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Dvorak and Hiawatha

Two wicked questions to ask conductors of Dvorak’s New World Symphony are: “Why does the coda begin with a dirge?” and “Why is there a diminuendo on the final chord?” The musical content of the finale in no way dictates these developments. Obviously, a story of some kind – a “program” – is in play. The dirge is a pentatonic “Indian” theme with timpani taps. It is restated as an apotheosis. Then there is a robust arpeggiated tonic cadence and that final E major chord fading to silence. Any conductor who performs this music without a story in … [Read more...]

The Met’s New Parsifal

The current Times Literary Supplement UK), not available online, includes my review of the Met's exceptional new Parsifal, as follows: In the program book for the new Parsifal at the Metropolitan Opera, the French Canadian director Francois Girard comments that his goal “is to engage a modern audience and to let this piece say things that matter, without kidnapping it and throwing it into a new context, which I think is being done to Wagner too often.” This prescription, which could be anodyne, proves triumphant. But the triumph begins not … [Read more...]

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