It seems to be true that if you hit it
big, you can become a jerk (or maybe you always were one), and people
will allow it. This even seems to hold true in the rather tiny world
of composing within the tradition of classical music, where there is
usually no real money to be made for 99% of those attempting in one
way or another to make some kind of living.
Photo: Oswaldo Golijov (perhaps the dude pictured on the music on the piano might be the next rip-off target, hmmm?)
This post is my take on the Oswaldo
Golijov musical plagiarism debacle, scandal, or tempest in a teapot, depending on who
you want to agree with. The story starts somewhere- but that
beginning is kind of murky. You almost have to sleuth this one
backwards in time and use something called a brain to get it right for yourself. Mr. Golijov's simplistic explanation these days is not to be trusted- it's a fairy tale all about a melody and a few
other strands of musical material he claims he and another person
devised in the past and how it came to be used (over and over and
over- hmm). Oh, by the way, Mr. Golijov is an uncle to half of Milli
Vanilli.
Here's how things unfolded, as
explained by Anne Midgette of the Washington Post
"This week finds the composer Osvaldo Golijov dealing with accusations of plagiarism: his piece “Siderus,” co-commissioned by a consortium of 35 orchestras, premiered in 2010 in Memphis, appears to contain chunks of a work by the accordion player Michael Ward-Bergeman. The piece was played by the Eugene Symphony this past weekend, and two men in the audience -- Tom Manoff, a critic for NPR, and Brian McWhorter, a trumpet player -- were startled to recognize large chunks of Ward-Bergeman’s piece, which they happened to know intimately because they had worked together on a recording of it.”
You'll need to ead the whole article
here (you can also Google “Golijov” and find plenty more news
and opinions):
The highly respected arts commentator
Alex Ross and many others have weighed in on the subject, some
defending Golijov's pastiche and “borrowing” (citing the long
history of such in classical music) while others have gone for
Goliyov's jugular. These folks point out that he's done this before,
and in addition he's abused the musical world by being late on
fulfilling commissions, submits works substantially shorter than the
agreed upon commission length and other offenses. After a period
during which he ignored the situation, Golijov finally offered up a
pale explanation and pretty much no apology. In regard to his
tardiness in fulfilling commissions his only response was “Composers
shouldn’t be judged by being late,” he said, “but by being
good.” Wow, tell that to an orchestra's artistic staff, music
librarian, publicity department, and so on. They'd be thrilled to
hear that, eh?
I bring this all back up because current news reveals that a Golijov
violin concerto promised for premiere in the Spring of 2011 and more
recently scheduled for a performance in April 2012 has not been
finished. The next scheduled performance of this phantom piece is set
for Fall 2012. We'll see if it gets delivered in time for that and if
it is just “Barbeich” and “Siderus” rearranged Pizzicato
Polka style perhaps? In addition, more people are also discovering
that the “Siderus” piece and its relationship to Barbeich” is
actually preceded by a Golijov piece called “Radio” commissioned
and paid for by a NYC group. So apparently this ”amazing” music
is so important to the universe that it keeps appearing with
different names, as a commission paid for over and over by countless
foolish groups, etc. Or could there be a connection to the Mayan
calender predicting the end of the world in December 2012? Will the
celestial tones of Radio/Barbeich/Siderus reverberate around us all
in the final moments of our existence? This, I believe, is why we
should cut Golijov slack, my friends. He has been chosen by the
universe to composer music for our end credits.
New thought flash- why do the titles of
all these pieces sound like the names of Cirque du Soleil shows? And
actually, don't the pieces sound like Cirque music?
One cool dude, composer David
MacDonald, has actually put together a side by side comparison in
real time of Siderus and Barbeich- oh my Lord, the pieces are in the
same key and even the same exact tempo- amazing.
