is how to find the greatest - - or not miss the best- - amid the dazzling array of artistic endeavors which enrich the life of our tiny island and the world.

Over the weekend, I was nosing around at the Kentridge exhibition at MOMA, as a follow up to attending the dress rehearsal of the lively new production of the 22 year-old Shostakovich, The Nose at the Metropolitan Opera. Lo and behold, I found a woman sitting under the glare of four huge lights, staring at a woman seated before her. Performance Art, the sign said.

Performance? I wondered - -and still do. Was and is the word being redefined, if you’ll pardon the poor pun, under my nose? With the sounds of a magnificent, once-in-a-lifetime, memorable concert at the Lyric Chamber Music Society of New York on Tuesday evening still ringing in my inner ears, I was simply confounded by the term. How could virtuosos Robert Langevin, Principal Flute of the New York Philharmonic, Liang Wang, Principal Oboe, and John Novacek, pianist be compared to the absolute lack of activity, content, and movement?

What was this vacuous glowering? The Emperor’s new clothes rushed to mind. The fact that the artist is paid to sit and say nothing disturbed me, when I thought of those who work so hard and struggle for a living. But a brilliant young Harvard College and Law School grad tried to pry open my quickly-closing-mind. Perhaps the silent stare of the ‘performance artist’ who sits there all day provokes the thought of the individuals who chose to sit across from her? Perhaps growing up in Eastern Europe under a Communist regime taught her to keep quiet?

Time did not permit exploring more of her work on an upper floor, where one would be exposed to nudity, a small sign discretely explained. Nudity? Now we all know that that sells - - and better than classical music, one might add. But when I returned home and was listening to news of the havoc being wreaked by the hurricane-like storm, I was surprised to hear a report on nudity at MOMA. Right up there with hundreds of thousands losing power, trees destroying houses, and human suffering, there was an entire segment describing how one must walk past two nudes to enter that very exhibition upstairs I had missed - - or didn’t miss.

Nudity not only sells, I concluded, but also pays!

John Cage’s book, Silence, was one of his many attempts to provoke thought. As was his piece for piano, 4:51 Seconds, during which the audience waits, the pianist does nothing, and everyone becomes quite uncomfortable. I heard him tell a group of students in a seminar at Yale that he was trying to make people question what music and art are. But he did not equate those works with a Beethoven symphony, a Mozart opera, or a work of art.

Cole Porter nailed it: Anything Goes. Our simplistic, anything-goes-culture rewards the latest thing, making little or no effort to evaluate relevance, importance, or, heaven-forbid, substance.

The memory of the Lyric concert loomed larger, and I thought about how music lovers might have learned about the Lyric concert, which brought some audience members to tears, because of its quality? (Excerpts can be heard on its website www.lyricny.org/videos.html.) Obviously, some of New York’s ‘best kept secrets’ are the small organizations which lack the advertising budgets, marketing and prestigious clout of some of our deservedly-legendary institutions.

The Secret of Kells rushed to mind, a marvelous, imaginative, hand-drawn, profound, inspired new animation, which is up against Avatar. Don’t miss it! See it, find it immediately, if not sooner. How? Last week it was playing in one movie house in New York City, mind you, while hundreds of millions of dollars have been changing hands for James Cameron’s new work.

A beautiful concert over lunch at the Harmonie Club added fuel to my fire. Hidden from the public, but as great as any concert in any hall, Tatiana Goncharova, piano, Jesus Reina, Violin, and Andrew Janss, Cello gave a magnificent performance of Mendelssohn’s great D Minor Piano Trio. The event was part of a series run for years with dedication by Dorothy Indenbaum, who always insists on including music by a woman composer. Lera Auerbach’s Piano Trio Op.28 and Piazolla’s The Seasons rounded out the program. I felt lucky to be invited.

