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As I continue to contemplate the possibility of perhaps, maybe, decluttering my trove of Classical music CDs, I come to the 20th century. I have to admit, that I listen to music from that period more than any other. It was my century. And so, I have a ton of discs from composers who wrote, beginning in the 19th, but extending their careers into the 20th, and now, music from the 21st century. 

Sometimes, we forget that such lush music as that of Rachmaninoff or Richard Strauss continued to be written: Strauss’ Four Last Songs, perhaps the most high-calorie confection ever put to paper, was premiered in 1949, four years after the end of World War II, and 36 years after Stravinsky’s Rite of Spring. “There’s still plenty of good music to be written in C-major,” said Arnold Schoenberg.

So now, as I did last time, I am going to sort through the violent century and salvage what I think needs to be saved, making a pile of recordings and regretfully saying goodbye to too much great music, but, you know — I’m 73 years old and I’m not going to be able to listen to all of the thousands of CDs that currently clog my shelves. 

I’ve set the goal of picking a single work (or set of works) by significant composers to throw on the pile. I’m going by chronological order, according to birth dates. And we start by remembering that Edward Elgar was a 20th century composer. Yes. He was. 

Edward Elgar 1857-1934 — Initially I thought the work I could not do without was the doleful Cello Concerto, from 1919. The First World War speaks directly through that music. But, no, I have to go with the Violin Concerto of 1910, which is one of the few noble concertos that can stand with those of Beethoven, Brahms, Sibelius, Berg and Shostakovich — not merely tuneful, but an expression of the highest thoughts and emotions that humans are capable of. 

But, I’m in luck. Because I can save the Violin Concerto, played by Pinchas Zukerman on a disc package that includes the Cello Concerto, played by Jacqueline Du Pre, with the Enigma Variations thrown in.  A perfect summing up of the best of Elgar.

Gustav Mahler 1860-1911 — Choosing is too hard. I have double-decker shelves devoted to Mahler, the composer who moves me above all others. How can I clear it out? How can I consider any of it as “clutter?” I thought originally I would have to save Das Lied von der Erde, and I don’t know how I can say goodbye to it. But Mahler said famously, the symphony must contain the world, and the piece that does that more than any other is the Third Symphony, and so, I’m putting that on the pile.

I just counted, and I currently have 14 recordings of the Third (with another on the way from Amazon). The one I keep is Riccardo Chailly and the Concertgebouw Orchestra. Not only is it a great performance, but the 2-discs are magnificently engineered. The sound is stunning.

Claude Debussy 1862-1918 — While I love Debussy’s piano music (especially played by Paul Jacobs), the keeper is La Mer. I have not counted the versions on my shelf, but there are not a few. 

Pierre Boulez recorded it twice. The second is OK, but nothing special, but his first go-round, on Sony, is cut by diamond and the most exciting one I know. It may not be a sea-spray evocative as some, but it makes a compelling case for it as belonging to the 20th century. It comes in a package with a pile of other Debussy.

Richard Strauss 1864-1949 — Strauss can sometimes seem a bit reptilian. How much is show-biz with his show-off orchestration. But there is no doubt to the sincerity of his Four Last Songs. They are the most profoundly moving orchestral songs I know, outside Mahler’s Der Abschied

I wanted to save Jessye Norman’s version, with Kurt Masur, but I have to admit, my heart has always belonged to Leontyne Price in these songs, accompanied by Erich Leinsdorf. Both versions are gorgeous, but Price is now packaged with Fritz Reiner’s Also Sprach Zarathustra. On the pile. 

Jean Sibelius 1865-1957 — As tightly argued as Mahler is spacious, Sibelius packs a great deal into a well-cinched frame. Of his seven symphonies, the one that speaks to me loudest is the final one, which makes me feel in my bones the vast icy spaces of Scandanavia. 

