As regular readers of Hoggletstock know, I can get pretty excited about a book challenge. Being an adult, I also love the fact that I can drop out of said challenge whenever I feel like it. But the other night, I was lazing about in my library poking about in my non-fiction section. So many things I never make time for because fiction is much more my bag. And then I thought, why not? Let’s give it a go. I can always drop out whenever I feel like it.
I tried to pull books that were varied enough to capture my mood at any given time. And I also tried to make sure that I had enough on the pile that aren’t too academic. (Although, I must say, almost none of my non-fiction collection could be classified as academic.) So this is what I came up with.
We’ll see how all of this goes. I think I’ve chosen enough that I consider truly fun reads, so I shouldn’t find it too problematic. But the second something is expected of me (even by myself) I tend to rebel.
Because our 17-day road trip was cut down to eight, I didn’t do as much book browsing as I anticipated doing. I was particularly looking forward to going to used book stores and just having a good rummage around. Prior to hitting the road, I think I had only been in two used bookstores since March 2020. Buying used books online is even less satisfying as buying new books online. Plus the I was hoping to come across some of the dusty old forgotten authors that aren’t desired enough for someone to put them for sale online. I was looking forward to the hunt.
As you may already have seen in an earlier post, I did have a good hour at the Book Barn of the Finger Lakes, but its so over filled that it was somewhat challenging.
Looking through my photos, I realize that I didn’t document things very well. It was nice to forget about the phone in my pocket, so I guess that was a good thing.
As I mentioned in an earlier post, with lots of mid-week closures throughout western MA we had a day to kill and weren’t quite sure how we were going to do it. Doing my research the night before really narrowed down the choices. It seems like the only thing open on this particular day was The Springfield Museums in Springfield, Massachusetts. It’s a series of four buildings, one for science, one for history, and two for art. In the end we only had time for the art buildings.
It’s always nice to be on vacation for your birthday, but that doesn’t always guarantee a great time. Since we had exhausted most of what we wanted to do in the lower Berkshires–I might have just made that up, I guess we would probably say the southern Berkshires here in the US, but ‘the lower Berkshires’ makes it sound like I’m in rural England–anyhoo, since we had kind of run out of things to do and so many shops are closed on Tuesdays and Wednesdays, we decided we needed to go further afield for our day’s adventures.
One of the beauties of a road trip is you can be spontaneous. The night before my birthday, I looked at a map and decided we could drive north with Bennington, VT as our main destination with the idea of being in Troy, NY for my birthday meal. In doing so I broke the the cardinal rule of any good trip–Always do your research. But more on that later in this post.
On the drive up to Bennington, which I quickly realized we had started on too early in the morning, we came to Williamstown, MA the home of both Williams College and the Clark Art Institute. We hadn’t intended on going to the Clark because we had been there on our previous trip to the Berkshires and I knew that they had implemented timed entry tickets due to Covid, and we didn’t have a timed ticket. But since we had plenty of time we decided to take a chance on being able to get in. I’m so glad we did. Having expanded since 2008, the Clark is even more amazing than before and it provided a really nice way to spend a couple of hours.
After the Clark we continued our path north by zigging over to North Adams the home of MassMOCA, another art museum we had been to in 2008. I opted out of going there this time because the art tends to be room-size conceptual kind of stuff, or other things that are somewhat lost on me. I mean how long can you stare at a Dan Flavin. (Look it up, not long.) And because we had Bennington to look forward to, we didn’t bother to poke around the former mill town.
Now, when I picked Bennington as our destination, I had visions in my head of another serendipitous stop we had made in Vermont on our previous road trip in 2008 in which we stayed the night in the very charming town of Woodstock where there was one of my favorite used bookstores of all time (and the place where I first discovered the work of May Sarton).
But Bennington is no Woodstock. While the town has some very nice architectural bones, there was a lot of empty retail space that appears to have been vacant prior to Covid. Half of the shops that were closed that day and not very interesting to start with. This town could use about 100 LGBTQ families to fill up the great old buildings with shops you actually want to visit.
There are a couple of museums that we might have enjoyed in town, but as I mentioned, I hadn’t done my research, and I didn’t know they existed.
And I hate to say it, but the indie bookstore that was there had recently moved locations and was not even remotely conducive to browsing. I’m sure my mood had something to do with it, but the store felt very suburban and not at all cozy. I literally spent less than a minute inside and turned around and left without even touching a book. Back out on the street I saw one of those “open” flags that seem to be all over the place in vacationland to draw attention to shops that visitors might be interested in. We crossed the street and walked a bit to go see what we could see only to find a vape shop. Time to leave Bennington.
Although my birthday felt like a bust at times because of Bennington, if we had only planned to go to the Clark, Famous Lunch, and the DQ, I would have considered it a fantastic day. I guess it is all about setting expectations.
