#frederic rzewski

[sivavakkiyar]

This album—the whole thing is on YouTube—features Rzewski performing both Cardew’s We Sing For The Future! and the Thälmann Variations

[mikrokosmos]

Rzewski - The People United Will Never Be Defeated (1975)

I usually don’t talk about contemporary politics on this blog since my main focus has been classical music history in general, but I am an American so at the risk of annoying people who don’t like “politics” being brought up in their favorite subjects, I will say I am afraid of what has been happening to the country. I understand the desire to “ignore politics” and look to art as an excape, but this attitude can only help distract us for so long. And I do not know of any example of classical music that is truly apolitical. If anything, the desire to strip great art from its historic context is itself a political act motivated by a desire to insert one’s own values or vision into the work. In our current trends of AI generated imagery and text, corporate control over the internet and government, and promotion of anti intellectualism and consumerism (along with so many other trends that can’t fit in the typical rhetorical lists of threes), it is more common to see our cultural heritage being decontextualized for the sake of arguing in favor of destructive ideologies. In the classical sphere I’ve seen it all, and for a convenient placeholder for The Classical Industry I can use Mozart; Mozart as evidence of white supremacy, or an example of “anti woke” art, or evidence of the importance of patriarchy or evidence that women are not as intelligent or creative as men, Mozart as proof of Christian supremacy, Mozart as evidence of a Great Past Culture That They Took Away From Us. It doesn’t matter that all of these arguments are flawed and fall apart under scrutiny, the point is not to understand the music or the culture, the point is to make rhetorical gestures to try and make someone Feel that it is true by appealing to the ambient biases that we can passively absorb around us. A poisoned psychosphere.

My blog has never been about political activism or anything like that, so my only justification for this rant is for me to articulate why I care about music history at all and ultimately why I think it’s more important than just a pass time or my special interest. And I didn’t mean for such a long preamble but I did want to write out my thoughts on the idea of “political music” to introduce the piece I have been thinking about lately. Way back in high school when I was more interested in the novelty of superlatives (“the most difficult piano songs ever”, “the longest pieces of music ever written” “the biggest symphonies with the most musicians in history” etc.) I learned of the pianist composer Frederic Rzewski for his 10 hour piano piece “The Road”. I didn’t listen to much of that specific piece, but it did lead me to hearing his most famous work, variations on a Chilean protest song ¡El pueblo unido jámas será vencido!. It is another contribution to the classical tradition of large piano variation sets, following the line of Bach’s Goldberg, Beethoven’s Diabelli, Brahms’ Handel and Paganini, and the much less popular but still significant Passacaglia on DSCH by Ronald Stevenson. The theme is introduced in stern, strong unison, then given a more Romantic treatment. It is 36 bars long and this acts as the structural basis; 36 variations divided into 6 groups of 6 (I have no idea if Rzewski was thinking about what I’m about to say, but it is fitting that a song about unity and equality was used for variations divided into equal portions). As expected of the Variation genre, musical ideas are extracted from the original theme and Rzewski realizes the potential inherent in the original material. And being written in the latter half of the 20th century, greater expressive and technical possibilities are explored. The song is broken into dry pointillist staccati reminiscent of Stravinsky or Stockhausen, the old time piano classics of Gershwin and Porter, chromatic daydreams from Scriabin or Sorabji, rich chords like Debussy, Rachmaninoff and Chopin…serious and austere chords, or capricious finger play, moments of restraint and control, moments of abandon, music that sounds meticulously planned, and music that sounds like random improvisation, sudden climaxes, sudden silence…and on top of all this, the pianist has to include more unorthodox moments such as whistling and slamming the piano lid.

The kaleidoscopic variety can be overwhelming at first, and I especially remember being confused by much of what I was hearing way back in high school. But listening through this feels like listening through the 20th century, celebrating the variety of human expression, and though I wasn’t politically aware as a 13 year old, I now understand the value of the message behind the song that inspired the variations. Thought it was originally popularized as a protest against Pinochet’s dictatorship, it has since become popular worldwide, and in dark times where we might want to avoid politics, it is a strong reminder that we can and should unite to fight oppression.