Leonard Bernstein recorded it twice, once for Columbia (now Sony) and later for Deutsche Grammophon. The first is tighter, but the second comes with the Fifth Symphony, giving me the chance to save two symphonies for the price of one. Bernstein slowed his tempos as he got older, and some people don’t like the broadened Fifth, but I have no problem with it. And the Seventh takes me to other places. 

Serge Rachmaninoff 1873-1943 — My dearest friend, Alexander, refuses to listen to Rachmaninoff, saying he is too gooey and Romantic. But I have been trying to get him to recognize that his music — especially his later music — is oozing with Modernist irony. What is more sly than the Paganini Rhapsody? Yes, there’s the “big tune,” but even that is undermined by what surrounds it. But if I have to save just one piece, that would be the Symphonic Dances. I love them to death. 

But, like so many other things in this list, I can have cake and eat it at the same time, with the recording by Andre Previn and the London Symphony Orchestra, bundled with the gooey, Romantic Second Symphony under Mariss Jansons, and the tornado of the Third Piano Concerto, played by Leif Ove Andsness. 

Arnold Schoenberg 1874-1951 — Now we’re entering territory fully recognizable as Modernist. I wish I could save Pierrot Lunaire, but I have only one slot available, and it has to go to Verklaerte Nacht. While I admire Pierrot, I love Transfigured Night

Of the versions I have, both in its orchestral form and its original sextet form, I am surprised at how good the version is that was recorded by Herbert von Karajan and the Berlin Philharmonic. It goes onto the pile, and gives me the bonus of the Orchestral Variations

Charles Ives 1874-1954 — I have three or four versions of the Concord Sonata, and heard it live played by Jeremy Denk. It should be saved. But I am going, instead, with the Fourth Symphony, which is pure Ives, with all his usual tricks. Friends think I’m joshing when I claim that Ives’ music is beautiful. But it is. You just have to get used to the idiom. 

The best version (I have four of these, too) is the first recording, led by Leopold Stokowski. One word for it: Transcendental. 

Maurice Ravel 1875-1937 — Stravinsky dismissed him as a “Swiss watchmaker,” but I think that was only professional jealousy. Yes, we’re all tired of Bolero. But I want to save the Concerto for Left Hand, which is jazzy in parts, terrifying in parts, and always makes you wonder that anyone can play two-hand piano with only one hand. 

But there is also that ethereal slow movement of the G-major Piano Concerto. The disc with Martha Argerich playing the G-major and Michel Beroff playing the Left-Hander, with Claudio Abbado and the LSO, also gives us the orchestral version of Le Tombeau de Couperin. What a luscious disc. 

Bela Bartok 1881-1945 — There’s a lot to save with Bartok, also. But I can’t have the Contrasts, the piano concertos, the six quartets and the Concerto for Orchestra. No. One disc. And the piece I want to keep most is the Music for Strings, Percussion and Celesta

Luckily, one of the greatest performances of that music, by Fritz Reiner and the Chicago Symphony, also features one of the greatest performances of the Concerto for Orchestra. It is essential listening for any music lover.

Igor Stravinsky 1882-1971 — Much music, many styles. Part of me wants to save the Requiem Canticles and the Movements for Piano and Orchestra, just to tweak those who hate 12-tone music. But since the entire 20th century seems launched by The Rite of Spring, just as the 19th was launched by the Eroica, I have to save it.

There are lots of great performances, but none as feral and primal as the first of them recorded by Leonard Bernstein and the NY Phil. Even Stravinsky, who hated “interpretation” in performance agreed that it was like no other. The disc also includes Petrushka, so, what’s not to love?

Anton Webern 1883-1945 — Do we have to? I’m afraid so. Luckily, there isn’t much of it. No one can make blips and blurps like Webern. He was the godfather of all subsequent serial music, disconnected, alienated and difficult. Yet, he makes such interesting sounds. And few pieces last more than a few minutes, even seconds. Take at least one bit of the broccoli: Try a little Webern. 

