Pyramids at the Louvre: Music, Culture, and Collage from Stravinsky to the Postmodernistsby Glenn WatkinsReview by: Kenneth GloagTempo, New Series, No. 194, Italian Issue (Oct., 1995), pp. 42-43Published by: Cambridge University PressStable URL: http://www.jstor.org/stable/944617 .Accessed: 28/03/2012 18:20

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42 Book Reviews 42 Book Reviews

times mantric obsession and leading to such controversial judgments as 'Britten is a better composer than Boulez', fully realizes music's potential, argues Keller: an assumption as foolish as it is fallacious (surely even the music which Keller knew and loved best is surely susceptible to more than one manner of comprehension?). And, given his belief in the uncontemporaneity of 'great' music, it's surprising that Keller, as does Mitchell, remained oblivious to the radical genius of Sibelius, who for all his apparently conserv- ative traits (at least to his serialist detractors) at least shared with Britten the 'common minimum of anti-tonality' which Keller felt distinguished 20th-century music from that which had gone before.

If one is left unconvinced by the absolutism of Keller's understanding, that there is a 'right' way (Keller's way) and many 'wrong' ways of listening to music, Keller, like Mitchell, demands close attention, not least because the pearls of wisdom far outweigh their shaky aesthetic premises. That understanding is a prerequisite of giving an opinion, that enduring expressive values are timeless, and that composers should compose and not worry themselves into a theoretical muddle (attributed by Keller to 'weakness, uncreative neurosis, obsession') are surely commonsensical truisms, and, of course, his thoughts on the music of the Austro-German tradition and precisely how that succession is continued in the music of Schoenberg and Britten, will always demand respect and rumination.

Theodor Adorno is, of course, a tougher nut to crack and, as Keller - with characteristic waspishness - points out, wants to 'have it both ways'. Despite their shared Austro-German/ Jewish intellectual background Keller had -

unsurprisingly, given their irreconcilable approaches to thinking about music - little sympathy for Adorno, for whom the affective substance of worthwhile music was an embodi- ment of the Zeitgeist floating around at the time of its composition (for Keller, music was a mode of pure thought which remained constant). Adorno's central concern was to reaffirm a place for music in a non-authoritarion world where 'value' resides solely in its relation to other 'values'. As Max Paddison admits in his excellent if demanding (how could it be otherwise?) introduction to Adorno's aesthetics of music, the difficulty of reading Adorno lies not so much in the need to be familiar with the German philosophical background as with the infuriating realization that the many nuggets of insight which Adorno does reveal (manv are quite priceless) are

times mantric obsession and leading to such controversial judgments as 'Britten is a better composer than Boulez', fully realizes music's potential, argues Keller: an assumption as foolish as it is fallacious (surely even the music which Keller knew and loved best is surely susceptible to more than one manner of comprehension?). And, given his belief in the uncontemporaneity of 'great' music, it's surprising that Keller, as does Mitchell, remained oblivious to the radical genius of Sibelius, who for all his apparently conserv- ative traits (at least to his serialist detractors) at least shared with Britten the 'common minimum of anti-tonality' which Keller felt distinguished 20th-century music from that which had gone before.

If one is left unconvinced by the absolutism of Keller's understanding, that there is a 'right' way (Keller's way) and many 'wrong' ways of listening to music, Keller, like Mitchell, demands close attention, not least because the pearls of wisdom far outweigh their shaky aesthetic premises. That understanding is a prerequisite of giving an opinion, that enduring expressive values are timeless, and that composers should compose and not worry themselves into a theoretical muddle (attributed by Keller to 'weakness, uncreative neurosis, obsession') are surely commonsensical truisms, and, of course, his thoughts on the music of the Austro-German tradition and precisely how that succession is continued in the music of Schoenberg and Britten, will always demand respect and rumination.

