The Head Chef and I recently saw an exceptional performance by Max Richter, a German-born
neo-classical composer who has crossed over into the indie-rock/ambient-techno
spaces in the past. His latest
release came on the classic classical Deutsche Grammophon label. Recomposed by Max Richter - Vivaldi-The
Four Seasons is pretty much what it says - a re-worked, re-imagined version of
that seminal composition, with some modern syncopathic touches and a generally
more urgent and, at times, dour take.
He performed the work in its entirety at the eclectic club Le Poisson Rouge,
one of my favorite spaces in the city; where else could one see both the Emerson String Quartet and F**ked Up within a 12 month
period!?
Mr. Richter was accompanied by Daniel Hope on violin, and a new in-house symphony
which goes by the name of Ensemble LPR, an elite assemblage of the finest NewYork-based concert musicians, according to their website. It doesn't specify is that they are
the finest "young" New York-based musicians; but that's what they are,
and they performed the piece with youthful gusto and flair, hitting every note
perfectly. (As somebody who is
"blessed" with perfect pitch, I'm quite sensitive to the slightest
mis-step, and would know. Don't
take me to a high school orchestra recital, to me that's the musical equivalent
of fingernails on the blackboard.)
A flier
distributed at the venue by Ensemble LPR muses that "a newcomer to
classical music might be forgiven for wondering:
Why, in the year 2012, is
the work of classical music so little a part of the larger cultural dialogue?
Why, in a city like New
York, is the work of orchestras and composers of so little relevance to the
lives of people who follow the arts, and to people who do not?
Why, among its peer art
forms, is classical music the least nimble and most conservative in its
patterns of thinking?
When did a genre dominated
by genius and virtuosi become sclerotic, rigid, unresponsive?"
Hmmm. Well, that sure seems familiar to us horse racing
enthusiasts, don't it? ‘Genius' surely wouldn't apply to our sport in the same sense it would to Vivaldi or
Beethoven or Haydn. But I suppose there's
something virtuosic about, say, training five Belmont Stakes winners in a row,
isn't there?
But a sclerotic
(I had to look it up too), unresponsive, non-nimble, industry which has become
largely irrelevant to the cultural dialogue? Yeah, that sure fits.
Ensemble LPR
laments that classical music is seen as being anachronistic; but it is to
me. There’s very little in the way
of “modern classical” that
interests me. And even that which
does hardly compares to the mastery of the Baroque era. However, while
one can surely argue that the best horses of today don’t compare to the best
horses of the past, the essence of the game of horse racing itself lives on. Sure, the product is diluted, the
grandstands are often deserted, the purses artificially propped up by a revenue
stream that is already being pecked away at, and which will continue to come
under attack. But the buzz as the
horses head towards the post and horseplayers scramble to get their money down
is as electric as ever at tracks like Saratoga and Del Mar and Keeneland and
Churchill. Because the game is the
game.
As I reach the
end of my 8th year writing – or, occasionally writing, as the case
may be – this blog, my views on how the game should be marketed have evolved. Horse racing is a gambling game. Period. It is not at all a sport in the sense that many would like
it to be. Forget about the notion
that we need stars and rivalries. We put too much emphasis on stakes horses, and on these "big" days with
short-field Grade 1’s. Nobody
cares about divisions and standings and Eclipse Awards.
The Breeders’ Cup is an unwieldy mess. We spend months obsessing over the Kentucky Derby,
which is a terrible race with which to attract new fans who can’t even pick out
their selection amongst the 20 horse melee; and often just a terrible race,
period. This game will live or die
by its ability to attract people who want to wager money on horses running
around a track, and it doesn’t matter if they are Grade 1 – whatever that even
means nowadays – or $10,000 claimers who have never won three races
lifetime. (And personally, I much prefer to bet on the latter.)
And the irony is
that, as a gambling game, horse racing is better than ever, a thousand times more so than just a quarter century ago.
One has an endless choice of betting options on every race, and races
from all the country to choose from that you can bet and watch from your living
room, or even on the go on your tablet or cellphone. So why
isn’t horse racing thriving at a time when seemingly every other form of gambling
is?
In large part
because the industry is…well, sclerotic.
The lack of a national organizational structure means that it lacks the
nimbleness to move past the hand-wringing and criticism over breakdowns and
drugs that it has been distracted with for the last several years. You can say what you want about what
you think about Joe Drape and the NY Times’ sensational and decidedly one-sided
front page coverage….and I’ve said plenty. But the fact is there wouldn’t be a Breakdowns – Death and
Destruction and Chaos and Whatever-The-Hell-They-Call-It series if the
industry was able to police itself in a common sense manner.
Unfortunately,
despite incremental steps taken in jurisdictions such as New York over the past
year – and only when forced to do so by clueless politicians and influential newspapers
with an agenda - this seems unlikely to change anytime soon. Surely not by the time the next Four
Seasons pass in 2013.
Perhaps there’s
an Ensemble Horse Racing out there with an infusion of young blood ready to
attack the matter with gusto and flair. Myself, I’m now long past that stage, and just enjoying the game and all of its modern conveniences
while I can. The
thrill lives on for me as much as it ever has. And despite all
its problems and challenges, I’m sure that the game will far outlive me.
- And now, while we're partially on the subject, I turn back to my other favorite pastime - music - and present my favorite records of
2012. They’re in alphabetical
order, but with the ones that were particularly special to me highlighted in
CAPS. (And a hat tip to whoever it
was I’m stealing that format from).
AARON DILLOWAY – MODERN JESTER (Hanson Records)
Animal
Collective – Centipede Hz (Domino)
Bob Mould –
Silver Age (Merge)
CLOUD NOTHINGS –
ATTACK ON MEMORY (Carpark)
Dinosaur Jr – I Bet on Sky (Jagwarwar)
Dirty Projectors
– Swing Lo Magellan (Domino)
El-P – Cancer For
Cure (Fat Possum)
FATHER JOHN
MISTY – FEAR FUN (Sub Pop)
GRIZZLY BEAR –
SHIELDS (Warp)
Hauschka / Hilary Hahn – Silfra (Deutsche Grammophon)
Metz – Self-Titled (Sub
Pop)
RECOMPOSED BY
MAX RICHTER – VIVALDI-THE FOUR SEASONS (Deutsche Grammophon)
SHARON VAN ETTEN
– TRAMP (Jagjaguwar)
The Shins – Port
of Morrow (Columbia)
SWANS – THE SEER (Young God)
Pete Swanson –
Man With Potential (Type)
The Walkmen –
Heaven (Fat Possum)
Honorably
Mentioned
Titus Andronicus
– Local Business (XL)
Killer Mike - R.A.P. Music (Williams Street)
Japandroids –
Celebration Rock (Polyvinyl)
Disappears - Pre-Language (Kranky)
PS I Love You - Death Dreams (Paper Bag)
New/Pending
Crystal Castles - III (Fiction)
Andy Stott - Luxury Problems (Modern Love)
Kevin Drumm - Relief (Editions Mego)