Karajan put out a tight, condensed disc with the Passacaglia, the 5 Movements for String Orchestra, Op. 5, the 6 Pieces for Orchestra, Op. 6, and the Symphony, Op. 21. This is a fair sampling, really well played. And the entire symphony lasts only 10 minutes. 

Alban Berg 1885-1935 — The third wheel of the Second Vienna School is the easiest to love and enjoy. He is the most emotional, and found a way to cheat on his 12-tones, to suggest key areas. His Violin Concerto is the most powerful fiddle concerto of the whole century, the most personal, the most emotional, and the most beautiful. 

No one plays it who doesn’t give it his or her most serious efforts. It cannot be just tossed off. My favorite is by Anne-Sophie Mutter with the Chicago Symphony and James Levine. It also includes Wolfgang Rihm’s Time Chant, which, I’m afraid, I find utterly forgettable. I’m saving the disc, anyway, for Mutter and Berg and all the pain of loss in the world condensed to music. 

Serge Prokofiev 1891-1953 — Shouldn’t I save the Seventh Piano Sonata? Or the Third Piano Concerto? Or the Fifth or First symphonies? Yes, I should, but I’m going to save the full ballet score of Romeo and Juliet, which, I believe, is the greatest ballet score of all time. The whole thing, not just the suite. I might be swayed by having seen it danced many times, in some of the best productions ever. But the music stands on its own. 

There are three possibilities: Previn, Maazel and Gergiev. I’m going with Maazel and the Cleveland Orchestra. It just noses out the others. 

Paul Hindemith 1895-1963 — Hindemith used to be the third part of the triad of Stravinsky, Bartok and Hindemith as the top Modernists in music. But he has fallen on hard times. Stravinsky and Bartok have better tunes. But when Hindemith borrows tunes from Carl Maria von Weber, he is as good as any. I love a lot of Hindemith, but I admit, he is not overtly lovable. But the Symphonic Metamorphosis on Themes by Weber is jaunty, catchy and a ton of fun. 

A really good performance by the Philadelphia Orchestra under Wolfgang Sawallisch also gives us two of Hindemith’s best other scores, the Mathis der Maler symphony and Nobilissima Visione. This is Hindemith you could actually learn to love. 

Duke Ellington 1899-1974 — Yes, in my book, this is classical music. Ellington does for his group of instruments nothing less than what Ravel can do for the standard symphony orchestra, with all the colors and surprises. And harmonically, Ellington is ages ahead of many more traditional composers. I have about 50 discs of Ellington’s music, and I love him in each of his decades. But the height of his creativity and originality was with the band he had in the 1941-42, the so-called Blanton-Webster band, named for bassist Jimmy Blanton and tenor sax, Ben Webster. It’s a misnomer, because you can’t forget all the other luminaries in the band, from Harry Carney to Cootie Williams to Johnny Hodges. 

There is a three-disc release that has most of the work the band did in those two years, including Ko-Ko, Cotton Tail, Harlem Air Shaft, Take the A Train, Blue Serge, Sophisticated Lady, Perdido and the C-Jam Blues. Each a miniature tone-poem. This is music to take seriously. Seriously. 

Aaron Copland 1900-1990 — There are two Coplands, the earlier, knottier Modernist of the Piano Variations, and the later, popular composer of Rodeo, El Salon Mexico and Billy the Kid. But to my mind, his very best is Appalachian Spring, a ballet score he wrote for Martha Graham. It is usually heard as a truncated suite and enlarged for full orchestra.

But the version I love best, and the one going on my pile, is the original full-length chamber version. Copland recorded it himself, along with the suite from Billy the Kid. Unfortunately, you have to put up with the tedious and tendentious Lincoln Portrait, here narrated by Henry Fonda. 

Harry Partch 1901-1974 — England has its eccentrics, but America has its crackpots, and Partch is Exhibit A. Having decided that the tempered musical scale is a “mutilation” of true music, he invented and built a whole orchestra of new instruments, such as the chromelodion, the quadrangularis reversum, the zymo-xyl, the gourd tree and cloud-chamber bowls, in order to play music in his 43-note octave. I saw an exhibit of them at the Museum of Modern Art in New York in the 1960s. They were stunningly beautiful to look at. Hearing them, is something different. 

