Also this issue:

Bad Is Good
There’s a reason for the sudden success of The Bad Plus.
-Nate Chinen

Minister of Information
This is Al Jourgensen’s United States of Whatever.
-A.D. Amorosi

Litmus Test
Clayton the Chemist-Sean O’Neal

The Mercury Program
-Paul Burress

Philomel
-Peter Burwasser

My Morning Jacket
-Brian Howard

Cousteau
-Nicole Pensiero

Strawbs
-Nicole Pensiero

May 1- 7, 2003

music

suitespot

Peter Burwasser on Classical

Children’s concerts are a staple of any season, and they are still, in general, a good introduction to classical music for the younger set. Peter and the Wolf does it every time. But as usual, the adult world gives children less credit for intelligence and imagination than they are due, and many traditional children’s concerts can be condescending and boring to much of their intended audience.

As a father to a 10- and a 13-year-old, both of whom have been dragged to countless concerts since they were old enough to understand "shhh!," I would like to offer two surprising alternatives to the standard juvenile fare, both forms of music widely available in Philadelphia: opera and new music. Opera has only become a sensible option for children since the advent of supertitles, which offer continuous translation. Due to the simplification of the dialogue, the projected English is easy to follow for even early readers. And most opera features broadly drawn dramatic gestures that convey the power of the theater without the need for a sophisticated viewpoint. Mozart has been a special favorite, especially The Marriage of Figaro, but even Verdi and Britten have received unwavering attention, and much post-event buzz. A good sword fight can never hurt. Student productions from AVA, Curtis and Temple are especially rich, and affordable, resources.

New music, as well, may not always have been a prudent choice for children, but as that world has become more eclectic and allowed for a much greater degree of humor, new music has become more accessible for all ages. The locally based ensemble Relâche has been a reliable exponent. At a recent Relâche concert at the Wagner Free Institute of Science, I did not see any other kids besides mine, which was too bad, because they were at least as excited about the exotic blendings of history and music that this unique venue afforded as any adult. A much earlier Relâche concert I took my son to provided this oldster with a flash of revelation. As I looked around the hall, I noticed most people sort of staring out into space. Perhaps they were enjoying something about the music. Then there was my young Lee, bobbing his head up and down to the beat, and grinning. The boy was in the groove. In his blissful naiveté, he had not developed any odd prejudices against the music of his time. Hopefully, he never will, because there can be no doubt that his ears, and those of his peers, contain the future of this art.