Friday Quckie: Brahms' music was indeed intellectual

I do realize that most critics are not theorists or musicologists, and from time to time their reviews may call for such considerations. They may be forgiven if their comments aren't always one hundred percent accurate. However, we here at the Detritus just have to say..."wait, what?"

Review: West Michigan Symphony gets season off to fiery start
Laura Alexandria, The Muskegon Chronicle, September 25, 2010

The final selection, Johannes Brahms' (1833-1897) Symphony No. 4 in Eminor [sic], was described by Speck as "intellectual" and "lavish," and indeed that is what it was.

I just love this confirmation by the critic of the conductor's pre-performance talk:

Yeah, he described this Brahms Symphony -- pssh -- as "intellectual", but I had to hear it first to be sure. Who ever heard of this Brahms character anyway? I'm not one of those rubber stamp critics you know...up here in Western Michigan, we demand results!

Actually, I'm sure it's a completely innocent statement. But a little editing would have revealed how that last remark is really completely unnecessary.

Moving on. Tell us more about the music of this Brahms fellow.

Although not melodic, Brahms' music is a balance between technique and expression,...

Yes, yes. Balance of technique and expression, not melodic and...wait. ...

What?!

Brahms' music is not melodic?! Are you sure?

I mean, I've heard of a lot of Brahms' music before, and I've also heard quite a few melodies.

I guess I don't know what you mean. Are you suggesting that Brahms' music doesn't contain groupings of pitches arranged in a linear progression? Is the Fourth Symphony nothing more than homophony?

Oh, perhaps you're using the term "melodic" in the most idiotic sense of the word, to mean 'a hummable tune'. Please say that isn't so.

But if it is so, is there anyone out there who can't hum the opening theme to Brahms' Fourth Symphony? To any of the movements really.

Even 70's prog-rock band, Yes, thinks the Fourth Symphony has a melody.

But I interrupted you, perhaps the rest of your sentence will clarify this unsubstantiated claim.

...and the symphony delivered on the classical form, the dynamic range, and some lovely woodwind passages in the second movement.

Whew! The four movement structure of the piece was in doubt until the West Michigan Symphony came along. Thanks, guys!

Canonics are the Sudoku puzzles of performance

I just love when critics are kind enough to explain the mechanics of how music is written. Just such an example can be found here, in an review by Harriet Howard Heithaus (love the alliterative quality of this name) of the Naples Daily News.

The concert Sunday was to introduce the reconfigured and redesigned Daniels Pavilion at the Philharmonic Center for the Arts. But music and the musicians kept stealing the show.

I hate when they do that.

First it was Glenn Basham, Naples Philharmonic Orchestra concertmaster, and Eric Berg, its associate principal second violinist, playing a Telemann canonic sonata movement from each side of the hall’s midpoint.

Good information. A canonic movement, with the musicians opportunely placed at opposite sides of the hall.

Wait. Is that what you wrote? Playing a Telemann canonic sonata movement from each side of the hall's midpoint.

Do midpoints have sides?

figure escher: Which way again to the midpoint?

Then Principal Flute Suzanne Kirton musically somersaulted in, answering Basham measure for measure in a second Telemann canonic sonata.

Musical somersault?

Also, what are these canonic sonatas?

Canonics are the Sudoku puzzles of performance.

Well, I'm pretty sure that totally clears things up.  

But perhaps you should elaborate, you know, just for clarity's sake.

These tightly assembled pieces require a second musician to start one to two measures after the first, but playing the exact same score. Each performer must be extremely confident in his or her music because the two never meet until the last notes. Their timing also has to be in perfect sync to keep that carefully constructed musical chase from turning discordant. Kirton, Basham and Berg were great ambassadors for the device, forging tight sequences without ever sacrificing the melodies they were playing.

What piece of Baroque music doesn't need to "be in perfect sync to keep...from turning discordant"?

And, "ambassadors for the device"? Are canonics suffering from bad press?

figure bad decisions: Canonics should probably just lay off the sauce...at least until they score that next big symphony.

She sure does make this sound like brain surgery. And my favorite part of this lengthy explanation is that at no point does Ms. Heithaus ever use the root form of the word -- you know, 'canon'.