Partch wrote a lot of music for his instruments, some enchanting, like his songs on Hobo graffiti, Barstow. I am saving his full-length Delusions of the Fury, which is based on a Japanese Noh play and an African legend and a codification of Partch’s own delusions. Hooray for him. 

Dimitri Shostakovich 1906-1975 — Surely the major composer of the middle of the 20th century, Shostakovich labored hard under the yoke of Stalinism, and his music expresses his deep humanity (except when he is buckling under the pressure of the commissars and pumping out party-hack material; but we can ignore all that). His symphonies 1, 4, 5, 7, 9, 10, 13, 14 and 15 are among the greatest works of the century. But I’m saving his first Violin Concerto. It is, I believe, his ultimate masterwork. 

Its dedicatee, David Oistrakh, recorded it with Dimitri Mitropoulos and the the New York Philharmonic and anyone who cares about classical music should know this performance. It is coupled with Rostropovich playing the first Cello Concerto with Ormandy and the Philadelphia. Together this is a powerful pair. 

Olivier Messiaen 1908-1992 — Harry Partch wasn’t alone. French composer Olivier Messiaen had his own ideas about harmony and rhythm, and created an idiosyncratic body of music that is built on bird song and Eastern mysticism, combined with fervent Christianity. 

He wrote his Quartet for the End of Time in a Nazi prisoner camp and played it for the first time for its inmates and guards. His most popular work (if you can call anything so peculiar “popular”) must be the Turangalila Symphony, a rich, spicy, aromatic blend of orchestral colors, and you can get both works together in a set with conductor Myung-Whun Chung and the Orchestre de l’Opera Bastille. 

Henryk Gorecki 1933-2010 — Gorecki had the misfortune to have become popular. His Third Symphony topped the pop charts in England in 1992 and sold a million copies world-wide. Officially titled the Symphony of Sorrowful Songs, it speaks of war, love and loss. It is a slow piece, moving only by tiny steps from first to last. Its popularity has led some critics to pooh-pooh its depth and beauty, believing nothing that popular could be any good. They should listen more carefully. 

The version that sold so well was the premiere recording with Dawn Upshaw and David Zinman conducting the London Sinfonietta. I have several versions on my shelves, but this first one is still the best. Onto the pile. 

Morton Subotnick 1933- — The California-born composer of electronica had a brief moment of fame in the late 1960s when Nonesuch Records released his Silver Apples of the Moon, and followed it up with The Wild Bull. The first, with its synthesizer squeaks and blips was bright and energetic, the second with its groans and wheezes, was much darker. 

Both deserve to be remembered. They may be a relic of their times, but they really are worth listening to. And they are now both on a single Wergo CD. 

Arvo Pärt 1935- — The Estonian composer’s meditative music is what he calls “tintinnabuli,” and in 2018, Part was the most performed living composer in the world. His music appeals not only to the classical audience, but to the New Age one as well. It is spiritually-aimed music and is both beautiful, well-constructed, and easy to listen to. You can wash in it like a warm bath, or you can listen as intently as you might to Bach or Bartok. 

He has arranged his most popular piece, Fratres, for any number of instruments and combinations (there is even an entire CD of nothing but variations of the piece), and I could save pretty much any one of his discs. But I am going to put Te Deum on the pile, primarily for the Berlin Mass that is on the disc. 

Philip Glass 1937- — Glass is unavoidable, even in popular culture. He must be the most prolific composer since Vivaldi. He began as a strict Minimalist, but loosened up that style to become what can only be called a “Glassian.” At his best, he is hypnotic and powerful. At his worst, he can become tedious. His Einstein on the Beach was epochal and groundbreaking. I have an entire shelf devoted to his releases. His trilogy of movie scores for the Godfrey Reggio abstract-narrative films in the quatsi series are a perfect introduction to Glass. Koyaanisqatsi was the first and best known.

