Comments on: Critical Condition

By: TopDog

TopDog — Sun, 02 Aug 2009 06:31:55 +0000

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By: Jack

Jack — Wed, 10 Jun 2009 00:39:37 +0000

Jack…

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By: robert berger

robert berger — Sun, 26 Aug 2007 14:42:47 +0000

Rich is spouting a lot of nonsense.There is greater diversity of repertoire being performed today than ever before in the history of Western Classical music.
Yes,certain warhorses are still played,but many contemporary composers have
been widely performed,and vast amounts of obscure music have been revived,
including some very interesting rarities.

By: Christian

Christian — Wed, 02 May 2007 19:51:57 +0000

I’ve always had an aversion to child prodigies as well, whether Oriental or Occidental. You want to hear the emotions of a beautiful piece of music interpreted by an adult with the wisdom and life experience to do just that — interpret. Someone who’s been knocked around by life a bit, who knows the joys and the miseries of love. Can you imagine the “Liebestod” from “Tristan” sung by a prepubescent?

By: Alsdk

Alsdk — Mon, 30 Apr 2007 02:12:42 +0000

This interview made me laugh out loud twice–first at his reaction to Charlotte Church, second at his comment about “teenage Oriental violinists” like Sarah Chang. I wholeheartedly share the same sentiments.
But a note to Mr. Rich–Sarah Chang is “Asian” and no longer a teenager (not that her playing is much better in her now mid-twenties, of course).

By: William

William — Sat, 21 Apr 2007 16:37:52 +0000

I’m a graduate student studying music theory. Music Theory is a specific and deeply esoteric subset of musicology that analyzes the actual notes in the music (most often studying harmonies, voice-leading, formal concerns, etc.). One of the most important Music Theorists was named Heinrich Schenker who created a powerful tool for analyzing music. Joseph Kerman vehemently opposed to Schenkerian theory. It’s no surprise that his student, Mr. Rich, would also be.

But Mr. Rich has not only conflated musicology with music theory, but he has also failed to draw a distinction between musicology from the 1960s and the “new musicology” which deals with aesthetics, phenomenology, linguistics, gender studies, cultural studies, literary criticism, etc.

UCLA musicology is “new musicology,” not music theory.

By: Michael Mattis

Michael Mattis — Tue, 03 Apr 2007 21:16:55 +0000

*I was the last classical writer for Newsweek. In 1987 I was in Houston covering the world premiere of John Adams’ “Nixon in China.” I filed my story, and got a phone call an hour later: They were killing it for a Bruce Springsteen feature.*

Having been unfortunate enough to have seen (and heard) “Nixon in China,” I can sympathize with the Newsweek editor’s decision, at least in this instance.

By: Lisa

Lisa — Tue, 03 Apr 2007 18:12:41 +0000

I find it both remarkable and reassuring that Rich cites a musicologist as the most important influence on his musical education. Dr. Kerman, who certainly has his critics, is a scholar of the first order. He is also, according to my friends and colleagues who know him personally, a sensitive musician. A few years ago, at an opera conference at Princeton, I heard Dr. Kerman give the best summary of what differentiates a “mere” music historian from a musicologist. I find it a sad commentary on both the current state of musicology as well as the triumph of anti-intellectualism in our culture that musicologists are so underutilized in discussions of music in various popular media. Performers distrust musicologists, musicologists disrespect performers, critics disregard musicologists. It’s a sorry state of affairs, really.

By: JaneC

JaneC — Tue, 03 Apr 2007 05:50:23 +0000

To some extent I understand what he means when he says that Puccini is overplayed, but I disagree with his sentiment that LA Opera should not be doing so much Puccini next year. Yes, major opera companies should perform new works and less-performed works (although, after seeing Thomas Adès’s “Powder Her Face” at USC a few months ago, I’m not inclined to see any more new works for a while), but there are always people out there, like some of my students, who are new to opera, and for whom a chance to see the “classics” is invaluable.

If Mr. Rich only objected to the performance of three Puccini operas in one season as opposed to just one, then I see the point and you may ignore the above.

By: Patrick Scott

Patrick Scott — Mon, 02 Apr 2007 20:05:42 +0000

I have known and read Alan for almost 20 years. It is great to hear his voice come through in response to such important questions. I was delighted to read that the LA City Council has recognized his enormous contribution to the musical life of this city and by extension the national and international music scene. His book is a must read alongside several recent and upcoming books by leading American music writers.

I must say that Alan’s recognition of the Jacaranda concert series’ importance to Los Angeles from its inception, and his willingness to devote precious space in his column to its programs has helped the series find an enthusiastic and growing audience. Your website promises to be the key missing ingredient in our sprawling city for communicating with audiences. Great start!

May http://www.fineartsla.com flourish.

– Patrick Scott, Series Produccer, Jacaranda, music at the edge of Santa Monica