In today’s Orange County Register online, I offer an essay on the joys and neglect of light and humorous classical music.
Click here to read my article ($2 day pass or subscription required), or pick up a copy of Sunday’s newspaper.
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That’s one cool cat pic.
Speaking of which (humorous music), Hindemith’s ‘Overture to ‘The Flying Dutchman’ as Played at Sight by a Second-Rate Concert Orchestra at the Village Well at 7 o’clock in the Morning’ or Dohnanyi’s ‘Variations on a Nursery Rhyme’ would get a chuckle out of most audiences …
I’ve never heard the Hindemith … sounds fun.
I fully understand why any online newspaper that wants to survive has to go behind a fire wall. But on the other hand it’s a shame because I’m assuming far fewer people, including me, are reading your reviews and articles nowadays. For purely selfish reasons, I wish this blog were more like that of the one owned by CK Dexter Haven or Robert Thomas.
Great article, Tim (as always). Yes, Kitsunebi brought up the Dohnanyi Variations, which has to have the most deceptively funny opening of any piece. I remember hearing the audience at the LA Phil chuckle at the end of one of the movements of Pulcinella. Both the audience and LA Phil (led by Salonen) got it. For Beethoven, I would also throw in the 2nd and 8th Symphonies as having funny parts in them. When William Tell shows up in the 1st mvt of Shostakovich’s 15th Symphony, that always gets a few giggles.
It does seem like the article has the sub-theme of music that has unfortunately disappeared from the concert hall which I know has been addressed here before. Would you say that programming over the decades has narrowed to not include these pieces you mention or has programming altered to where different pieces have supplanted the ones that have disappeared? I thought it was the former but now I wonder.
Chris, thanks for reading the article!!!
Yes, I think pieces that have disappeared from the repertoire is a subtext, but then, why have they disappeared? One of the reasons is that the concert has turned into a kind of sacred event, where only the so called ‘higher things’ are considered as worthy to the program. It’s the masterpiece syndrome, and, just as with the Oscars, comedy and light fare are considered beneath consideration.
Another reason that some of these pieces have disappeared from the repertoire (or virtually disappeared) is the change that has come about in pops concerts. Look at what Arthur Fiedler programmed with the Boston Pops 50 years ago; look at what the Boston Pops programs today. Pops concerts have changed everywhere, and they no longer take as their premise introducing novice or young listeners to the classics.
Hello Tim — The semi-pro Symphony Irvine programs some of the works you mention. In fact, last September we opened our debut season with Rossini’s Overture to La Cenerentola. You’re always invited to our concerts, and the next time we program one of these works, I’ll let you know.