Music and other four letter words; 21; Joy 1: Back to Haydn
University of Utah radio presents music and other four letter words. Here is your host associate professor of music at the University of Utah Paul bad. Back to Bach is the way it's usually put. And I think maybe we have to go that way in order to get to Haydn although it seems a bit devious. It's not so indirect as it would seem at first. The last time I think we were together we listened to the music which brings to a conclusion the album Barrack's wonderful opera of the 20th century called the book sike. Where in the wonder lies somewhat ask because to the year it is certainly not a beautiful piece. But then beauty I suppose in this case must be in the ear of the beholder. However it works in Barrick would say that there are some qualities of spirit which are yet accessible to us and one of those is
compassion and compassion if it can be felt for. The most demeaned the most sort of inaccessible kind of person namely the vault sex of this world. It is a great achievement. And in order to set us the difficult task he wrote the opera and there will always be persons who disagree about whether or not it is in the end more than just a musical success. There will be critics who jump up and down and say it's impossible to sympathize with an idiot. There are others who will say that it is just sensationalism or maybe that it is an opera about some kind of social comment that if we improve the slums if we clean up all of the bad places that we will there for improve the moral condition of mankind then we won't have to worry about the vault Sex and the memories. Then there are people who will view all of this rather metaphysically and they will see a certain kind of absolution for mankind
inherent in the capacity to penetrate somehow to whatever is essential man involved sex beyond all of the circumstances which have and framed him and to and to feel a kind of oneness with him. If that does happen if we if we can by means of a kind of uncompromised musical experience come to perceive the full measure of both sex woe and not go away defeated by it any more than we would want to be defeated by our own adverse circumstances but somehow prepared to recognize it and be reconciled with it then I suppose that Barrack has done what he set out to do. The music of a Bunbury it seems to me although it is sometimes ill spoken of by persons who prefer the more
academic sure. Seems not to go so much the route of compromise as they say. Not so much to make itself palatable to the ears of people who want to be entertained by sound as to come to grips with all of the horror the woe the misery and the perplexity of mankind in this or any other time and to make it somehow. I don't know what the word should be somehow. I'm agreeable. That is to be able as the New Testament says again to agree with one's adversary whiles he is in the way with him. Because if this doesn't happen he may he may rise up at some strange point elsewhere in our lives and demand of us some double do. Some of you will remember and probably have the same
feelings about my work by Bunbury the Violin Concerto which he wrote under the aegis of death. It's about Sec'y and type piece in some and in many ways actually the standpoint from which it begins and I think probably the general direction towards which it tends. It's the thread of the day. In fact for Gustav Mahler's. Not to genuine daughter but Mrs. Mahler's daughter by Walter Gropius who had taken the name Mahler I think incidentally she was young when she died. She was buried said an Angel in disposition. She was everything that I suppose my sorc ski had felt for the child in Ghouta as Earl King had been. She was the representation of innocence of the unspoiled of the
unaffected by the corrupted and cruel world. Death comes. There is no reason for this. There is no justice in it. It is one of those times which for every one comes as a particularly difficult time because there are no faculties at hand by which one can be apparently reconciled to the idea of it. But music has a way of striking through and beyond idea. Beethoven had said that the Bach had demonstrated it and many other musicians and artists and had used to the substance of their craft in order to destroy it and to awaken to and kindle in then certain ways of apprehending truth which were not accessible directly to the mind. Barrett wrote a violin concerto in which a lot of things emerge
symbolically not the least of which is a return to something like the sincere trust. And. What could he call it. God as represented one way or another to the musician. At some point after all of the urgency and all of the despair in the violin the soloist which has been tortured enough quotes directly of a Koran old tune borrowed from Johann Sebastian by the name of the score although is it is enough. It is enough of everything that is not only enough of suffering and wondering but it is enough of a cry. Be still my soul says the psalmist and know that I am God. Ah. And at this point the exact harmonization of the Bach or all those quoted in the woodwinds against which the
violin than makes a sort of embellishment and embracing a line as it were and the whole of the concerto ends in a kind of rapt to us a kind of submission to the simple discipline of part leading for the musician of the recollection of the balance and the way and the general method of statement of 200 years before and that great time in the 18th century when it could finally be held by some people that there was such a thing as human nature and common sense and for all of the individual woes and circumstances of men. There was yet a way for us to apprehend one another as part of a great sameness to be able to do that to be able to make that kind of musical return as a great spiritual acquisition for all the unbearable sherbert tried to impose it on
his music and no one was ever convinced by it. Barrick stretches out into it. And no one notices it quite because he doesn't make such an obvious point of it. Stravinsky's returns to the past are interesting but they're always by way of divert to mend. He is still pretty much a man located in the front of his mind when he speaks. Well listen to this music again if you haven't heard it for some time. We. We enter of at a moment of the spiritual passionate crisis. And before we know it we have discovered peace out of chaos. To him. Or her. For him. For him.