But I am going to save the third, Naqoyqatsi, mainly because it can be heard as an extended cello concerto played by Yo-Yo Ma. 

John Adams 1945- — Almost neck-and-neck with Glass is John Adams, another lapsed Minimalist who has created his own distinct voice. His opera, Nixon in China, is pretty well the only contemporary opera to join the mainstream repertoire. I’ve seen it live, and I’ve seen Adams’ Doctor Atomic live. They are both thrilling as Verdi or Puccini. 

But I’m going to save a particular favorite orchestral work, Harmonielehre, or “Harmony Lesson.” Its opening chords are even more startling than the two E-flat bangs at the start of Beethoven’s Eroica. And the disc I’m saving includes two of Adam’s most popular and gripping overture pieces, The Chairman Dances and A Short Ride in a Fast Machine

Osvaldo Golijov 1960- — The youngest composer on my pile is now 60. I first heard his music in a live performance of Ainadamar with Dawn Upshaw singing the lead. It blew me away. And I was going to put my recording on my pile, but then I heard his Passion of Saint Mark or La Pasión Según San Marco, and fell in love with it. 

It combines Latin and African rhythms and folk music with a huge percussion section and more than 50 singers. When it was premiered, it got a 15-minute standing ovation. It deserves its place on my pile. 

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And so, my fantasy ends. I have now an imaginary pile of music to listen to, to the exclusion of a thousand other CDs. But it is just a fantasy; I could never actually declutter my shelves. I have, in the past, culled recordings to make space for new, but now those I culled are just stuffed into old dressers, cluttering up the drawers in both of them, hidden from view as if I had actually gotten rid of them. But I can’t. And with new recordings coming my way from Amazon, I may have to cull once more, just to make space. And I may need another old dresser in the storage room just to take care of my rejects. Marie Kondo can go jump in a lake. 

How did I ever become such a sobersides? An old fogey? So donnish?

My late wife used to call me “the man who can’t have fun.” But I do have fun. I have lots of it; it’s just that I get pleasure out of things most people find impenetrably dull. I find them incredibly fascinating. I watch C-Span Book TV on weekends, for instance. I read Homer and Dante, and listen to Paul Hindemith. I pine for ballet. And little makes me happier than digging into some arcane research. 

It goes way back to when I’m this kid, see. When my classmates were listening to Cousin Brucie on the AM radio and loving the Drifters or “Splish-splash, I was takin’ a bath,” I was spinning Stravinsky’s Rite of Spring on the Sears Silvertone. 

In third grade, I enjoyed diagramming sentences. Why?

 These things come to mind because I recently came across an essay written by Artsy editor Casey Lesser about how seeing Guernica when she was 15 years old changed her life and set it on its course. I had an instant reaction to her piece because when I was about the same age, I also came across the painting. 

It was in the early 1960s and I was a high-school student in New Jersey. I took the bus to Manhattan as often as I could and practically lived in the city’s museums, including the Museum of Modern Art, where I became lifelong friends with Van Gogh’s Starry Night, Jackson Pollock’s Number 1A and, of course, the wall-spanning expanse of Picasso’s Guernica. 

Back then, when I would exit the elevator on the third floor of MoMA, the painting — more than 11 feet high and 25 feet wide — dominated the view to the right, on the far wall through two other galleries. It was on “permanent exhibition,” and I was confident it would always be there for me to see. Nothing is permanent in this life, and in 1981, the painting absconded to Spain. 

With its powerful and painful imagery, the painting was proof to my adolescent mind that there was a world more real and more meaningful than the suburban life I was stuck in. And like countless young “sensitive souls,” from Wilhelm Meister to Holden Caulfield, I urgently and earnestly yearned for something that cast a larger shadow on the screen. I was a little too conscious of being the hero of my own Bildungsroman. 

That early exposure to the art at MoMA, and especially Guernica, aimed me at my eventual career as an art critic. Parvis e glandibus quercus. Or, as Pope had it, “As the twig is bent, so the tree inclines.”