The last time I was at an orchestra concert was in Bologna in February 2020 just as Covid-19 was taking hold in Italy. A few weeks later I saw my last opera just days before Washington locked down. We planned to make the Berkshires in western Massachusetts a stop on our trip, but then I discovered that the Tanglewood Festival was actually and the two days I had planned expanded to four.
Tanglewood wasn’t the only reason we wanted to go to the Berkshires (more on that in the next installment), but once I realized I could hear three orchestra concerts and two chamber concerts in a three-day span, it did become a bit of an organizing framework for everything else. For those who may not know, the Tanglewood Festival has its roots in a series of concerts the Boston Symphony Orchestra gave in the Berkshire in August 1936. Not long after, they built the “Shed” that is still used today. And not long after that, the Tanglewood Music Center was created to offer advanced musical study to young musicians, composers, and conductors. Essentially a summer camp for musicians.
Having played such a central role in the lives and careers of so many musicians in the U.S., I’ve read about Tanglewood since I was 18 and plowing my way through musical biographies. The idea of a bunch of musicians hanging out in the idyllic Berkshire Hills with Leonard Bernstein and Aaron Copland was always very compelling for me. And having once sung in the chorus of an outdoor performance Mahler’s Symphony No. 8 with the Minnesota Orchestra and the Gothenburg Symphony Orchestra, I knew there was something magical about classical music outdoors on a warm summer evening.
We heard two concerts by the BSO and one by the orchestra of TMC Fellows. The first and last concert consisted of a fantastic mix of repertoire including newer pieces by women and composer of color as well as the dead white guys. And then there was one intensely boring all-Brahms concert which solidified my dislike for single-composer concerts as well as a growing disinterest in the orchestral music of Brahms. I should note that the Brahms concert certainly had the crowd excited. As soon as the applause started we headed out and the crowd went crazy the whole time we walked to our car. (For those who care, I will list out the programs we attended at the end of this post.)
It is hard to put in to words why Tanglewood was so special. Certainly, some of it had to do with getting to hear live music for the first time in 16 months. But there is something about having crickets accompany the music and the summer air, and the sense of something out of the ordinary that also makes it magical.
For my own satisfaction, I doubt I will ever be a lawn person. Too far removed from the music surrounded by folks that might be more interested in a picnic than the music. (I know that is an overgeneralization, but true enough that it would annoy me.) Even within the Shed, I now know to keep my seat choice in the first two sections. The back section of the Shed was too far removed–the music just sounds too far away.
Saturday 8:00 p.m. Boston Symphony Orchestra Anna Rakitina, conductor Jean-Yves Thibaudet, piano
Elena LANGER – Figaro Gets a Divorce, Orchestral Suite Maurice RAVEL – Piano Concerto in G Edward ELGAR – Variations on an Original Theme, Enigma
Everything about this concert was a delight. The weather was breezy and cool, it was great to see a female conductor, and the program was great. The Langer piece was fantastic, kind of Bernsteinesque and with a great part for accordion. It’s so nice to hear ‘new’ music that is consonant. I wasn’t a fan of the Ravel previously, but I am now. I’ve heard the Elgar a million times on CD and three times now in concert. I think it gets better every time I hear it.
Sunday 10 a.m. Tanglewood Music Center Fellows
Benjamin BRITTEN – Russian Funeral Music Paul TERRACINI – Gegensätze Max BRUCH – Octet for Strings in B-flat Johannes BRAHMS – Piano Quartet No. 3 in C minor
As I mentioned earlier, this was a really special experience. I would love to hear more of these chamber concerts. The first two pieces were for brass ensemble. There aren’t that many opportunities to hear this kind of rep, so it was quite nice. I loved the Britten, but I loved the Terracini even more. So much so that I found the need to listen to it a few more times later that day and wrote the Australian composer a fan email. He wrote me back with a link to really great performance of the piece by the Sydney Symphony Orchestra. I was surprised how much I liked the Bruch. Normally I find his stuff a bit too virtuosic just for the sake of it. This however, was lovely.
Sunday 2:30 p.m. Boston Symphony Orchestra Herbert Blomstedt, conductor Leonidas Kvakos, violin
Johannes BRAHMS – Violin Concerto in D Johannes BRAHMS – Symphony No. 4 in E minor
This just wasn’t for me. Too much of one thing, not the biggest fan of Brahms orchestral output, and we were just one click too far back in the Shed. Oh, we also fought sleep like crazy at this time of day. I don’t think I would have enjoyed it more if I had been wider awake, but I sure wanted a hammock during this one. The audience gave a rapturous ovation. Probably because it was Blomstedt and because it was Brahms. Meh.