Theodor Adorno is, of course, a tougher nut to crack and, as Keller - with characteristic waspishness - points out, wants to 'have it both ways'. Despite their shared Austro-German/ Jewish intellectual background Keller had -

unsurprisingly, given their irreconcilable approaches to thinking about music - little sympathy for Adorno, for whom the affective substance of worthwhile music was an embodi- ment of the Zeitgeist floating around at the time of its composition (for Keller, music was a mode of pure thought which remained constant). Adorno's central concern was to reaffirm a place for music in a non-authoritarion world where 'value' resides solely in its relation to other 'values'. As Max Paddison admits in his excellent if demanding (how could it be otherwise?) introduction to Adorno's aesthetics of music, the difficulty of reading Adorno lies not so much in the need to be familiar with the German philosophical background as with the infuriating realization that the many nuggets of insight which Adorno does reveal (manv are quite priceless) are

found to cluster around a big, controlling idea which, on closer inspection, proves - for absolutists - frustratingly absent.

Nowadays, and despite the feeling that the issues Adorno raises are inextricably children of their time, his influence is greater than ever, especially on the new 'critical musicology', a discipline which - for quite a few practitioners, I suspect - grows as much out of some unresolved psychological tension between acknowledging classical music's bourgeois value-system (and whatever apologists say, classical music is still, as it was in Adorno's time, an almost exclusively white, middle-class pastime) and wishing to align themselves with more egalitarian sentiments. Perhaps, when that tension is found, at least for the foreseeable future, to be irresolvable, the 'music-centred' approaches of Mitchell, Keller and other empiricist writers on music will again find their stars strangely in the ascendant. Today's critics, if they are prepared to accept Keller's dictum that it is better 'to fail at saying something instead of succeed in saying nothing', have much to learn from them.

Antony Bye

Pyramids at the Louvre: music, culture, and collagefrom Stravinsky to the postmodernists by Glenn Watkins. Harvard University Press, ?23.95.

Although the possibility of a postmodern cultural condition has been in wide circulation for some time, it is only in recent years that music, both in theory and practice, has begun to subject itself to postmodernist interpretations. Watkins's contri- bution to the debate will provide a provocative starting point for future thinking within this broadly defined context.

Postmodernism is obviously open to differing and conflicting interpretations and theoretical positions; however, according to the literary theorist Linda Hutcheon, there is a 'basic opposition between those who believe post- modernism represents a break from modernism, and those who see it in a relation of continuity'.1 Watkins's title 'from Stravinsky to the post- modernists', makes clear that he is primarily concerned with identifying a basic continuity, a view which is a welcome divergence from the often apocalyptic tone of much postmodernist theory. An initial sense of disappointment may however emerge from Watkins's refusal to engage in a theoretical discourse. He states that:

I Linda Hutcheon; The Politics of Postmodernism, (London: Routledee, 1989), p.27.

found to cluster around a big, controlling idea which, on closer inspection, proves - for absolutists - frustratingly absent.

Nowadays, and despite the feeling that the issues Adorno raises are inextricably children of their time, his influence is greater than ever, especially on the new 'critical musicology', a discipline which - for quite a few practitioners, I suspect - grows as much out of some unresolved psychological tension between acknowledging classical music's bourgeois value-system (and whatever apologists say, classical music is still, as it was in Adorno's time, an almost exclusively white, middle-class pastime) and wishing to align themselves with more egalitarian sentiments. Perhaps, when that tension is found, at least for the foreseeable future, to be irresolvable, the 'music-centred' approaches of Mitchell, Keller and other empiricist writers on music will again find their stars strangely in the ascendant. Today's critics, if they are prepared to accept Keller's dictum that it is better 'to fail at saying something instead of succeed in saying nothing', have much to learn from them.

Antony Bye

Pyramids at the Louvre: music, culture, and collagefrom Stravinsky to the postmodernists by Glenn Watkins. Harvard University Press, ?23.95.

Although the possibility of a postmodern cultural condition has been in wide circulation for some time, it is only in recent years that music, both in theory and practice, has begun to subject itself to postmodernist interpretations. Watkins's contri- bution to the debate will provide a provocative starting point for future thinking within this broadly defined context.