In reading up on this work, I learned that Rzewski premiered this piece during the Bicentenial concert series at the Kennedy Center for the Performing arts, which has been in the news during Trump’s second term, as he is now the center’s chairman and he, along with his supporters, has criticized the “Woke” and “DEI” policies and programs at the center and would like to change things to be more “patriotic”. As a cherry on top, he hopes to have the center renamed in honor of his wife Melania. This irony feels too on the nose to be real, but we cannot hope for change by ignoring reality.

[ozkar-krapo]

Cornelius CARDEW [p. Frederic RZEWSKI]

"We sing for the Future & Thälmann Variations"

(LP. Doxy. 2011 / rec. 2001?) [GB/US]

[deathriddenwoman]

Frederic Rzewski (1938-2021) composer and pianist

The people united will never be defeated!

[shihlun]

Not a moment of celebration, but celebration of the moment. -- If in history we have known music through the filter of graphic notation, it is because we worshipped images. “Music” itself is an image, of time as structure. Images run our lives. Images are not dead; they live and speak. But their life is a cycle of force, and their speech is one of command. They will be worshipped. Notation becomes superfluous when images are put away. Only then will people know what to do without having to be told. -- Instrumental music and interpretation as they are normally practiced are merely a crude form of programming. Scores, etc., are a primitive forerunner of punched cards. The performer today never studies the score anyhow; he is only a skilled worker brought in to translate coded information into sound. If we want to find an alternative we have to eliminate the score altogether, or else make it so simple that it can be committed to memory. -- Commandments to Myself: Don’t make images: create meaningful rituals. Don’t construct time: interpret the moment. Don’t command obedience: welcome the intruder. Don’t occupy space: identify with it. Don’t forge ecstasy: return to zero. Don’t play possibilities: do the necessary. Don’t wear masks: rejoice in nakedness. Don’t practice magic: be automatic, be nothing. Make music with whatever means are available.

Frederic Rzewski, 1967

[nonesuchrecords]

We are saddened by the loss of composer and pianist Frederic Rzewski, who died on Saturday at the age of 83.

Rzewski, whom music critic Mark Swed once called "the greatest pianist-composer of our time," emerged in the 1960s with the improv collective Music Elettronica Viva. The expatriate American composer spent his entire career apart from what he described as the “elitist contemporary music establishment,” and established his own unique compositional style in which improvisation and composition are inextricably linked.

In 2002, Nonesuch Records released Rzewski Plays Rzewski: Piano Works 1975-1999, a seven-disc, 25-year retrospective of his piano-based work with new recordings performed by the composer.

Photo by Michael Wilson

[churchofsatannews]

Vox Satanae - Episode 448 - Week of September 02, 2019

Vox Satanae – Episode 448 – Week of September 02, 2019

Vox Satanae – Episode 448 – 145 Minutes – Week of September 02, 2019

This week we hear works by Antoine Brumel, Luis de Milán, Johann Kapsberger, Johann Pachelbel, Gottlieb Muffat, Christoph Weyse, Vincent d’Indy, and Frederic Rzewski.

Stream Vox Satanae Episode 448.

Download Vox Satanae Episode 448.

Vox Satanae

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[jgthirlwell]

05.13.18 The Bang On A Can Marathon moved to Skirball Center, part of NYU this year. a very comfortable and good-sounding hall where the audience could wander in and out of the ten hours of performances. I caught the last five hours, the highlights being Bang On A Can Allstars playing Frederic Rzewski, Contemporaneous and Bang On A Can Allstars playing Jeffrey Brooks, Maya Beiser and Kate Valk playing a composition by David Lang. The showstopper was Ethel performing Julia Wolfe’s “With A Blue Dress”. Unfortunately I missed Tom Chiu’s piece which I heard was amazing.