Bottom line: I cannot stand or sit idly by. I am impelled to help to get the word out there, to put a spotlight on what can be easily overlooked in a city that is a veritable treasure chest of artistic endeavors. Beware, or be on the lookout, because I plan to unearth some of New York’s ‘best kept secrets’ from time to time in a world that rewards novelty, nudity, and nothingness. Performance art vs. performances and art will be subject to my microscope and open mind.

Footnote: I googled Gustav Wind recently and found many entries relating to a hurricane with the same name as mine. Please don’t be confused. Your windy critic may roar like a lion, but of all the accusations hurled against me, you can be sure that I bear no relation to the weather and am not destructive.

Political Scandals and Sheldon Harnick

2010-03-02T08:46:00.000-08:00

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.

Truth is Stranger Than Fiction

2009-11-30T10:40:00.000-08:00

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?

"Go, Dude," Gustav Wind Urges

2009-11-18T13:23:00.000-08:00

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.

Gustav Wind on Sarah Palin and Mozart???

2009-10-01T08:32:00.000-07:00

I’ve been thinking about Sarah Palin’s new book and Mozart. An unusual juxtaposition, you think?

I must admit that it is quite an amazing feat to write a book in a month and to finish ahead of schedule. She must be quite a writer!

In the history of mankind, how few examples of creativity have been linked to speed - - and those rare examples are mindboggling. Could Sarah be up there with the great ones?

Mozart is an example of speedy creativity: I cannot get over the fact that he wrote FIVE violin concertos in SIX weeks, all great works of art. Although we mere mortals know he was exceptionally prolific, both in quantity and quality, it is still awe-inspiring to think that he composed more than 600 works in his short 35 years on this earth - - and remember he was a child for 5 of them!

His great Magic Flute was one of his summer projects in 1791. Sort of like Palin in the summer of 2009?

As the publishing world pushes more books out into the world, like little birds out of the nest, I often wonder what the word book really means. (And don’t doubt that there is a double-entendre intended in the word push!)

Remember when a book was a book? Something of quality, art, poetry, meaning, and lasting value? A great story by an insightful gifted writer like Dickens, Twain, Tolstoy, Dostoevsky, and their brilliant, genius ilk? With a goal of elevating mankind? Ah, how I yearn for the good old days!

The Kindle is redefining a book’s physical presence, of course. Books may soon be interactive, with video and music. But the stuffed shelves of bookstores are also redefining the term. They burgeon with golf, tennis, recipes, psychological advice, dummy learning tools, fake fiction, and every conceivable how-to-do-it text, to name only of few varieties. It is no surprise that so many pages of trivia result in many a remaindered item….

Long since Gutenberg took a grape press and transformed it into a device for printing, important communication between humans has been sandwiched into pages squeezed between covers of many sizes, shapes, and materials. Have we, in our infinite marketing wisdom, reduced the definition of a book to: covers with pages in between?

Our instant communication tools extend Gutenberg’s first steps, his early ‘revolution’ in helping humans to understand one another, with the result that there is more information available than anyone wants, needs, or has time for. And it’s harder to find the works of quality amid all the “stuff.” How would Jonathan Swift ever get his Gulliver’s Travels to the attention of the public and serious reader today? What chance would he have?

So the question remains: where will Sarah Palin’s “book” fit into the history of the world?

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

Don't Miss The 2009-2010 Season of the Lyric Chamber Music Society of New York!

2009-09-25T12:47:00.000-07:00

“You should not be surprised to learn that I am raving about the Lyric’s 2009-2010 season. Although I self-deprecatingly admit to being a bit of a windbag, I am a very enthusiastic and discerning music lover - - and suitably modest! As I survey the upcoming programs on the gorgeous, interesting, informative Lyric website, www.lyricny.org, the excitement virtually jumping out of my computer seems palpable. Try it yourself!

“As usual Lyric is showcasing great performers and memorable works of art. Oh Lyric, for that you are treasured I cry - -a welcome relief from a torrent of mediocrity and second-ratedness. Sometimes I think you are an endangered species!