Postmodernism is obviously open to differing and conflicting interpretations and theoretical positions; however, according to the literary theorist Linda Hutcheon, there is a 'basic opposition between those who believe post- modernism represents a break from modernism, and those who see it in a relation of continuity'.1 Watkins's title 'from Stravinsky to the post- modernists', makes clear that he is primarily concerned with identifying a basic continuity, a view which is a welcome divergence from the often apocalyptic tone of much postmodernist theory. An initial sense of disappointment may however emerge from Watkins's refusal to engage in a theoretical discourse. He states that:

I Linda Hutcheon; The Politics of Postmodernism, (London: Routledee, 1989), p.27.

Book Reviews 43 Book Reviews 43

though their importance is openly acknowledged in the many references to sources that take note of their arguments, the fleeting references to Jean-Francois Lyotard, Jiirgen Habermas, and Frederic Jameson stand as a coded confession of my interest in but general sense of dismay at much of the circularity surrounding the concept of postmodernism and the feeling that a detailed reconsideration of this vast literature ought not to enter the body of the present project.

While one acknowledges the validity of the concern with practice rather than theory, the sense of 'circularity' which Watkins identifies is, in itself, a reflection of the postmodern condition and as such is deserving of greater consideration.

The continuity revealed is that of collage and 'multiculturalism', leading from the juxtapositions of modernism to the intertextuality of post- modernism. The strength of the book - and, I suspect, the true centre of Watkins interest - is located in the interconnexions between music and the visual arts during the early moments of modernism. The discussion of cubism in relation to Stravinsky is magnificent. In particular the consideration of the portraits of Stravinsky by Baskt, Larionov, Thevenaz and Gleizes is fascinating.

While the wide scope of Watkins's concerns can lead to a reduction of the importance of detail, the diversity and breadth of the ground covered is admirable and provides an invaluable overview of cultural interactions during the 20th century. The conclusion that 'the intensity of a postmodern age's subscription to multicultural- ism is surely best read not as a naive and fatal attraction to cultural overload but as the advertisement of newly sighted possibilities and an impending fresh start', provides a welcome positive conclusion to a narrative which is a unique contribution to our understanding of the potential relationships between modernism and postmodernism.

Kenneth Gloag

though their importance is openly acknowledged in the many references to sources that take note of their arguments, the fleeting references to Jean-Francois Lyotard, Jiirgen Habermas, and Frederic Jameson stand as a coded confession of my interest in but general sense of dismay at much of the circularity surrounding the concept of postmodernism and the feeling that a detailed reconsideration of this vast literature ought not to enter the body of the present project.

While one acknowledges the validity of the concern with practice rather than theory, the sense of 'circularity' which Watkins identifies is, in itself, a reflection of the postmodern condition and as such is deserving of greater consideration.

The continuity revealed is that of collage and 'multiculturalism', leading from the juxtapositions of modernism to the intertextuality of post- modernism. The strength of the book - and, I suspect, the true centre of Watkins interest - is located in the interconnexions between music and the visual arts during the early moments of modernism. The discussion of cubism in relation to Stravinsky is magnificent. In particular the consideration of the portraits of Stravinsky by Baskt, Larionov, Thevenaz and Gleizes is fascinating.

While the wide scope of Watkins's concerns can lead to a reduction of the importance of detail, the diversity and breadth of the ground covered is admirable and provides an invaluable overview of cultural interactions during the 20th century. The conclusion that 'the intensity of a postmodern age's subscription to multicultural- ism is surely best read not as a naive and fatal attraction to cultural overload but as the advertisement of newly sighted possibilities and an impending fresh start', provides a welcome positive conclusion to a narrative which is a unique contribution to our understanding of the potential relationships between modernism and postmodernism.

Kenneth Gloag

New Perspectives in Music by Roger Sutherland. Sun Tavern Fields, ?30.00.

Given that there is no shortage of concise surveys of the contemporary situation of music, any new addition must provide a fresh and distinctive perspective in order to justify its position. While Sutherland certainly achieves a degree of individuality, his text is rendered distinctive through the somewhat idiosyncratic nature of both form and content rather than any new perspective it may claim to offer.

New Perspectives in Music by Roger Sutherland. Sun Tavern Fields, ?30.00.

Given that there is no shortage of concise surveys of the contemporary situation of music, any new addition must provide a fresh and distinctive perspective in order to justify its position. While Sutherland certainly achieves a degree of individuality, his text is rendered distinctive through the somewhat idiosyncratic nature of both form and content rather than any new perspective it may claim to offer.

