There is a question that often pops into the upper front left piece of my brain. And it goes a bit like this:
- How does the music of today stack up against the classics?
- Are the likes of Beethoven, Tchaikovsky, and Bach just the popstars of yesteryear or are they the untouchable titans of the “art”?
- What artists could stand shoulder to shoulder with these musical “deities”?
Whew. Deep huh?
Anyhoo, the way I’ve been trying to break it all down is by looking at what music is trying to achieve. What did the masters of classical music hope to gain from their latest release?
As the majority were men, I would have to say it was, in order of importance:
- To pick up “the ladies” or “man ladies” depending upon the composer’s desires or if it’s Tuesday.
- To gain power and fame so he can get the ladies/man ladies.
- To get the cash. So he can impress the ladies/man ladies.
- To “rock out” with his mates.
- To contribute something beautiful to the world.
One would argue that the skills of these classical composers were superior to the “composers” of today. Yes one would, wouldn’t one. Would a woodchuck wood if a woodchuck could chuck wood? Wah?
Skills, yes, I digress.
And I think the answer is no.
Sure they could piece together bits of songs to be played by different instruments. This would build their songs into the thundering power ballads of old. Like Wagner’s Ride of the Valkyries. This apparently hit number three in the Ye Olde Billboardian Charts and had a video clip featuring female Scandinavian warriors riding in helicopters over Vietnam. I think.
I digress again. The point is that the composer built mood, emotion, power, anger, and blah into his music through instrument choice, tempo, and volume. Why make it any more complicated than that.
I’m sure his ability to read and write music notations was far superior to most musicians today, but hey, that’s what guitar tablature was invented for. It’s a bit of musical evolution.
Today’s artists are a little more restricted. It’s hard to find a dozen cellists and a piccolo player at short notice. They also compensate in other ways, and I’m not talking aluminium foil covered zucchinis here.
Synthesizers, 4-tracks, computers and Marshall stacks have replaced the orchestra with dramatic results. The composer of today now has the multiple instruments and the volume.
So by my reckoning the modern and the ye olde are on equal footing. Now to the rocking out bit. How does the music compare.
In the red corner is Beethoven and co. In the white are the modern artists like Mogwai, Nine Inch Nails and the Britney clones (or at least the people that write her err…music).
The red corner has the Swan Lakes, Four seasons, Canons in D major, the Valkyries, Boleros, and the Cello Concerto number 1′s in C major of course. These all make us cry, laugh, feel strong and want to dance.
In the white corner we have, in my mind, our own modern day classics.
- Sigur Ros – Hoppipollo. Beautifully emotive.
- Mogwai – Christmas Steps. Rising fury. Builds and builds. Smashes and fades.
- Sigur Ros – Svefn G Englar. The song that made them. Ethereal.
- Nine Inch Nails – Hurt. Beautifully interpreted by Johnny Cash. Showcases love and regret. Revenge and repose. Or does it?
- The Presets – Talk like that. Camp fantastic. Motivating and bawdy.
- Beastie Boys – Shake your rump. Rump*aah*. These boys can play. Just seminal.
A lot of what could be termed “epic orchestral” music these days comes from the much maligned Post-Rock genre, but bands like The Presets show that with modern tastes comes modern classics. Just take a listen to my “album of 2008″ Apocalypso and find out.
Like “they” say: Music is the shorthand of emotion. No matter who composed it. Nuff sed!