“Kicking off with your Principal Players Series on November 11 with fabulous musicians like Sheryl Staples, Cynthia Phelps and Carter Brey is a stroke of good fortune for me and others who love the New York Philharmonic and always want more. And having an opportunity to hear, see, and meet Robert Langevin and Liang Wang on March 9 is more frosting on the proverbial cake. Lucky listeners!”

“While human beings focus on wars, terrorism, disasters, and economic uncertainty, Lyric provides a welcome antidote with extraordinary and exceptional talent. I cannot repeat often enough that it is simply not only erudite but ingenious and charming to have chosen Henry Purcell’s timeless message as the theme for the 2009-2010 Season: ‘Music for a while, shall all your cares beguile.’ I wish I had thought of it myself, and I laud the goal of providing audiences with musical respite in these challenging times.

“I am pleased to see that, once again, you are celebrating two 200^th Anniversaries of great geniuses. Ah, Lyric, you are at it again. I adore your respect and reverence for the past. Schumann and Chopin. Delightful. But your little twist of paying tribute with Chamzz, your unique combo of chamber music and jazz; now that’s the way to attract new audiences and utilize the unique talents of your multi-faceted artists, like Matt Herskowitz, Daniel Schnyder, and Kenny Drew, Jr. I can’t wait!!!!!”

“ I could go on and on about how Lyric is not only innovating but providing a great service to humanity with the on-going Mendelssohn: What’s New Series featuring Fanny and her Circle in May. Plus bringing the world together for an intriguing concert entitled Beginning of the Great Divide: Abraham, Sarah, and Hagar. And declaring Classics for the 21^st Century: Beyle Schaecher-Gottesman. Who’s doing anything like that in our great metropolis? Bravi, bravissimi!”

“I’m thrilled to have yet another opportunity to hear Ying Huang, a rising young singer, and Ken Noda from the Metropolitan Opera. She was wonderful last season, and he has performed magnificently and sensitively for Lyric in the past.

“If I were you, I would rush to get tickets immediately, before they are sold out.

“Happily, cyberspace permits me to have unlimited exclamation points and unrestricted word limits, but I must be off to a concert and close for now. Do look at my previous blogs, when you can.

"Please let me know your opinion of my writing and reviews. You can write to me at GUSTAVWIND@LYRICNY.ORG. I love getting attention! 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, my readers (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)"

Did You Know Dumbeldore Was A Music Person?

2009-07-20T11:13:00.000-07:00

While millions of Harry Potter fans watched the death of Dumbeldore, the wise, wizened Wizard, to the tune of an estimated $159.7 million in ticket sales, I joined the throngs and added to the cumulative total. While the subject is "hot" and in people's minds, I want to call your attention to a salient aspect of his life. Important news: Dumbeldore was a music person.

"Ah, music," he said, wiping his eyes. " a magic beyond all we do here!" (Harry Potter and the Sorcerer's Stone, Scholastic Press, 1997, p.128.) Quite a compliment, coming from a Magician and teacher of magic.

Did you know that his 6-line bio includes: "Professor Dumbledore enjoys chamber music...."(Harry Potter and the Sorcerer's Stone, Scholastic Press, 1997, p. 103.).

In a world where music education is undervalued and often omitted from schools, having a man like Dumbeldore as an advocate can be enormously beneficial to our cause! He can be quoted as a towering role models to influence others.... Please share or rush this info to all your friends, acquaintances, co-workers, and their children.

You may be surprised to learn that an ardent classical music afficionado, like myself, so busy with concert-going and reviews, has other interests. It is well- documented that I love music of many kinds and have a curious mind. (Some have used that world as an insult, but I take it as a compliment, thank you!) I am a great admirer of the imagination, humor, and story-telling of J.K Rowling. And I have read every volume of the series, as well as her charming Fantastic Beasts & Where to Find Them published by Obscurus Books 18 a Diagon Alley, London - - which you should not miss.

