Mozart in the Jungle: A Beautiful Dumpster Fire

Mozart in the Jungle: A Beautiful Dumpster Fire

There’s a moment in the first episode of Mozart in the Jungle when the camera cuts to a lively party in progress at a spacious New York City apartment. Young people are scattered throughout the room, which is abuzz with chatting and drinking. One character scratches a record back and forth on a turntable before the “Toreador Song” from Bizet’s Carmen begins to play over the speakers. Gleefully, the character shouts:

“Let’s get Biz-AYYY!”

It was then my suspicions were confirmed—this show was going to be a glorious mess.

The first season of Mozart in the Jungle dropped on Amazon Prime Video in December 2014. It continued for three more seasons before ending its run in 2018. Loosely based on Blair Tindall’s memoir of the same name, this fictional dramedy series follows the story of young oboist Hailey Rutledge (played by Lola Kirke) as she tries to make it in New York City’s vibrant and competitive classical music scene. Along the way, she must navigate musician egos, backstabbing, blackmailing, mounting expectations, and performance anxiety, not to mention lots of sex, drugs, and alcohol. Sounds fun, right?

Let’s call this one “Mozart in the Jungle out-of-context”

Whenever classical music appears in films or TV shows, the results are always a mixed bag. They either stretch the truth (as much as I adore Amadeus, it’s not the most historically-accurate portrait of Mozart or Salieri), present it as a symbol of the upper-class elite and/or notorious villains (hello, Mr. Bond), or just miss the mark entirely (nothing like trying to sell more Volvos with the music of an unhinged, manipulative mother who’s trying to get her daughter to kill someone). However, there are occasions when the media does get it right. (I’ve always been a fan of this iPad commercial starring Esa-Pekka Salonen.) So, the appearance of Mozart in Jungle sparked lots of excitement and trepidation in the classical community. Would the series finally get classical musicians—and the music itself—right for once?

Well, yes and no.

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Reflections on the Aspen Music Festival and School’s 2021 Season

Reflections on the Aspen Music Festival and School’s 2021 Season

As Joni Mitchell so aptly put it in her 1970 song “Big Yellow Taxi,” you don’t know what you’ve got ’til it’s gone. If the pandemic (and the year 2020 in general) has taught us anything, it’s that very lesson. Though the year was abysmal for numerous reasons, for many people—myself included—the gradual cancelation and ultimate absence of live music was one of the more disappointing casualties of that raging dumpster fire. As the months dragged by, I couldn’t wait to sit in a darkened concert hall once again and even surmised what the experience might look like in a post-COVID world.

The cover of our 2021 program book. The lovely artwork is by the Aspen-based artist Isa Catto.

Although we’re not in a post-COVID world quite yet, live music has once again become a reality. (At least, for now… PLEASE get vaccinated, people!!!) Because of this, I recently had the opportunity to spend a third summer working as the Assistant Program Book Editor at the Aspen Music Festival and School. While program book and various other work responsibilities took up a sizable portion of time—i.e., lots of proofreading—I was still able to attend several concerts during the Festival’s eight-week season. This was, in a word, wonderful. After spending well over a year getting my music fix from live streams and Spotify, it was so, so refreshing to hear in-person concerts again (and in the gorgeous mountaintop setting of Aspen at that). Though concert protocols looked a bit different than normal years—mask-wearing, distanced seating, etc.—it was nonetheless a memorable summer filled with some incredible performances.

I’ve always wanted to do some sort of post-season wrap-up of my summers at the Festival, but the looming responsibilities of grad school always (rudely) got in the way. Well, since I’m now solely writing my dissertation—not that this isn’t a looming responsibility in itself!—and don’t have to worry about classes, I thought this would be the perfect year to compile some thoughts on Aspen’s 2021 season. That said, here are a few of my favorite concerts and performance highlights from the summer:

Favorite discovery: Fanny Mendelssohn Hensel’s String Quartet in E-flat major

While the music of Felix Mendelssohn is justly celebrated, it has too often eclipsed the output of his just-as-talented sister, Fanny Mendelssohn Hensel. This is slowly starting to change, though, as musicians begin to grant Hensel a rightful place in the spotlight. One such case occurred at a recital presented this summer by the Pacifica Quartet. Alongside quartets by Florence Price and Sergei Prokofiev (both marvelous works), the program featured Hensel’s sole String Quartet in E-flat. I only became aware of Hensel’s output several years ago, but this piece eluded my radar for some reason. Hearing it for the first time at this concert was a delicious surprise—it’s a brilliant work packed with craft, lush beauty, and charming wit. My favorite moment: in the second movement, Hensel throws in a short fugato as if to say to her nineteenth-century haters, “Oh, so you think women composers can’t write counterpoint? Well, how does it feel to be WRONG?” (There’s also a fiendishly difficult cello part in this movement that actually made me chuckle out loud.) A truly wonderful discovery.

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