But this recognition also set me off to consider what other early exposures bent that twig. Of course, some of the most transformative influences were people: teachers, friends, and eventually, wives. But I am concerned here primarily with arts and books that yanked the steering wheel from my hand and sent me in new directions.

I was in high school and my new exposure to history, poetry, foreign languages, both Latin and Spanish, all kindled a growing sense that there was more to life than sitting in the living room watching Bonanza and eating Oreos. 

Many of us rebel as adolescents against the banality of our lives, and that of our parents’. Most of that rebellion is inchoate and poorly aimed, leading to teen drinking, minor car theft or simple sullenness. But in some few cases, such as mine, there was a clear alternative: For me, the life of the mind. 

Art and literature spoke of an existence that was not banal, but intense and meaningful. I began eating it up. 

For instance, theater. I had little experience of live theater until my freshman year in high school, when the class was bussed down to Princeton, N.J., to see Shakespeare’s Julius Caesar at the McCarter Theatre. It was the perfect introduction to the Bard; the story was clear and simple, so, while the language was baroque, we could still follow the play easily enough. 

McCarter Theatre Center

Then, the following fall, we went back to the McCarter to see O’Neill’s Long Day’s Journey into Night. What crazed educator thought that a three-and-a-half hour play about a screwed up family in 1912 was a good one for high school sophomores, I don’t know. But it struck just the right note of high seriousness for my nascent psyche. I loved it. I wanted more. 

I’ve already written about my high school girlfriend, who became a professional musician, and how we used to make out on her couch while listening to Stravinsky on the phonograph. We went to countless concerts and recitals in New York and I came to love classical music. I bypassed the doo-wop: My Four Seasons were Vivaldi’s, not Frankie Valli’s. 

I took up reading contemporary literary fiction: Updike, Bellow, Pynchon. Two books especially hit the mark. I was bowled over by Joyce’s Portrait of the Artist as a Young Man. I sought epiphanies. It’s a book I still read again every few years. 

Then, I discovered Kazantzakis after watching the movie of Zorba the Greek, where I read the book and found in the novel a deeper level of Buddhist thinking, which sent me on to discover Zen via Alan Watts and poetry via Matsuo Basho. 

Each taste made me seek out more. Haiku eventually expanded into Paradise Lost — an inflation equivalent to the early seconds of the universe after the Big Bang. 

All this was heady stuff for a pimply-faced teenager, but even if only dimly understood at the time what I was reading and experiencing, I knew it was bigger and more important than my paper route or the Reader’s Digest. The desire for a richer, deeper, more profound life has been the driving force behind my inclination toward what used to be called high-brow culture.

There has been an ersatz distinction between high-brow and low-brow. But that distinction is characteristically middle-brow. There is a snobbery of the middle classes that seeks to distinguish itself from the uneducated tastes, and an aspirational striving for the status (and wealth) that seem to mark the upper classes. In this dynamic, there is an inherent self-loathing to the middle class, at least when it is self-aware. 

And no doubt my allegiance to fine art was originally spawned by this loathing of what seemed a mundane and insipid upbringing. Art told me there were more serious concerns in life, and bigger adventures. If I didn’t want to be squelched by the 9-to-5 life, hanged by the necktie and imprisoned by my own front lawn, then I would have to take on Bach, Joyce, Hokusai, Zora Neale Hurston, Laurence Sterne, Miles Davis, Correggio, Xenophon, and Philip Glass. Gobble them all up and look for even more with an incessant appetite. 

That was all a half-century ago. I have sucked up every bit of knowledge and wisdom I could find, only to discover that I knew less and less, and was more foolish than I ever knew possible. Now at 72, I no longer feel intolerant of the middle class that gave birth to me, but find it is the foundation of a society that allows me space to be an outlier. Only with the solid support of a functioning culture could I have found a means to leave it behind. Its tolerance allows me my eccentricity. I know I would have found none in Stalin’s Moscow nor Pol Pot’s Phnom Penh. 