Monday 8:00 p.m. Tanglewood Music Center Orchestra Stefan Asbury, conductor (Dvořák) TMC Fellow Kevin Fitzgerald (Nabors, Smetana) TMC Fellow Adam Hickox (Vaughn Williams)
Brian Raphael NABORS – lubilo Bedřich SMETANA – The High Castle from Má vlast Ralph VAUGHAN WILLIAMS – Fantasia on a Theme by Thomas Tallis Antonín DVOŘÁK – Symphony No. 7 in D minor
After the Brahms bust the day before, it was nice to get back to a program with more variety. And what a delight it was. Except for three BSO musicians and three “guest” musicians, the TMC orchestra is made up of TMC fellows studying for the summer. The quality of their playing was fantastic. Everything on this program was interesting, it’s hard to pick a favorite. I had a really hard time walking away from this concert. Not only was it our final concert at Tanglewood this season, but it was also the final festival concert at Tanglewood this season. And seeing classical music concerts three days in a row, I had some serious withdrawal in the days that followed. Now that I have finally been to Tanglewood, I will definitely be going back in the future.
I can’t remember why we opted for a domestic trip for our summer vacation…oh that’s right, Covid. And because we spent 16 months in splendid isolation with the cutest dog on the planet, we decided that maybe we didn’t need two weeks in splendid isolation with Lucy in Maine this summer. Instead we opted for a Northeast road trip like one we took back in 2008 before we were dog parents. After all that time at home shopping online and not really interacting with humans, we thought that something that gave us the chance to be out and about and go antiquing and used bookstore hopping, and restaurant eating, and museum gazing, seemed like just the ticket.
I had meticulously planned and replanned our itinerary until I had something that ticked a lot of boxes.
Washington, DC to Ithaca, NY
When we go on a road trip I can never wait until Saturday morning to pack the car and get going. Originally we were going to head out on Friday after work and spend the night in Harrisburg, PA just so we could be that much closer to our vacation when we woke up on Saturday morning. But then the Boston Symphony Orchestra announced they were going to actually have a Tanglewood season this summer, and I realized we needed to get out butts up to the Berkshires sooner than I had planned. So instead of leaving DC after work on Friday we left at 9:39 AM so we could comfortably drive up to Ithaca to see friends for dinner and stay the night.
I love classical music and I love a good spreadsheet. And I can’t wait to hear live music next season. Perhaps not surprisingly, I’ve discovered that most orchestras stuck pretty close to the tried and true for the upcoming season. Instead of leveraging pent up demand and slipping in more new or diverse works, they seem to be dying to trot out the old warhorses after the year without music. But, since I don’t have historical data, I don’t know if that is really the case. What I do know is that the data sure seems to indicate that they are playing it safer than they need to.
The following data is based on published seasons for 19 major U.S. orchestras. If you want to know more about that, click here. Keep in mind that when I talk about a “work”, I’m not talking about a unique work. When it shows below that Beethoven has 77 works programmed, that’s not 77 different works. If you want to read more about the data, click here.
Warhorses Dominate the Top 42
Since there was an 11-way tie for number 17, I couldn’t cut the list off at 20. And because there was a 15-way tie for number 28, I couldn’t stop at 30, and because there was a 44-way tie for 43, couldn’t stop at 50. So, behold the top 42 works programmed next season. (The first number indicates the number of times programmed.)
Perhaps not surprisingly, but also surprisingly, Samuel Barber is the only American to make it into the top 42. In fact, the top 42 spots representing 233 concert slots are shared by only 18 composers. That’s 21% of 1,105 works. Even if you only wanted to stick to dead Europeans, surely there could be more diversity at the top? Wouldn’t it be more interesting?
If I had pulled the list down to three works programmed, that list of 44 at least gets us five composers who are still alive, not to mention some composers of color and some women. The living, composers of color, and women do fare much better in my break down of composers.