The main body of the book consists of a mere 240 pages divided into 19 chapters which are grouped to encompass three larger categories: the European avant-garde, the American experi- mentalists and Transatlantic perspectives. The highly sectionalized nature of this structure produces a narrative which is both fragmentary and discontinuous. While this may, unintention- ally, reflect the true essence of much of the music under discussion, it makes the act of reading more problematic than it could have been.

The first large category, the European avant- garde, reveals the author's own subjective preferences, including specific chapters on Stockhausen, Xenakis and Nono. However, Sutherland's decision not to provide an individual chapter covering the contribution and achievement of Boulez seems rather perverse - the more so as the final chapter of this first section involves a commentary on the music of Bernard Parmegiani. While one welcomes the fact that Sutherland can find space to discuss a less-well-known figure, Parmegiani's presence alongside Stockhausen and Nono points up the devaluing of Boulez.

The second chapter, 'The Legacy of Webern', attempts to provide a background to post-1945 developments. Sutherland identifies Schoenberg, Webern and Varese as the 'three composers [who] decisively influenced the direction of post- war music'. While one would hardly question the significance or status of these figures, it seems an unnecessarily restrictive and exclusive list. As we move beyond the achievements of the immediate post-war situation the nature and identity of 'influence' has become increasingly diffuse and difficult to specify. For example, Sutherland later goes on to state that 'Berg has exerted very little direct influence upon post-war composers'. However, although it may be problematic to trace the influence of Berg upon the post-war avant-garde, his symbiotic relationship between tradition and innovation would seem to have become increasingly significant in relation to more recent developments.

The main strength of this book lies in the author's attempt to draw parallels between music and the visual arts. The discussion of the relation- ship between Feldman and Rothko is particularly interesting, even if somewhat predictable. However, the impression that emerges from Sutherland's narrative is that he is prepared to elevate those composers he considers to be responsible for 'the more radical innovations which have taken place since 1945' above those who have perhaps pursued a more integrative compositional and aesthetic perspective. This position leads to the effective exclusion of both

The main body of the book consists of a mere 240 pages divided into 19 chapters which are grouped to encompass three larger categories: the European avant-garde, the American experi- mentalists and Transatlantic perspectives. The highly sectionalized nature of this structure produces a narrative which is both fragmentary and discontinuous. While this may, unintention- ally, reflect the true essence of much of the music under discussion, it makes the act of reading more problematic than it could have been.

The first large category, the European avant- garde, reveals the author's own subjective preferences, including specific chapters on Stockhausen, Xenakis and Nono. However, Sutherland's decision not to provide an individual chapter covering the contribution and achievement of Boulez seems rather perverse - the more so as the final chapter of this first section involves a commentary on the music of Bernard Parmegiani. While one welcomes the fact that Sutherland can find space to discuss a less-well-known figure, Parmegiani's presence alongside Stockhausen and Nono points up the devaluing of Boulez.

The second chapter, 'The Legacy of Webern', attempts to provide a background to post-1945 developments. Sutherland identifies Schoenberg, Webern and Varese as the 'three composers [who] decisively influenced the direction of post- war music'. While one would hardly question the significance or status of these figures, it seems an unnecessarily restrictive and exclusive list. As we move beyond the achievements of the immediate post-war situation the nature and identity of 'influence' has become increasingly diffuse and difficult to specify. For example, Sutherland later goes on to state that 'Berg has exerted very little direct influence upon post-war composers'. However, although it may be problematic to trace the influence of Berg upon the post-war avant-garde, his symbiotic relationship between tradition and innovation would seem to have become increasingly significant in relation to more recent developments.

The main strength of this book lies in the author's attempt to draw parallels between music and the visual arts. The discussion of the relation- ship between Feldman and Rothko is particularly interesting, even if somewhat predictable. However, the impression that emerges from Sutherland's narrative is that he is prepared to elevate those composers he considers to be responsible for 'the more radical innovations which have taken place since 1945' above those who have perhaps pursued a more integrative compositional and aesthetic perspective. This position leads to the effective exclusion of both