So, I have been allowed to read what I want, see and hear what I want, and if that has led me away from the class that a-borned me, it has led me to a place where I find it hard to judge anyone. Not impossible, but difficult, knowing how little all my education and cultural exposure has taught me. Much information; little wisdom. 

But it has informed my life, made it richer, provided endless pleasure, occupied a mind that hated inactivity, and, as all great art and literature does, nurtured compassion and forgiveness, an awareness of others both locally and globally. It has been the key to let me step out of the prison of myself. 

I once wanted to change the world. Most of us did in the 1960s. We knew we could make it a better place. That has all collapsed. Now, my idealism is drained from me, my expectation for the future and future generations is quelled. I expect no better than life can serve up. There is no end, only perpetual churn and change. I cannot fix the world; it needs no fixing, it only needs accepting, faults and all. And my need for improvement turns in on myself. 

Someone once said in defense of our youthful enthusiasms that what is called maturity is made up of equal parts of cowardice and exhaustion. I once would have agreed. Exhaustion, maybe, but cowardice, no. Maturity is acceptance. “The wrastling for the world axeth a fal.” 

I still find myself bored by the simple and simple-minded, and find myself excited by the complex and the beautiful. And so, I read Tolstoy, listen to Bartok, examine the canvases of Titian and Francis Bacon, weep over the dance of Pina Bausch, and soak in the films of Tarkovsky. These may not be plebeian tastes, but they are my tastes. They satisfy. 

It is is not just the life of the mind, it is life to the mind. 

“Do not move. Let the wind speak.” 

May those I love try to forgive what I have made of it. 

This comes more than 50 years late, but I need to thank Lauren Goldstein. Laurie was my high school girlfriend and she gave me one of the most important gifts of my life.


Sometimes it takes a while for a gift to become clear. Even to know that it was a gift. Its impact can accumulate over an entire life. I am now 71 and for the past 50 years music has been central to my existence. As Nietzsche once said, “Life without music would be a mistake.” And Laurie gave me the music and my life has not been a mistake. 

There was almost no music in my house when I was growing up. The most we heard was probably watching the Perry Como show on TV. For most of my childhood, there was no phonograph, no guitar, no sheet music. Eventually, there was a Lowery organ and my mother would sometimes play by ear. She was quite talented, but only sat down at the keyboard maybe once a year, maybe once every two years. 

My brother and I took lessons briefly, but we didn’t practice and, frankly, it seemed like homework. The major cultural influence in our house was television. It was that bleak. 

But Laurie changed all that. She was a musician. And not just a girl playing glockenspiel in the marching band: She was a bassoonist taking lessons from one of the world’s great bassoonists. She also played piano with grace and style. 

I, of course, was just a pimply-faced kid, a high school junior when we started dating. For the next year and a half, until we grew apart as we went off to different colleges, it was a graduate course in music for me. 

Loren Glickman

Laurie was studying with Loren Glickman, the bassoonist who plays the high-pitched, incredibly difficult solo on the famous recording of The Rite of Spring conducted by Stravinsky himself. He also plays the beautiful bassoon part in Stravinsky’s recording of his Octet for Winds. Laurie and I went to several concerts to hear him perform. I still remember his Mozart concerto distinctly — he played with more rubato and freedom than is usual. It was a delight. It wasn’t just a collection of tunes, but rather, it had meaning. 

But it wasn’t only Glickman. We went to many concerts together, especially the New School concerts given by violinist Alexander Schneider and his pick-up ensemble. I can still name many of those tremendous musicians who played with him: Leonard Arner, Charlie Russo, Robert Nagel. They all went on to become the core of New York’s Mostly Mozart series. Those New School concert tickets were $3. We could afford them. And on Christmas Eve, we went to Carnegie Hall for Schneider’s annual concert. It was a rich education for the ear. Family complained I wasn’t spending that time with relatives, but I certainly felt closer to the music than I did to the clan. 