10 – TCHAIKOVSKY Symphony No. 5 08 – BEETHOVEN Piano Concerto No. 3 08 – BRAHMS Symphony No. 1 08 – SIBELIUS Symphony No. 5 08 – SIBELIUS Violin Concerto 07 – BEETHOVEN Piano Concerto No. 4 07 – BEETHOVEN Symphony No. 5 07 – BEETHOVEN Symphony No. 9 07 – DEBUSSY La mer 07 – PROKOFIEV Symphony No. 5 07 – TCHAIKOVSKY Symphony No. 6 06 – MAHLER Symphony No. 1 06 – RAVEL La valse 06 – RAVEL Piano Concerto in G major 06 – TCHAIKOVSKY Piano Concerto No. 1 05 – BEETHOVEN Piano Concerto No. 5 05 – BEETHOVEN Symphony No. 7 05 – BEETHOVEN Violin Concerto 05 – BRAHMS Serenade No. 2 05 – DEBUSSY Prélude à l’après-midi d’un faune 05 – Dvořák Symphony No. 7 05 – Dvořák Symphony No. 8 05 – Dvořák Symphony No. 9 05 – NIELSEN Symphony No. 4 05 – RACHMANINOFF Piano Concerto No. 3 05 – RACHMANINOFF Symphonic Dances 05 – RIMSKY-KORSAKOV Scheherazade 05 – SHOSTAKOVICH Symphony No. 10 04 – BARBER Symphony No. 1 04 – BEETHOVEN Leonore Overture No. 3 04 – BEETHOVEN Symphony No. 4 04 – BERLIOZ Symphonie fantastique 04 – BRAHMS Symphony No. 4 04 – Dvořák Symphony No. 6 04 – GRIEG Piano Concerto 04 – MAHLER Symphony No. 4 04 – MENDELSSOHN Violin Concerto 04 – PROKOFIEV Romeo and Juliet Suite 04 – RACHMANINOFF Piano Concerto No. 2 04 – RAVEL Bolero 04 – SHOSTAKOVICH Violin Concerto No. 1 04 – STRAVINSKY Pulcinella Suite
If you want to succeed as a composer you need to be dead and European
As with the most programmed works, this list of most programmed composers is not too surprising. Our first American and first living composer clocks in at 14, and our first composers of color and women come in at 10. It is also kind of interesting that it takes until the nine spot for a British composer to appear.
77 – BEETHOVEN 48 – MOZART 44 – TCHAIKOVSKY 40 – BRAHMS 36 – STRAUSS, Richard 33 – RAVEL 32 – SIBELIUS 29 – Dvořák 22 – SHOSTAKOVICH 21 – MAHLER 21 – RACHMANINOFF 20 – PROKOFIEV 17 – STRAVINSKY 16 – HAYDN 16 – MENDELSSOHN, Felix 15 – SCHUMANN, Robert 14 – ADAMS, John – first living, first American 14 – DEBUSSY 12 – Bartók 10 – BARBER 10 – COPLAND 10 – ELLINGTON – first composer of color (tie) 10 – MONTGOMERY, Jessie – first woman (tie), first composer of color (tie) 10 – PRICE, Florence – first woman (tie), first composer of color (tie) 09 – ELGAR – first British 09 – SCHUBERT 09 – STILL, William Grant 09 – WALKER, George 08 – TOWER, Joan
Composers I’m surprised only have one work programmed
Bernstein, Bizet, Holst, Janáček, Kodály, and Martinů.
Are there only two French composers?
Out of 81 works by French composers programmed, 33 are by Ravel, and 14 are by Debussy. The remaining 34 are shared by 20 others.
Works by composers born after 1960 that are getting the most play
Some of these composers are getting more play than what you see below. These are just the works that are programmed multiple times.
3 – Wynton MARSALIS, Fanfare 3 – Missy MAZZOLI, Sinfonia (for Orbiting Spheres) 3 – Jessie, MONTGOMERY, Banner 3 – Jessie, MONTGOMERY, Strum 3 – Carlos SIMON, Fate Now Conquers 3 – Joel THOMPSON, New Work (assuming these are all the same) 2 – Thomas ADES, Piano Concerto 2 – Kishi BASHI, Improvisations on EO9066 (being improv, not sure if this counts) 2 – Unsuk CHIN, Frontispiece 2 – Unsuk CHIN, Subito con Forza 2 – Anna CLYNE, Sound and Fury 2 – Valerie COLEMAN, Phenomenal Women 2 – Bryce DESSNER, Concerto for Two Pianos 2 – Missy MAZZOLI, Violin Concerto 2 – Brian NABORS, Pulse 2 – Nokuthula NGWENYAMA, Primal Message 2 – Kevin PUTS, The Brightness of Light
Tchaikovsky x 10 Sibelius x 8 Beethoven x 7 Prokofiev x 7 Shostakovish x 3 Schubert x 2 Dvořák x 1 Mahler x 1 Mendelssohn x 1
Can I see all Mahler symphonies next year?
No. But close.
1 – Atlanta, Boston, Cleveland, Detroit, Pittsburgh, San Francisco 2 – National 3 – Atlanta 4 – Cincinnati, Los Angeles, National, Philadelphia 5 – San Francisco 6 – Seattle 7 – Los Angeles 8 – Minnesota 9 – Minnesota
Das Land ohne Musik?
Out of 51 works (only 4.6% of all works), the list of British composers is dominated by Elgar with nine works, followed by Britten, Anna Clyne, and Coleridge-Taylor with seven works each. With four works Thomas Ades beats out Vaughan Williams who ties with Hannah Kendall with three works. Elgar’s numbers are helped by his two concertos–three cello and two violin. The remaining four pieces are one each of Enigma, Sea Pictures, Serenade, and Symphony No. 1. The tragedy of Vaughan Williams low numbers is made worse by the fact that none of his symphonies are programmed just two Tallis Fantasia and one Lark. He needs a better publicist.