One other thing I am amazed by- all of
the many consortium commissioning orchestras are (at least publicly)
just accepting this piece and not a single one has complained out
loud or, to our knowledge, asked for their money back. Could it be
they are too embarrassed to want to say anything for the record- to
admit they were too stupid and musically uninformed to know this was
all happening? It actually makes me grin to think that this piece
(which no matter the controversy- is pretty lame and musically
inconsequential) was in honor of Henry Fogel, who made a big mess
managing the Chicago Symphony Orchestra here in Chicago after Georg
Solti retired. We are just now getting back on track after dozens of
years of decline. Thanks to Fogel's successor, Deborah Card, and
Riccardo Muti we're putting the recent dreadful and dreary Henry
Fogel/Daniel Barenboim days behind us.
So as people yammer back and forth
about whether Golijov's behavior was acceptable as a composer/human
being/signer of a contract, etc. here is what people have forgotten
to talk about and what I want to add to the discussion-- and what is
actually more important than Golijov and his ego: how this affects
all the many other talented orchestral composers who would have
leaped at an opportunity to write a “new” (whatever that means, I
guess) piece for thirty-five top orchestras and accept the lucrative
fee that went along with that contract and job. This would be a dream
come true for many very skilled composers out there, and possibly a
breakthrough for someone who did it well. But no, the big gig and the
big money goes to the “name” composer even if he is an asshole.
He can gleefully rip off other people's pieces or slip them some
money for their piece, stick his name on them, deliver them late
and well short of the duration time requested like he doesn't care, and laugh all the way to the bank. I recall
hearing recently about another big name composer who was two years
late with a choral commission. Why didn't the choir just cancel the
contract and demand that their deposit be returned? They had every
legal right to do so. But they let the big name slide because I guess
the big-name is so very ”special”. So my focus here is how do talented,
but lesser-known composers feel when this stuff happens? Personally
in the choral field I'm doing pretty well- so while this situation
steams me quite a bit, I can't even truly imagine how much it steams talented and reasonably ambitious, yet still ego-healthy orchestral
composers who have difficulties getting their music known.
Hmm, maybe I should ask a few of them- so I did ask one - and here are some of
the thoughts of Thomas Dempster, a very fine composer, please visit
Tom's website at www.thomasdempster.com :
The most-prominent and revered
composers working in America today largely need to…
a) stop biting off more than they can chew regarding commissions and other such things by taking so many…
b) be brought back down to Earth and reminded that they are human as well and should therefore suffer with the rest of us…
c) not be given carte blanche regarding deadlines for important commissions when there are hundreds of us out there who write as-good (if not “better”) music champing at the but…
d) all of the above.
I’ve never particularly liked Golijov’s music or his compositional voice. It’s like someone spilled more dissonances on Manuel de Falla and mixed with B-level John Adams all while pretending to be Jon Brion or Howard Shore. But even then, I respected him. Ainadamar is a fantastic piece and should really go down as one of “the” operatic works of the next 50 years, despite what I think of it aesthetically or personally; technically, it works, and it's Golijov's voice, as best as I can tell. It's authentically his.
I have lost any sort of respect for Golijov after this debacle, though, and I hate what this could do to corporate and citizen sponsors of new-music composers, at least for the short term. This also makes all composers (or further reinforces the notion, false or not) seem like thieves or unoriginal. We’re original insofar as our influences become confluences: Americans who speak English all speak slightly differently from each other, and it’s those voices different from our own that pique our interest the most. We’re original insofar as our own voice has been shaped and is mature and can offer a rich vocabulary beyond the constabulary of neutrality that inhabits the vast majority of musical spaces. And Golijov went on and inverted that and created an affront to something we aspire to. Especially since Sidereus - his (or “his”) piece in question - is actually noticeably different from his regular voice, and the piece itself - beyond the, ahem, extended Ward-Bergeman “quotation” - is too sparkling, too riddled with consonance, too jagged at transition points to really be Golijov’s, in the biggest sense of the word. This is not a stylistic shift or a new development - this is Golijov affecting an accent, and he was called out on it.
Most troubling is the silence that emerged afterward. There were no discussions, publicly anyhow, among the consortium of orchestras that commissioned Sidereus to pull the performances or ask for a refund. Ward-Bergeman hasn't gone on record, and I question the ethics of that small-name composer if he was willing to part, for a price, with a piece of his, knowing he'd not receive continual credit or recognition, knowing he'd never be able to.
