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Spiritual states. "Repentance", "the absence of God", "redemption", "joy". that sort of thing. Bach's music is highly formalised but, like Shostakovich's Opus 87, it's also, and necessarily , expressive at the same time. It's actually impossible for it not to be. Rather than address my various criticisms, Fanning prefers to dismiss as "an 81-page diatribe" the essay ("Naive Anti-Revisionism") in which they appear, venturing no comment on them whatever. While he has said little, if anything, in the past about From Jewish Folk Poetry , Fanning's similar failure to address my rebuttal of Laurel Fay's contentions about the work (in the same essay) provides further evidence of his habit of intellectual evasion. However, the most extraordinary instance of this tendency occurs in his interview with Rodion Shchedrin in the September 1997 of Gramophone , where he sarcastically recounts his attempts to "deflect" Shchedrin from "extra-musical generalities" and "get him onto the specifics of his music". The "extra-musical generalities" to which Fanning refers include Shchedrin's remarks on the political realities of working under totalitarian conditions and the following observation on the experiential background to art created in this way: "Stalin killed 60 million people. Not one family was untouched. I lost two uncles, and both my father-in-law and mother-in-law were in prison." Fanning dismisses this statement with the dry comment that "[Shchedrin] rehearses Russia's tragedy yet again". From someone whose knowledge of the background is demonstrably as scant as his published references to it, Fanning's dismissal of Shchedrin's testimony constitutes both evasion on a grand scale and precisely the detachment of art from context upon which the concept of "pure music" is based (and which he elsewhere stoutly denies in theory and practice). There is no mystery to Fanning's Janus-faced attitude on this topic. Were he to do Rodion Shchedrin the honour of accepting the terms in which he sees his own music (as Fanning has often done with respect to the comparatively trifling terms in which Western modernists present their work), he would be faced with context at such a pitch of significance that he might never be able to escape into the score-limited "specifics" which are his natural milieu. In order to justify this act of evasion, Fanning adopts the position that the background influence on the music of Soviet composers is well-established and requires no further exegesis. He has told me that "everybody knows" about the Soviet background, implying that time spent on elucidating it is wasted and that Shostakovich criticism should now concentrate on technical analysis of the scores. "Surely," he declared at the Boston AMS meeting, "the battle for integrating cultural context into Shostakovich commentary has long since been won?" If this were the case, one would be entitled to ask: won by whom? Certainly not by Fanning, who has mentioned virtually nothing about such cultural context in anything he has written about Shostakovich during the last twelve years. “More than 10 years after the iPhone’s release, it is a cliche to point out the ubiquity of Apple’s devices among children and teenagers, as well as the attendant growth in social media by this group,” the letter stated.
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