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.

2009-07-17T09:22:00.000-07:00

REVIEW OF THE LYRIC CHAMBER MUSIC SOCIETY OF NEW YORK’S CONCERTS: MAY 20, 2009 Mendelssohn: What’s New?
JUNE 8,2009 All-Star Tribute to 50 Years of Music by Judy Collins

BY GUSTAV WIND

For those of you who did not attend the May and June concerts of the Lyric Chamber Music Society of New York, my heart goes out to you. Unbeknownst to you, you have suffered a great loss and deprivation! I don’t want you to feel terrible, so it is my humble hope that you can live vicariously through my narrative.

What an enthusiastic crowd streamed into the intimate, beautiful setting of the turn-of-the–century mansion at the Kosciuszko Foundation, on May 20, flowing up the curving marble staircase and racing to get the best seats. Actually, there are no “bad” seats in the wood-paneled former living room, whose walls are lined with original oil paintings I enjoyed, in between the movements and during the intermission, when I was not riveted by the superb music-making. With 120 seats, you are as close to the musicians as is humanly possible, without sitting on them! Apparently it is possible to squeeze a few more music lovers in. I heard an usher whisper that there were actually 128 seated, plus a few devotees at the top of the staircase; but I did not feel crowded.

The audience was filled with a broad spectrum of ages, including a large proportion of young people in their twenties and thirties - - not your usual “graying groupies” for classical music. Heartwarming to a cynic like myself, who is always bemoaning the paucity of music education in our schools.

One aspect of the Society’s mission is to broaden the audience for music. A Board Member suggested that the Lyric Chamber Music Society of New York stage a ticket-buying-event, to call the press to witness young people fighting to buy seats. A new version of the classic marketing textbook case of the Cabbage Patch Dolls, when mothers fought over the toys, and members of the media flocked to record their interaction.

From what I saw in May and June, such imaginative and extreme measures may not be necessary, Lyric! The next generation is coming without P.T. Barnum-like schemes! I intend to investigate this aberration for my loyal readers and to report to those who care about handing the torch down to the next generation, classically-musically-speaking.

The May program consisted of two Piano Trios in d minor by brother and sister, Felix and Fanny Mendelssohn Hensel, plus selections from Fanny’s “Das Jahr.” The event was part of an ongoing series exploring the works of the Mendelssohns. Tatiana Goncharova, piano, and Anna Rabinova, Violin, and Sophie Shao, played beautifully.

On June 8, a similarly enthusiastic crowd assembled to hear Judy Collins perform with pianist Russell Walden and Ned Rorem in a tribute by the Lyric to her at the New York Society for Ethical Culture. Judy has many admirers and friends, as she should, in her 50 years of memorable music-making. She sang with elegance, passion, and grace, in great voice, as did Jimmy Webb, Suzanne Vega, and Amy Speace. Others performing magnificently were MaD Fusion (David Rozenblatt, percussion; Matt Herskowitz, Piano, Lyric’s Artist in Residence; and Mat Fields, Bass), Rufus Cappadocia, Cello, and Kenny White, Piano.

I could go on and on, praising the performers to the skies, but I must limit myself, because of my busy summer schedule. So many concerts to attend; so little time in the day.

Please 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 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 the concerts 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?

Mellifluous, rich, a palette of nuanced sounds - -all vast understatements! There certainly were exciting emotional contrasts and a variety of musical colors, from whispering pianissimos(softs) to full-bodied fortissimo’s (louds). (Please forgive me for using what may be mere gibberish to many readers, i.e. the requisite critical terms, which I must occasionally interject, lest I be laughed out of the current world of criticism.)

I was happy to learn that all the Lyric concerts are recorded and often aired on American Public Radio, and that Lyric donors can acquire a copy, or many copies, for gifts.

Please let me know your opinion of the concert and/or my review. 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.