I am a big admirer of Alan Gilbert. While I’ve never worked with him, or seen his concerts live, I’ve enjoyed many a live-stream. His programming is actually interesting sometimes, even to a die-hard new music person like me.
So I am understandably disturbed by his recent interview in The Log. I wish he was familiar with the old saying, comparisons are odious!
His comments smack of provincialism. If it didn’t happen in NY, it didn’t happen. If it happened in NY, but not by a venerated ensemble, it wasn’t good enough.
I think I can speak for most of us who passionately love and advocate for new music. We do not see ourselves as superior to other musicians. We do not see our music as better. But it is different, and has different challenges.
New music deserves to be played. It deserves to be heard. The promulgation of new works doesn’t denigrate common practice music, nor the players who focus upon it.
Why do people who prefer early/new music get labeled as specialists, while people who prefer music from 1750-1900 are seen as owning the entire repertoire of concert music? Just wondering….
The players of the NYP are among the best in their field. They have specialized, but not in my area. They are certainly capable of giving wonderful performances outside their specialization – as am I! This doesn’t make them better than other musicians.
Could it be that they have a different style of playing? And perhaps that style is more appealing to Mr. Gilbert, who is dedicated to the same milieu? In my experience, orchestral players bring a great deal of refinement to their performances of new music. Surface beauty and technical mastery can make for glorious performances for many pieces, but there are many other works in which the opposite approach is called for. Some composers are interested in drama, technical and expressive extremes, fragility, vulnerability, the zone between mastery and loss of control…. I haven’t yet encountered orchestral players who fully embrace this awkward aesthetic and technical terrain.
While I am familiar with Mr. Gilbert’s work, he will likely never admire mine- he doesn’t know anything about me. I doubt he keeps up with the goings on of a TX new music flutist. But he shouldn’t make generalizations about musicians he hasn’t heard. He’s welcome to any of my concerts – with Sounds Modern, with Calliope Duo, even with my Nova student ensemble. The human dimension is certainly there, along with “pretty damn perfect” playing.