I struck the board and cried no more I will abroad. What shall I have a sigh and pine my lines and life are free. Free is the road loose is the wind as large a store shall I be still in souped. How do I know harvest but a thorn to let me blood and not restore what I have lost with cordial through it. Sure there was wine before my size to dry it there was corn before my tears did drown it is the year only last to me.
Have I no bays to crown it no flowers no garlands gay all blasted all waste. Not so my heart. But there is fruit thou hast had once recover all thy side blown age on double pleasures Levi cold this beautiful Tis fit and not forsake thy cage by rope of Sen's which petty thoughts have made and made to the good cable to enforce and draw and be thy law while thou didst wink and what's not see. Away. Take heed I will abroad call in thy death's head. They're tied up I fear. It's he that for best to suit and serve his need deserves his load. But as I raved and grew more fierce and wild every word I thought I heard one calling child. And I replied I know
that seems the root not only of George Herbert in the 17th century but of all been there in the 20th and of many others among us in the 20th they come to peace. And somehow when we listen to the music or we read the poetry we modern man much impressed with the sinew of suffering. We like to see the xx to see achieved somehow through the agony. We began this way I think we are in that respect very by Roque. We have a hankering after the final fulfillment and we also have a hankering after some kind of suffering and sad as of the distress and despair. Strange that we should come to Haydn then. Who was a young man. Talented producing music. When Johann Sebastian
Bach died and when Georg Friedrich Handel died who was a broken boy. And if you will who had behind him the miseries of the Germanic countries and something of the false stabilities of the French nation and who had to write music for people who knew what suffering was who knew what imminent despair might be but who didn't want to be reminded of it too much. Seems to me that while the music say of the barren violin concerto is still with you somehow in you that it would not be inappropriate to play now this music from Haydn which was written when he was 32 years of age and seems to represent the quality of spirit that kind of found ness of so that never seems to have departed from him to the day that he died. You're.
In. The in. The. Clarity simplicity beauty of sound tonal
balance. A kind of formal clarity even with all of the things which the late music of barrack had to come to. All the things which Stravinsky says and his own like music he wants most to come to all of the things which Schoenberg that other great men in our century wanted to come to. These things are here and there is a hint more than a hint there's a good measure even in this music of Penn's Ignace a kind of quiet agonizing which which is elusive but not the last present. By the time Haydn was an older man experienced well respected mature seasoned and authoritative he was writing music like to say this last movement from the symphony number 88 in G which some people say represents the APO theosis of the sense of God in nature. Goodness and things ethical humanism I think it is called.
OK. And yet you. Know. I am. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah yeah
yeah. I am. Right. Now. Yeah. Yeah yeah yeah. Yeah. Yeah yeah. Yeah. Yeah.
Yeah. Yeah. Yeah. This has been music and other four letter words featuring
Paul Bana associate professor of music at the University of Utah. Music and other four letter words as a production of University of Utah radio executive director Rex Cambo. Series director Gene PAC. This series is made possible by a grant from the Corporation for Public Broadcasting.
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- Joy 1: Back to Haydn
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