Sibelius gets a workout
Out of the 44 pieces by Finnish composers programmed, 32 of them (73%) are by Sibelius. This is helped out by the fact that the Minnesota Orchestra is having a bit of a Sibelius Festival in January and accounts for 13 of those 32. Saariaho makes a good showing at five works and Salonen comes in at two.
Opera without sets
I kind of like it when orchestras do concert versions of operas. I’m not a big fan of how orchestras sound in the pit. Then tend to come off as tinny. Maybe it’s the scaled down size that contributes to this. But up on stage with a full symphony orchestra? Better eat your Wheaties singers.
BEETHOVEN, Fidelio – Los Angeles Philharmonic BERG, Wozzeck – Boston Symphony Orchestra STRAVINSKY, Oedipus Rex – San Francisco Symphony TCHAIKOVSKY, Eugene Onegin (complete) – Dallas Symphony Orchestra VERDI, Aida (Act III) – Atlanta Symphony Orchestra VERDI, Otello (complete) – Cleveland Orchestra VERDI, Requiem – Seattle Symphony (I mean c’mon, how is it not an opera?) WAGNER, Die Walküre (final scene) – Baltimore Symphony Orchestra
Works I’m looking forward to most
These are the pieces that I am highly likely to hear next season that I am most excited about. In some cases it is purely about the work, in other cases it is the combo of the work and orchestra. (In alphabetical order by composer.)
Samuel BARBER, Toccata Festiva – Cleveland Orchestra Ludwig von BEETHOVEN – Symphony No. 3 – Saint Paul Chamber Orchestra Benjamin BRITTEN, Violin Concerto, National Symphony Orchestra Anna CLYNE, Sound and Fury – San Francisco Symphony Bryce DESSNER, Concerto for Two Pianos – National Symphony Orchestra Charles IVES, From the Steeples and the Mountains – Cleveland Orchestra Wynton MARSALIS, Violin Concerto – Baltimore Symphony Orchestra Jessie MONTGOMERY, Shift, Change, Turn and Variations – Saint Paul Chamber Orchestra Arvo PART, Cantus in Memory of Benjamin Britten – National Symphony Orchestra Charles RUGGLES, Angels – National Symphony Orchestra Dimitri SHOSTAKOVICH – Symphony No. 15 – Baltimore Symphony Orchestra Gabriela SMITH, Organ Concerto – Los Angeles Philharmonic William Grant STILL, Patterns – San Francisco Symphony Richard STRAUSS – Also Sprach Zarathustra – Los Angeles Philharmonic Joan TOWER – Cello Concerto – National Symphony Orchestra
These aren’t the only things I am hearing next season. Just the ones I am most looking forward to. If I made a wish list of concerts I would love to travel to but probably won’t be able to, that would be a whole ‘nother ballgame as they say.
As we have been emerging from Covid lockdown, one of the things I have been most interested in is what kind of classical music options I will have next season (Fall ’21 to Spring ’22). Even prior to Covid, I eagerly awaited spring when orchestras published their upcoming seasons. I’d start a spreadsheet with possible concerts to go to, both here in DC and around the country.
Pent Up Demand
Not having been to a live performance since March 2020 had me particularly eager to see what we might hope for in the 2021-22 season. Not surprisingly, most orchestras were much later in publishing their seasons this spring with a few pushing it well into July (hence the lateness of this post).
When the schedules first started coming out I stuck to my usual list of orchestras I would travel for. But as I started to make my spreadsheet, I became more and more curious about programming decisions. On the one hand, the repertoire seemed far more diverse in terms of age, ethnicity, and gender. On the other hand, the old warhorses seemed to be out in force. And while curiosity may not always kill the cat, it can lead one into a data entry loop that hovers on the edge of ridiculous. And since I wanted to see if my perceptions were borne out by the data I decided to go for it.
Building the list
I thought the analysis would be more interesting and more meaningful if I extended it to include enough orchestras so that I could reasonably say things like “Among major US orchestras…”
Although I wasn’t scientific about deciding which orchestras made the list, I’m fairly confident that my choices would stand up to just about any metric you cared to apply to make such a list. For better or worse, this is the list I came up with (in alphabetical order):
Atlanta Symphony Orchestra (Robert Spano, American)
St. Louis Symphony Orchestra(Stéphane Denève, French)
St. Paul Chamber Orchestra (Various Artistic Partners)
San Francisco Symphony Orchestra (Esa-Pekka Salonen, Finnish)
Seattle Symphony(Thomas Dausgaard, Danish)
I’m a little biased to include the Saint Paul Chamber Orchestra on this list since it isn’t a symphony orchestra like all the others, but their seasons, their audiences, and their hall, all stand up to the big boys. Plus I love going back to Minnesota to hear them and the Minnesota Orchestra in the same weekend, so of course I’m going to include the SPCO in my spreadsheet.