Alexander Schneider

Schneider was an especially intense musician, he would sit in his concertmaster’s chair to lead the orchestra and wrap his right leg around the chair leg like a snake on a caduceus, as if to anchor himself as he leaned forcefully into the music. As the twig is bent, they say, so inclines the tree, and this early exposure to the Schneider brand of music has informed my entire subsequent life in listening. There was a take-no-prisoners attitude to Schneider’s playing that told me music was not merely entertainment, but truly serious business. 

He was most famous as a member of the Budapest String Quartet, but I knew him in New York leading concerts and playing his fiddle. He made precious few recordings that are still available, but the best is a series he made with his own group, the Schneider Quartet, of the Haydn quartets. It was supposed to be all of them, but money ran out and they managed to record 53 of the more than 80 quartets Haydn wrote. The set is still a monument, not only to Haydn, but to quartet playing. I would not be without this set, which is still available, nearly 70 years after they were recorded, now on CD. 

Laurie and I would sit on her couch at home and make out, high-school style in that gentler age, with Stravinsky playing on the phonograph, or La Mer or Beethoven’s “Tempest” sonata. Once, her uncle Bucky came over and Laurie accompanied him on piano as he played a Beethoven violin sonata on his Geige — admittedly a squeaky and sour version as only a heedlessly self-confident amateur could manage. 

As I thank Laurie for this gift of music, I need to express my gratitude also to her mother, Esther, who nurtured my nascent interest. She seemed to see something in me that no one else did and encouraged me to follow art and culture. She also gave me a huge pile of old 78 rpm records from her own youth. The day of the 78 was quite past, but all record players still had a setting to play them. 

Among those recordings are some that are still the ur-performances for me: Artur Schnabel playing Beethoven’s Fourth Concerto with the Chicago Symphony and Frederick Stock; William Kincaid and the Philadelphia Orchestra playing the Telemann Suite in A-minor for flute and orchestra; Alice Ehlers on harpsichord playing Bach; Rafael Puyana playing the De Falla Harpsichord Concerto. Leo Slezak singing Schubert’s Erlkönig, Ungeduld and Heidenröslein. I played them over and over. There must have been 50 discs. Among them, I first heard Brahms’ Second, Beethoven’s Fifth and Sixth (the latter with Stokowski and Philadelphia), Bach’s Brandenburgs, and Weinberger’s Schwanda: Polka and Fugue. It was an eclectic mix. 

It was a revelation to see an entire family for whom art, music, literature were not only central, but a vivifying force in life. For whom culture created meaning. 

So, when I went off to college, I may have majored in English, but I minored in music, learned to read scores and harmonically analyze them, studied (rather pathetically) piano and listened to every recording I could get my hands on, spending all my spare cash on Nonesuch, Turnabout, Vox, Seraphim and Crossroads LPs — they were the cheap labels. 

Later in life, many of the concerts I went to were among the most signal events for me, deepening my psyche and opening new worlds of emotional response. Along with that came opera and ballet, theater and film, these were the “lively arts,” and gave me a living. I eventually became a classical music critic for a big-city daily newspaper. 

Laurie Goldstein and me, prom 1965

As for Laurie, when she graduated high school, she went on to study with Bernard Garfield, the long-time first-chair bassoonist with the Philadelphia Orchestra. She became a respected professional and played for and recorded with composers as widely different as PDQ Bach and Philip Glass. 

If it had not been for Laurie, I don’t know if I would have been introduced to classical music. I’m sure I was bound to enter a life of art and intellect somehow, but for me, music is the heart of it all. I love visual art and literature, but if I had to lose a sense, my hearing would be my last choice. I cannot imagine life without the Beethoven quartets, the symphonies of Haydn, the operas of Mozart. Or the music of Schoenberg, Bartok, Shostakovich or Barber or Glass. Or Ellington or Coltrane, or the Beatles. Music fills my insides and makes me more human. 

Thank you, Laurie. Thank you.