Classics – Wednesday Blog by Seán Thomas Kane
During my high school years in Kansas City, I would often listen to either NPR or 1660 AM, the local classical music station, on my 30 minute drive south to St. James Academy. In those years I continued to embrace Classical Music, especially opera, as an art form that remains a particular passion of mine, even to the point of several ill-fated attempts at composing.
Still, it strikes me that our term classical has a rather complicated set of meanings and uses. In the musical sense, it’s used to refer to the most highbrow of our genres, the rare musical tradition that still sees performances of music composed within the last 400 years rather than the decade-based music that usually makes the Pop and Rock charts. Classical Music tends to embrace the trappings of old European and American elite while also providing a gateway for the rest of us to enter that refined space and hear the radiant melodies and harmonies that have been the soundtrack for generations.
I began to explore Classical Music in my middle school years, like many Americans my introduction to this wide scope of music was through jazz and Gershwin’s blending of the classical and jazz orchestras. I’ve been wanting to write a blog post all about my appreciation for Gershwin’s music, though my continuing uncertainty regarding copyright law has kept me from ever publishing it or trying to record a podcast version of it. From Gershwin I jumped backwards to Mozart, Beethoven, and the other big names before settling both in the Baroque world with Lully and in the realm of the Romantics with the likes of Johann Strauss II, Verdi, Wagner, and Mahler. Today, I still love the music from all of those composers, yet I’m also drawn to more recent works written by the likes of Debussy, film music that fits in the 20th Century late Romantic tradition embodied by Prokofiev and the German film composer Gottfried Huppertz, who longtime Wednesday Blog readers and listeners will remember is the composer of the score for Fritz Lang’s 1926 science fiction film Metropolis.
In the last couple of years, I’ve returned to my first unwitting introduction to classical music through the film music of the likes of John Williams and Elmer Bernstein and found myself drawn to electronic-classical compositions of Vangelis, which inspired the theme for the Wednesday Blog, and the choral classical-crossover albums of Christopher Tin and 2022’s The Moons Symphony written by Amanda Lee Falkenberg. I’ll gladly spend an afternoon listening to Jerry Goldsmith’s themes for the various Star Trek series and Mr. Williams’s compositions for Star Wars as much as I’ll choose to hear a Mozart piano concerto or Bernard Lallement’s Missa Gallica.
I’ve long thought that classical music saw its greatest innovation in the last century when its venue diversified from the concert hall alone to include the sweeping compositions that breathe life into films. Film music to me fits in the long tradition of ballet music. This comes out of the great silent film tradition of a century ago which reached its zenith in the late 1920s with epics like the original Ben-Hur and Phantom of the Opera films as well as with Metropolis and the other great German expressionist films. Sound film took some of the storytelling need off of the music as now the characters on screen could too be heard, yet the power of music in film was already clear. I relish the chance to hear the Kansas City Symphony perform a concert of film music, because even when it’s disassociated from the pictures that score was originally created to accompany that score often holds up on its own as a concert piece.
It is interesting then to consider that within the world of Classical Music the term “classical” generally only refers to a short span of musical composition within the long history of the wider “classical” genre. The Classical Period in music matches up with the Neo-Classical Period in art, architecture, and literature that ran from around 1750 to 1820. This period includes great composers like Gluck, Haydn, Mozart, Beethoven, and Schubert, all of whom worked in Vienna the beating heart of Europe’s music industry in this period. Yet by this definition the word classical implies a separation from the present, clear limits to its scale and span, and an air of antiquity.
In many other contexts the term classical refers to the far older Classical Antiquity of European History, the centuries during the height of Greek and later Roman civilization from around the 8th century BCE to the 5th century CE. When I write about the classics in my work, I am most often referring to people and ideas conceived during this 13-century long span of time. The classical fathers of Western philosophy––Socrates, Plato, and Aristotle––continue to be required reading in modern philosophy studies, while Aristotle and Pliny the Elder have a foundational role in my own discipline in the History of Natural History. Those two, Aristotle and Pliny, were central influences for the naturalists who defined the Americas in the sixteenth century, people like the focus of my dissertation André Thevet, as well as Gonzalo Fernández de Oviedo and José de Acosta who both wrote natural histories of the Spanish Americas, and Conrad Gessner & Carolus Clusius whose works were written about distant worlds from the comfort of their own homes back in Europe.
Classical is a tricky word because it can be interpreted as something which is removed from common life. It stands apart from popular things because of its high status. I’m often struck by the adoption of mannerisms and norms from the classical music world in popular music, there was one concert I attended nearly a decade ago where the musicians on stage went from dancing in circles playing their violins to suddenly, briskly, taking chairs and sitting in a neat orchestral row in them as though playing the part yet ever with a wink and a nod about it. There has been a general loosening of expectations and normalities in our culture, a sort of reaction to the manners of past generations. I tend to see our present moment as responding to the norms of the 1980s and 1990s, politically we are in a period of unstable transition from the Reagan Conservativism and Clinton centrism of the 80s and 90s, though that needle continues to move forward in time and it does feel now that American conservativism and liberalism now seems to be working in response to the policies of the Bush and Obama Administrations as our youngest generation of voters now were born after the Millennium. I’m happy to see more classical musicians on social media releasing short videos of their performances, rehearsals, and daily practice for all to see. That’s one way for the classical to remain vibrant in the present moment. Still, it worries me that today in 2023 classical and jazz tend to be the exception in popular performance compared to pop, rock, and country.
Wednesday Blog by Seán Thomas Kane 