I should also note that Chicago, Philadelphia and St. Louis only published half seasons.
What’s in a Music Director?
You can see from the list above that music directors (or equivalent) are very white and very male. It’s particularly disheartening to see American orchestras not trust homegrown talent with the baton. Even more disheartening is that after this next season none of these orchestras will be headed by a woman. (As I’ve tweeted previously, I hope the Minnesota Orchestra can see their way to hiring a woman to replace Vänskä.)
What I mean when I say diversity
Although increasing representation of women and people of color is something I would like to see as a matter of equity and inclusion, my interests in diversity have much more to do with not wanting to be bored. When I see nothing but European chestnuts on concert programs I sometimes have a hard time getting excited enough to buy tickets, let alone put clothes on and make it to the concert hall. Don’t get me wrong, I love the European chestnuts, but there is so, so much room to include other pieces that don’t fall into that category. I know, the chestnuts sell tickets for most everybody else, but good God I know orchestras are capable of slipping more into that diet. Even within the reliance on European composers there is room for more diversity. Just think of all those European composers that can’t get any air because we seem to need 47 Tchaikovsky Symphony No. 5s. I don’t really cover that kind of diversity in this post–I will have much more to say on that front when I take a deeper dive into specific repertoire in the coming weeks.
General Comments on My Data
General Disclaimer: I strove for accuracy, but I also made lots of judgement calls about just about every category of data. The result is that the overall picture I paint is correct, but no one should use these numbers to do anything official.
Source: I looked at whatever information was available on each orchestra’s website. Some made it really easy with all information in one scrollable page or document. Others made it hard, making me click on multiple buttons to see what was on each concert. Others made it even harder by making me go through multiple subscription packages to make sure all concerts were accounted for.
By the numbers: I looked at 19 different orchestras who will be playing a total of 1,105 works next season. Bear in mind, these are not 1,105 unique works and there are many duplicates. In fact, the duplication is one of the things I was interested in exploring.
What kind of concerts I included: For the most part I only included concerts that were a part of subscription seasons, although one or two others may have slipped through. I did not include any pops or holiday concerts, recitals, chamber concerts by members of the orchestra. I also skipped any concert with artists where the programs were either TBA or some sort of improv/collaboration.
Some of you will hate me for not including conductors and artists: I wish my data included conductor and artist information for each program, but I had to draw the line somewhere when doing the data entry and that seemed like a bridge too far. There certainly seem to be more female guest conductors than ever before but that won’t show in my data. The only instance where a guest conductor seemed to have a noticeable impact on the data was Herbert Blomstedt who is going on a bit of a mini-tour with Nielsen 4 and Beethoven 5 in at least three cities. After I started seeing duplicates of certain concertos (I just can’t use concerti in English) I took a peek to see if artists were driving the duplication, but from what I could see, artists are not one-trick ponies.
Analysis is based on number of works, not minutes on stage: I’ve based all my analysis on number of works, not amount of stage time. This means that all data about new music, music by women composers, and music by minority composers has to be taken with a grain of salt. In terms of minutes on stage, the old white boys are getting even more exposure than the numbers below will suggest. I didn’t keep track of length of pieces, but I did keep track of concert program order, which is pretty good approximation for piece length for concerts in the U.S.
EUROPE RULES WITH AN IRON FIST
Not surprisingly, 72% of works programmed by 19 major U.S. orchestras (see I told you I wanted to say that) are by composers identified as European. Out of the remaining 28%, about 23% are works by U.S. American composers, which leaves only 5% for the rest of the world. Perhaps more interesting than this rather crude breakdown, is the list that follows.
In total 33 countries were represented. Some judgement calls had to be made when it came to a composer’s nationality. In general I called them whatever Wikipedia called them with a few adjustments to suit myself (e.g., Percy Grainger = British, Handel = German).
For anyone who pays attention to orchestral music, this list won’t be remotely surprising. On the spectrum between old world fetishists and new world evangelists, I am somewhere in the middle. I do think, however, that the second two columns of this table are a bit tragic. Do we really believe that none of those countries deserve at least 1% of the programming pie– not to mention countries that aren’t represented?
American Heroes (and Zeros)
It is nice to see that a decent amount of U.S. American music is being programmed. Given the dearth of American music directors, I’m actually kind of chuffed that we see as much American programming as we do. Age of music director seems to be more of an indicator than nationality when it comes to programming American music. The top five orchestras have an average music director age of 50 years old, while the bottom five have an average age of 62.6. But that doesn’t explain why Andris Nelsons (42) in Boston was worse than Riccardo Muti (79) in Chicago.
