Music for Our Times

A bit about my musical journey and a few favorites

Since I have been ill last week and my brain still seems to be somewhat sluggish, I thought I’d give you some thoughts on music—and a few of my favorites.

I have been playing the piano on and off since the age of five, beginning with classical, then venturing into popular music, then jazz, and, lately, trying my clumsy hands at some easy classical pieces again. From my late teens to my late twenties I have also played in a band.

Consequently, my taste has undergone quite a few fluctuations. In fact, I wouldn’t even consider myself a “music lover”—I had periods in my life where I hardly listened to any music at all.

When the Covid madness hit in 2020, I found myself gravitating towards old things: old books, old-fashioned activities, and also classical music. Listening to (and also trying to play) classical music was one of the things that kept me connected to a different time, and a consistent Western tradition, where the world was so much saner, more in balance, subtler, finer, and more intelligent. A much-needed contrast to the insanity and brutal idiocy that threatened to eat away at my soul!

So here are some thoughts and favorites.¹

A Word on Classical Music

Music as a phenomenon is always somewhat loaded with societal and generational undertones. That is especially true for classical music: for many people, it is the only kind of music worth listening to and worth playing. Others see it as pure snobbery or even a bourgeois means of oppression.

It is certainly true that classical concerts have a lot in common with religious services: there are all kinds of codes of conduct, and you are supposed to study the “sacred canon” so that you can then participate in the “holy communion” at the concert hall or the private soirée. It takes some time and effort.

Some people are quick to point out that this is a relatively new phenomenon. Even in the 19th century, for example, Franz Liszt would supposedly give spontaneous standing ovations and cheers when he was in the audience and liked a certain part. Try that today and see how it goes down with the classical crowd!

To be honest though, in this day and age of anything-goes-relativism and the destruction of everything sacred, I find the conservatism, the rules, the quasi-religious worship in the world of classical music quite refreshing. For once, everyone dresses up and shuts up, in recognition of something greater than them, something sublime.

Yes, it is true, part of that culture has come into existence as a consequence of the bourgeoisie making inroads into the nobility, creating their own restricted club, so to speak. Another aspect is the worship of the musical genius as a surrogate god that emerged during the Romantic period (which, by the way, includes the so-called Classical Period, a name people came up with after the fact somewhat arbitrarily²).

While some may see this sort of genius-worship as a move away from religion and indeed as blasphemy, I’m inclined to be more sympathetic: unlike what we see in today’s postmodern world, people didn’t worship the artists’ overblown egos; they worshiped a composer or musician as a vehicle for divine inspiration. Big difference: while the 18th and 19th century bourgeois class worshiped the “musical genius” as a sort of prophet channelling Cosmic order, the postmodernists worship the individual that is disconnected from the Cosmos—the pure ego, the artistic whim.

And indeed, who would deny the divine qualities of some of the best classical music? Who could shake off the feeling that it must come from another dimension? Especially when experienced live—unaided by any amplifiers, electronics and whatnot?³

Personally, when it comes to classical, I’m not on the snobbish side: I like many of the all-time favorites, the “classics of classical music.” And while I do appreciate, say, the late Beethoven string quartets (which are more on the dissonant and “complex” side), I draw the line firmly there: Schönberg and gang are not my cup of tea, and it arguably only got worse after that.

However, when it comes to conductors and even more so interpreters, I’m very hard to satisfy. Somehow, I find fault in most of them, and it’s as if I know exactly how I want to hear a piece, but everybody seems to mess it up (including myself for those pieces I can play on the piano). Nonetheless, here are four performances I do like, which I listened to a lot during Covid Madness, and that even the certified non-classical people among you may like.

Beethoven’s 7th, conducted by Carlos Kleiber

Like most people, I just love Beethoven’s 7th, and Carlos Kleiber (seriously underrated conductor) really makes it shine. I love how in this recording (orchestra: Bayerisches Staatsorchester, recorded live in Munich in 1984) the melody is so crystal-clear, how the whole thing is somehow not “perfectly balanced” and a bit shaky but has so much soul because of it. It is conducted and played with cojones and courage, just as Beethoven should be.

Speaking of Beethoven’s 7th, here is the second movement as transcribed by Franz Liszt, gloriously played by Glenn Gould:

I know, some people love Glenn Gould, others hate him… I kind of grew up around his records (my mother loved them), so although he did some really crazy things (like butchering the Moonlight Sonata), I kinda feel a connection to him. And this performance is just absolutely stunning.

Schubert’s Piano Trio in B-Flat Major II. Andante un poco mosso

This is the perfect soundtrack for a lazy Sunday afternoon when we can all let go of all the craziness and allow our mind to be at ease, and to wander where it wants. The kind of moments that are necessary not only for recharging, but for new ideas to develop while we are free from all stressful and intrusive thoughts and feelings.

The Trio Wanderer does a splendid job here. It is super-clean, and yet full of feeling, precisely how it should be to my ear. What I like so much about classical trios, string quartets and the like is that unlike orchestras, they are more like rock bands: they often are not selected by a committee or anything like that, but long-time friends who play with each other for years so that they had time to develop a close resonance. As always, the best experience is to go see one of the good formations live.

Schubert: Ständchen

Finally, perhaps the most famous Schubert song, “Ständchen” (Serenade), wonderfully performed here by an acquaintance of mine:

What do you think? And what is your favorite piece or song that keeps you grounded and gives you beauty?

1. I intended to go into different genres as well, but this would have been too much for a single post. So I restrict myself to classical here. If you would like me to do another installment on jazz/pop/funk/soul…, let me know :)

2. Richard Taruskin discusses this issue very convincingly, see: Richard Taruskin, The Oxford History of Western Music: Volume 2, Oxford University Press, 2005

3. When it comes to defending musical snobbery, look no further than the late Roger Scruton. He stood strong against the onslaught of relativism and Marxism-fueled crazy-making theory as applied to music and the arts, even while his enemies screamed and squirmed. Whether you agree with him or not, I think you will learn a lot about music from him. (See this talk for example. I also highly recommend his little book Beauty, where he not only talks about music, but other art forms as well. His life-long war on modern architecture is also highly instructive.)