Try to Blend in

by Peter Burwasser

In my current rotation of listening is a CD of piano music by John Cage as played by Bosnian-born pianist Pedja Muzijevic (on Albany Records). For no particular reason, he intersperses the short, fascinating sonatas and one interlude with music by such diverse composers as Scarlatti, Liszt and Schumann. The effect is seamless. It isn't new music or old, just music. It works because Muzijevic is simply playing music that he likes, applying the same enthusiasm and technical wherewithal in equal doses.

This kind of programming is still pretty rare in the concert hall, although there are signs of change. One local ensemble has been at it for 20 years. When Orchestra 2001 started out, the emphasis was on new music. But director James Freeman loves Mozart as least as much as he does George Crumb, and so early on scheduled such things as classical piano concertos in the unusual position of odd man out in a new music concert. The effect was refreshing as all get out at first, but the lack of any pretension or agenda rendered the concept as natural and easy to experience. Both the new music and the old benefited from each other's company.

The guide to live new music that Philadelphia Music Project publishes (newsoundsphiladelphia.org, which will relaunch for the fall season on Oct. 15) is encouraging the concept, now including any ensemble which programs anything at all that dips into the modern age. The Philadelphia Orchestra is placed into this category, which is ironic, as they are embarking on one of the most conservative seasons I can recall. Even the stodgy Sawallisch included new music in his tenure as music director, and Eschenbach was a committed friend to living composers. Commitment is the last word I would use as relates to new music in the interim Dutoit era.

The Philadelphia Orchestra, in their defense, must sell tickets, and it is perhaps asking too much to expect this bastion of tradition to be a leader in the encouragement of new music (although it would be wonderful if that were ever to be the case). Where the commitment is really lacking is on the part of audiences. To ignore new music is to ignore music, period. At the risk of sounding preachy, it might even be fair to say that it is the duty of traditional classical music audiences to support new music.

(p_burwasser@citypaper.net)