Philadelphia’s fantastically strong showing in this category might be skewed by the fact that they only published a half season. But look at Seattle, with a full season published nipping at Philly’s heels. I must admit, I was a bit disappointed that Minnesota’s number was so low. I wonder if it was always this low during Vänskä’s tenure. As much as I like him, I hope his replacement plays and records, not only more American music, but more eclectic repertoire in general. So much great under-recorded music to explore. Given their discography on Naxos, I’m not surprised that Nashville is as close to the top as it is. I wonder if St. Louis’s strong showing is still part of Leonard Slatkin’s legacy there? I’m a little surprised that Baltimore is as far down the list as it is–Marin Alsop always seems like a champion of American music to me. And what in the hell is up with Pittsburgh? Yikes.
Breakthrough for Diversity?
This is the point where my OCD kicks in and I want to get historical data for all the same orchestras so I can see just how much (or little) progress has been made in programming works by diverse composers. But I do have a day job and a husband and other interests so I am going to try and avoid falling down that rabbit hole.
I find it very interesting to see the most programmed composers of color are a real mix of the new and the historic.
You’ll see that Philadelphia maintains the top spot for both works by Americans and works by composers of color. Yannick Nézet-Séguin seems to be steering Philadelphia in interesting ways. You’ll also note that other fine Pennsylvania orchestra, is at the bottom of the list in both these categories. What isManfred Honeck up to in Pittsburgh? It certainly is nice to see Minnesota redeem itself a bit with composers of color since they fared so poorly in the American music category.
Women are inching forward
And once again Philadelphia takes the top spot, Pittsburgh manages to move itself out of bottom place, and New York finally starts to look less backward than it does in the first two categories. Not only is Minnesota starting to look bad again, but a whole bunch of orchestras plunge down below 10%. Detroit’s leadership in American music and music by composers of colors fades quite a bit when it comes to women. The penises in charge need to step up their game or step aside.
So who has the most diverse Program for next Season?
You will notice in the table below I have two additional categories by which I have gauged diversity.
Works by non-European and non-USA composers: If you pop back up towards the top of his post you will see how U.S.- and Euro-centric next season is. Only Los Angeles and San Francisco manage to get above the 10% mark. Minnesota finally manages a respectable place in the diversity stakes. And Pittsburgh, that denizen of the bottom of my lists, manages to fly up to fifth place. And, hello, what’s that, look at diversity stalwarts Philadelphia and Detroit tie for last place for zero, nil, nada, in this category.
Composers born 1960 or later: I wasn’t about to look up the publish dates for every piece of music being played next year, but I did want to have some sort of metric that would capture “new” music, so I decided to go with composer’s year of birth. Being born in 1969, I didn’t want to include any composers who were too much older than me. If you think about the fact the youngest composer programmed next season was born in 2000 (Tyson Davis with the St. Paul Chamber Orchestra in September), 1960 seems a bit like ancient history. But they wouldn’t have published until the mid-1970s at the earliest so that seems less ancient. Incidentally, the SPCO also has the oldest composer programmed (William Lawes born in 1602). That’s over 400 years of rep.
So who wins?
When you average out these five categories, it’s not surprising that Philadelphia took the top spot. Even with a whopping zero in the non-Euro/US category, their strong showing in the first three categories made them hard to beat. As I mentioned earlier, they only published a half season so who knows if they will keep up the good work in the Spring. They are a reasonable distance from DC. I will have to see what I can get to in the Fall.
The lovely St. Paul Chamber Orchestra comes in at number two. Couldn’t happen to a more interesting band. When I lived in (and near) the Twin Cities of Minneapolis and St. Paul for about 10 concert-going years, I didn’t bother much with the SPCO. I equated them with music of a vintage earlier than I typically enjoy. These were the Christopher Hogwood, Hugh Wolfe days, so maybe they were less adventurous in the old days. All I know is that I rediscovered them about four years ago when I booked a double header on a weekend trip back to Minnesota, with the Minnesota Orchestra on one night and the SPCO on another. Besides being blown away by their new purpose-built concert hall, I was also blown away by the SPCO’s repertoire. In one concert we got Barber’s Knoxville, Beethoven’s Piano Concerto No. 5, and Terry Riley’sIn C. Excuse my French, but it was fucking fantastic. I soon made additional trips for things like Lembit Beecher’sConference of the Birds, Schoenberg, Vaughan Williams, Dvorak, Gounod, and others. It must be the fact that the group is more democratic than any symphonic orchestra and has what they call artistic partner’s instead of a single music director. I really urge you to try a classical double header in the Twin Cities some time. Even though Minnesota didn’t do so hot on the diversity front for next season, they are such a good orchestra and hearing them in the same weekend as the highly engaging SPCO is well worth the trip. Just make sure they are playing at their Ordway Concert Hall. They have lots of other interesting venues in which they regularly play, but the hall is so perfect for them.
The rest of the top five are not so surprising either. The Los Angeles Philharmonic has the young and energetic Gustavo Dudamel keeping it young and energetic. St. Louis has something (the Slatkin legacy I suggested earlier?) going on that is good, and Seattle always seems to be happy to not be like every other orchestra.