But then, we have to consider the cover song in pop music. To some degree, one artist buys out another through licensing and freely takes on the role of reconstruction worker to remake the song in his or her own voice. It may be a model shift or a difference in culture, but in art music, the quotation is short and well-placed; a quotation isn't the complete work spun round with someone else's name on it. There is no culture of a "cover artist" in classical composition - the closest we come is in having different ensembles and performers, but it's practically unheard of for a composer to "cover" another composer. And I largely don't think the art-music culture will ever embrace that.
a) stop biting off more than they can chew regarding commissions and other such things by taking so many…
b) be brought back down to Earth and reminded that they are human as well and should therefore suffer with the rest of us…
c) not be given carte blanche regarding deadlines for important commissions when there are hundreds of us out there who write as-good (if not “better”) music champing at the but…
d) all of the above.
I’ve never particularly liked Golijov’s music or his compositional voice. It’s like someone spilled more dissonances on Manuel de Falla and mixed with B-level John Adams all while pretending to be Jon Brion or Howard Shore. But even then, I respected him. Ainadamar is a fantastic piece and should really go down as one of “the” operatic works of the next 50 years, despite what I think of it aesthetically or personally; technically, it works, and it's Golijov's voice, as best as I can tell. It's authentically his.
I have lost any sort of respect for Golijov after this debacle, though, and I hate what this could do to corporate and citizen sponsors of new-music composers, at least for the short term. This also makes all composers (or further reinforces the notion, false or not) seem like thieves or unoriginal. We’re original insofar as our influences become confluences: Americans who speak English all speak slightly differently from each other, and it’s those voices different from our own that pique our interest the most. We’re original insofar as our own voice has been shaped and is mature and can offer a rich vocabulary beyond the constabulary of neutrality that inhabits the vast majority of musical spaces. And Golijov went on and inverted that and created an affront to something we aspire to. Especially since Sidereus - his (or “his”) piece in question - is actually noticeably different from his regular voice, and the piece itself - beyond the, ahem, extended Ward-Bergeman “quotation” - is too sparkling, too riddled with consonance, too jagged at transition points to really be Golijov’s, in the biggest sense of the word. This is not a stylistic shift or a new development - this is Golijov affecting an accent, and he was called out on it.
Most troubling is the silence that emerged afterward. There were no discussions, publicly anyhow, among the consortium of orchestras that commissioned Sidereus to pull the performances or ask for a refund. Ward-Bergeman hasn't gone on record, and I question the ethics of that small-name composer if he was willing to part, for a price, with a piece of his, knowing he'd not receive continual credit or recognition, knowing he'd never be able to.
But then, we have to consider the cover song in pop music. To some degree, one artist buys out another through licensing and freely takes on the role of reconstruction worker to remake the song in his or her own voice. It may be a model shift or a difference in culture, but in art music, the quotation is short and well-placed; a quotation isn't the complete work spun round with someone else's name on it. There is no culture of a "cover artist" in classical composition - the closest we come is in having different ensembles and performers, but it's practically unheard of for a composer to "cover" another composer. And I largely don't think the art-music culture will ever embrace that.
Thanks to Tom for sharing his thoughts.
And many composers who continually get passed over for good
opportunities and commissions eventually tire of the situation and
just quit composing, a really sad loss in my opinion. And I will say
for myself, I hate Golijov's attitude about this- he has no respect
for the performers or the organizations and makes all composers look
like jerks. I resent having to being guilty by association because of
him and others like him. I've never been late on a single commission
and I have never rushed a piece just to finish one. We'll see how
Golijov's world develops as hopefully, some people become wary of his
behavior, but for now I just wanted to get my two cents worth in about
how unfair this is to the many struggling composers out there who
truly are trying to compose with a fresh, personal voice of their
own.
Oh, by the way, lately I've seen some
composer contracts that actually state that the composer signing the
contract must write the piece him or herself. This looks to be one
obvious result of the Golijov debacle, I guess. It's fine with me,
but kind of evidence that what he did is now held against the rest of
us.
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