• Home
  • About
    • What’s happening here
    • Greg Sandow
    • Contact
  • AJBlogs
  • ArtsJournal

Sandow

Greg Sandow on the future of classical music

Being somebody

October 6, 2008 by Greg Sandow

I was listening to Il giuramento, an opera by Mercadante, the top dog among 19th century Italian opera composers whose work hasn’t survived in the repertoire. He writes smooth melodies, whips up at least the appearance of drama, and expertly handles every aspect of the 19th century Italian style.

So what’s missing? I’d put it this way — his characters never grab you, singing (as a subtext to whatever their words are) “I am somebody!” (To borrow Jesse Jackson’s phrase.) Listen, by contrast, to just about any Verdi aria. Verdi’s characters are always somebody, so strongly so that we take it for granted, and imagine (or at least I do) that this is just how Italian opera is.

It’s easy to mistake this for an achievement in musical composition. It isn’t. It’s an achievement of imagination, which composing serves. If you’re blessed (or cursed) with dramatic imagination, you’ll hack away at your music till it sounds like the people you imagine. And you don’t need special composing talent to do that. You’ll do it at whatever level you’ve reached as a composer. Look at Boito — he had modest composing skills, but fabulous imagination. His music isn’t very good, much of the time, but it’s vividly dramatic. (Not that it wouldn’t be more vividly so, if he wrote more vivid music.)

Filed Under: Uncategorized

Comments

  1. peet says

    October 7, 2008 at 11:58 am

    Completely agree here, making a character come alive is such a different skill than music composition. Not many have both gifts. As Picasso said about his own artform, “Some artists turn a little yellow dot into the sun; some turn the sun into a little yellow dot.”

  2. Robert Berger says

    October 8, 2008 at 8:55 am

    Mercadante was also a famous flute virtuoso, and James Galway has recorded some of his works for flute. He was also a well-known conductor.

    Have you heard Boito’s other opera Nerone, about the infamous Roman emperor?

    The last act was unfinished, but it has been recorded on Hungaroton with Eve Queler conducting.

    It’s fascinating ; written later in Boit’s life, the music is much more complex and sophisticated in both harmony and orchestration. I believe the recording is still available from arkivmusic.com

    Hi, Robert. I used to have that recording on LP, but I don’t think I ever listened to it. My loss. I should track it down on CD, or as a download.

    I find Mefistofele quite sophisticated, but not very powerful, for much of its lengths. The ideas (musical ideas) are interesting and unusual, and certainly go further in expressing the drama than operatic musical ideas usually go, but purely as music I don’t find them all that vivid. None of which prevents the opera from being quite powerful onstage.

  3. Contracts For Music says

    October 9, 2008 at 8:05 am

    I’ve loved this very much . Its the best which i have ever seen in the music industry .

    The best of its own kind

Greg Sandow

Though I've been known for many years as a critic, most of my work these days involves the future of classical music -- defining classical music's problems, and finding solutions for them. Read More…

About The Blog

This started as a blog about the future of classical music, my specialty for many years. And largely the blog is still about that. But of course it gets involved with other things I do — composing music, and teaching at Juilliard (two courses, here … [Read More...]

Follow Us on FacebookFollow Us on TwitterFollow Us on RSS

Archives

@gsandow

Tweets by @gsandow

Resources

How to write a press release

As a footnote to my posts on classical music publicists, and how they could do better, here's a post I did in 2005 -- wow, 11 years ago! --  about how to make press releases better. My examples may seem fanciful, but on the other hand, they're almost … [Read More...]

The future of classical music

Here's a quick outline of what I think the future of classical music will be. Watch the blog for frequent updates! I Classical music is in trouble, and there are well-known reasons why. We have an aging audience, falling ticket sales, and — in part … [Read More...]

Timeline of the crisis

Here — to end my posts on the dates of the classical music crisis  — is a detailed crisis timeline. The information in it comes from many sources, including published reports, blog comments by people who saw the crisis develop in their professional … [Read More...]

Before the crisis

Yes, the classical music crisis, which some don't believe in, and others think has been going on forever. This is the third post in a series. In the first, I asked, innocently enough, how long the classical music crisis (which is so widely talked … [Read More...]

Four keys to the future

Here, as promised, are the key things we need to do, if we're going to give classical music a future. When I wrote this, I was thinking of people who present classical performances. But I think it applies to all of us — for instance, to people who … [Read More...]

Age of the audience

Conventional wisdom: the classical music audience has always been the age it is now. Here's evidence that it used to be much younger. … [Read More...]

Return to top of page

an ArtsJournal blog

This blog published under a Creative Commons license

Copyright © 2025 · Magazine Pro Theme on Genesis Framework · WordPress · Log in