wildish theater

The music of our time?

Recent Delgani String Quartet concert featuring living local composers raises questions of tradition and timeliness

By DANIEL HEILA

It would be hard to come up with a better scenario for listening to new art music than the A2 Productions concert Local Sounds, Local Stories, presented at Springfield’s Wildish Theater September 7th and 8th, featuring the Delgani String Quartet performing works of Eugene composers. Gifted performers, local composers, quality production, state-of-the-art venue–and top-notch local brew, booze, and food just a block or two in any direction. The program was well curated, with varying styles and formats, keeping the appreciative audience engaged throughout the program. A recipe for success. However, I left the venue wondering, “Why was this music written?” “Where did this music come from?” “How does it fit in the now?”

It is fair to say that most of the pieces evoked western classical musical languages from the first half of the twentieth century and earlier, all stylistically anachronistic, with one particular work speaking in a solidly mid-nineteenth century voice. Exceptions were Paul Safar’s Quartet in Red, Black, and Blue and The Walrus and the Carpenter, and Terry McQuilkin’s Invisible Light: Fantasy for String Quartet. Both used musical languages of our time: touches of pop, blues, and jazz in Safar; post-minimal textures in McQuilkin. Their general tonal language was in the western tradition. Even so, as evidenced by the enthusiastic response, the large audience had no problem with that. So, why did I?

A question posed

Having studied the art music of the twentieth and twenty-first centuries in depth and at length, I have an expectation that contemporary art music be a logical continuation–or in some cases perfectly illogical discontinuity–of this history and development, that it be cognizant of this trajectory or at least be responsive to the popular music of our time. I do not think this is an unreasonable expectation since other artistic genres exhibit a similar arc (outsider art being a notable exception). So why would a new music composer write music that does not communicate in a musical language of their time? I am not speaking of quotation but of whole cloth imitation. That is my vexing question, and it is difficult to answer. So I emailed the composers and asked them: “How do you see your music in relation to the music of our time?”

Continues…