But what the hell is up with the rest of the “Big 5”? Although Philly tops the list, the other four didn’t even make it into the top ten. Out of these, New York came in at 11, Chicago at 15, Cleveland at 16, and Boston at an abysmal 18. Cleveland has the smallest concert going population base, I can kind of forgive them (although St. Louis and Nashville are probably in similar situations and that doesn’t stop them). All of them have so much cachet it is hard to believe they are so incapable of leading their audiences down more interesting paths. Is it their need to have old white Europeans at their helms that causes them such programming perplexities? Are they so far up their own prestigious butts that they don’t see the world moving on? I know that doesn’t entirely explain it, but I think it really is time to let some light in at the top.
Although this was super fun and hopefully interesting for you, I’ve very excited for my next (and probably final) installment where I am going to dive deep into specific repertoire.
Things like: Whose 5th is getting played the most next year?
And: Does France only have two composers?
And: Can I see all 10 Mahler symphonies next year in the US?
I love the novels of Barbara Pym immensely. Barbara Pym could make mundane things endlessly fascinating. The author of this bio could not. It was rather a bit of a snooze.
The ‘Miss Pym’ construction was used far too frequently and was cutesy in a way that diminishes the subject. From the title, to the text, to chapter titles, to photo captions. It was too much.
That Pym had Nazi sympathies is a fact that the author justly writes about. However, the way she writes about Pym’s Nazi boyfriend and her infatuation with Nazi Germany was also a little too cute and casual than is seemly in the 21st century.
“Pym was mesmerized by the handsome blackshirt…” Not sure that adjective is called for unless clearly qualified as being Pym’s perception, which is borne out by the block quote that follows it. Why did Byrne call him handsome?
“Barbara was…swept up in the excitement of the Third Reich…” Maybe swap out excitement for propaganda.
A chapter title: “In which Fraulein Pym falls for a Handsome Nazi” Perhaps the author doesn’t need to excoriate Pym on every page for being a Nazi sympathizer, but she also doesn’t have to make light of it either.
“It was a spectacular event, the Nazi Party had pulled out all the stops.” Did they really Paula? We must find out who their party planner is.
Another chapter title: “In which our Heroine goes to Germany for the third time and sleeps with her Nazi” Oh how cute! He’s her Nazi.
And then in describing the douchebaggery of Pym’s English love interests Byrne writes this: “…she was headed back to Germany, where she was sure of receiving better treatment at the hands of her blackshirt boyfriend.” Really?
When it comes to Pym’s penchant for falling in love with gay men, I don’t know how annoyed I should be with Pym or with Byrne for making it seem like Pym’s driving force was simply to move from one infatuation to another. I’d like to think that Pym had more going on in her life than just that. Maybe it was the author’s over reliance on personal journals that makes Pym seem like an emotional simpleton who couldn’t pass the Bechdel Test if her life depended on it.
Pym’s life was Pym’s life, if that’s who she was, so be it. But Byrne’s way of writing about ‘homosexuals’ got to be annoying in the extreme. Try this one: “She was especially interested in his homosexual relationship with Eric Oliver.” Guess what Miss Byrne, it’s just a relationship. Maybe you meant to say romantic or sexual or something else. Pym can use antiquated language, she’s dead, and she wrote those lines 60 years ago. But Byrne is only two years older than I am. Too young to be that oblivious. You’d think she was 107.
I will end this where I started it, Pym’s bio didn’t have to be this boring.
I loved this book the first two times I read it, but reading it now as we start to emerge from the pandemic, was even more interesting.
Peter and Joan Corbett and their three kids (6, 3, and 1, if I remember correctly) live in Southampton in 1939 when the UK goes to war with an unnamed country that starts an intense bombing campaign. Written in 1938 and published in early 1939, it predicts the German bombings, but Shute also supposes the spread of communicable diseases because of damaged water and sewer infrastructure.
In order to stay out of quarantine, the family of five decides to rough it out on their small sailboat.
If you like reading about people putting things right, this book (and pretty much any Shute novel) is for you. And by putting things right, I don’t mean in the moral sense–although his characters are usually flawlessly moral–I mean in everyday, mundane terms. (Securing Peter’s bombed out office, making shelter from the bombing, helping neighbors, provisioning and reprovisioning their boat, rescuing an RAF pilot, etc.)
Shute’s novels can come across a little corny and old fashioned, but that is also what makes them fabulous. In this case, their constant quest for milk for the baby becomes kind of comical, mainly through repetition, but also because Shute seems to think that an infant can subsist only on cow’s milk. But rather than detract, that detail only reinforces the old fashioned, romanticized view of the past that I find totally engaging. Especially in these times.
(The novel is Ordeal in the US and What Happened to the Corbetts in the UK.)