I’ve been taking a break from Bach for the past week, listening to some modern stuff recommended by various blogs and lists on eMusic. It’s quite a change from baroque music, and requires a whole different manner of interpretation and listening. Pieces include Karlitz Stockhausen’s Gruppen (DG), some flute concertos by Kalevi Aho, Haukur Tómasson and Christian Lindberg (BIS / eMusic), Symphonies 1 and 4 by Jean Sibelius (really more romantic than modern, I guess) (BIS / eMusic), Turangalîla-Symphonie by Oliver Messiaen (Naxos / eMusic) and James MacMillan’s Triduum (BIS / eMusic).
I don’t have much to say about them, really, since I don’t feel like I completely understood what I was listening to. The Sibelius symphonies are fantastic, and I certainly enjoyed parts of the others, but in all the music I was struck by how disjointed they all seemed. Part of my problem, at least with Messiaen’s symphony is that the work has a very carefully designed structure with three themes (statue, flower, love) and ten movements connected by these themes, but as much as I tried, I couldn’t easily pick up these themes, and so I didn’t see the pattern. The Wikipedia entry even includes some music notation to help an educated reader pick up the melody of the themes, but I no longer remember how to read music.
I think this is sort of like reading Thomas Pynchon. If you don’t pay attention and read carefully, the whole thing will seem completely incoherent. But if you look up the references, write down the characters, and really study what’s going on, his books are masterful in ways that most other writers don’t approach. My problem with musical analogues to this kind of brilliance is that I’m a much more accomplished reader than musical listener. I lack the basic tools to even know what I should be listening for. But as Pynchon (and Joyce before him) have demonstrated to me, it’s worth the effort when you’re ready.
I’ll be revisiting these works again.