Back in the day, when sports columnists were a daily presence, my job description included having an opinion on the national college football championship.
Often, this entailed being in warm places on New Year’s Day, which is the best thing I can say about covering the loopy methods of judging teams with differing schedules playing in different bowl games. Bowl games got me to Pasadena or Miami. What can I say?
Now that I am retired, I pay no attention to any form of football. Instead, I am free to follow another highly imperfect ratings system, closer to my heart and ear – the annual vote for the best classical music, as conducted by the invaluable station emanating from my home town (and live on the Web) WQXR-FM, 105.9 on the dial.
The station has been conducting this poll since the mid-‘80s, asking listeners to rank their favorites. The results are played in the annual countdown in the last week of the year, generally reflecting the programming of the station – the old favorites, often presented one movement at a time.
During the countdown, the station also conducts a running blog (results not updated as quickly as listeners would like) including commentary from the faithful in distant states and foreign lands. Many of respondents are passionate about wanting" More variety! More medieval music! More Reich and Glass! More music by African-American composers! More music by women!
Plus, there is the rampant suspicion that some Gilbert & Sullivan supporters pack the ballot box, just like voters in some towns and states I could name.
And some listeners question whether Gilbert & Sullivan is actually classical music. I pass on that one.
My feeling is, the annual countdown reflects the tastes of people who support WQXR and live classical music in New York. More power to them.
Still: every year I make a small list of music I play at home, and I hope some of it will slip into the countdown. As my friend Vic Ziegel, who introduced me to the strange charm of the racetrack, used to say about the track announcer: “At least give my horse a call.”
In the past few couple of years, I have been trending toward chamber music at home because it is self-contained, providing a welcome alternative to the toxic earworms on the air waves.
--In an ugly time, I have become infatuated with Ravel’s “Pavane for a Dead Princess,” for its beauty and pace and dignity.
--I often choose “Butterworth/Parry/Bridge,” its three composers taking me back me to lazy summer days, visiting a friend in the Brecon Beacons of Wales.
-- I was rooting hard for something by Florence Price, the composer whose work is often championed by the wonderful Terrance McKnight on his evening gig, not just in Black History Month, either.
--Because we are blessed to have two good friends comprising half of the New Zealand String Quartet, we have their works by Bartok, among others.
-- But the work I was really hoping for was Sir William Walton’s Violin Concerto, performed by Kyung-Wha Chung. I still remember the first time I heard it: I was a news reporter in the late ‘70s, driving to meet some nuns in jeans and sweatshirts who did the Lord’s work in the South Bronx. But when this stunning piece appeared on my car radio, I sat and listened for the full half hour.
Alas, this beautiful piece is not easily found on vinyl or CD – and is not in the WQXR top 120, either. Not even, in racetrack parlance, a call.
The 2019 list does include many things I love, including a few pieces by Erik Satie, Samuel Barber’s “Adagio for Strings,” and – No. 4 in the poll -- Dvorak’s “From the New World.” The older I get, the more I appreciate Dvorak, for his music and also for his love for two worlds, Bohemia and America.
I missed it live, but there on the list at No. 68 was a very modern already-classic, "The Armed Man: A Mass for Peace," by Karl Jenkins, first performed in 2000, which I heard for the first time in the past year.
However, the piece that really knocked me out was No. 109, Gustav Mahler’s “Symphony No. 8 in E-Flat, Symphony of a Thousand,” by the San Francisco Symphony, Michael Tilson Thomas conducting, with wonderful soloists and choruses. It made me stop what I was doing and just listen.
At the end, Beethoven placed six in the top 10. I have no quarrel with the selections because the voters care about “their” music. It’s up to us to seek out the music we love, and play it, and pay for it, early and often.
Happy New Year.
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The current results:
Plus, check out the blog with informed and passionate comments by listeners: .
And for comparison, the two most recent results.
More and More, I Talk to the Dead--Margaret Renkl
NASHVILLE — After my mother died so suddenly — laughing at a rerun of “JAG” at 10 p.m., dying of a hemorrhagic stroke by dawn — I dreamed about her night after night. In every dream she was willfully, outrageously alive, unaware of the grief her death had caused. In every dream relief poured through me like a flash flood. Oh, thank God!
Then I would wake into keening grief all over again.
Years earlier, when my father learned he had advanced esophageal cancer, his doctor told him he had perhaps six months to live. He lived far longer than that, though I never thought of it as “living” once I learned how little time he really had. For six months my father was dying, and then he kept dying for two years more. I was still working and raising a family, but running beneath the thin soil of my own life was a river of death. My father’s dying governed my days.
After he died, I wept and kept weeping, but I rarely dreamed about my father the way I would dream about my mother nearly a decade later. Even in the midst of calamitous grief, I understood the difference: My father’s long illness had given me time to work death into the daily patterns of my life. My mother’s sudden death had obliterated any illusion that daily patterns are trustworthy.
Years have passed now, and it’s the ordinariness of grief itself that governs my days. The very air around me thrums with absence. I grieve the beloved high-school teacher I lost the summer after graduation and the beloved college professor who was my friend for more than two decades. I grieve the father I lost nearly 20 years ago and the father-in-law I lost during the pandemic. I grieve the great-grandmother who died my junior year of college and the grandmother who lived until I was deep into my 40s.
Some of those I grieve are people I didn’t even know. How can John Prine be gone? I hear his haunting last song, “I Remember Everything,” and I still can’t quite believe that John Prine is gone.
Jan. 30, 2023