The Cultural Revolutionaries at the New York Times this week reviewed the witch hunt against classical musicians, who stand accused of racism simply because the great Western composers happened to be white. Cancel culture is despicable in all of its manifestations, but I take this particular instance personally: I trained in the school of musical analysis founded by Heinrich Schenker (1868-1935). My principle teacher was Carl Schachter, who also taught Prof. Timothy Jackson of the University of North Texas, the target of this particular witch hunt
It’s all about envy.
My childhood piano teacher kept a recording of Florence Foster Jenkins, the deluded society lady portrayed by Meryl Streep in a 2016 comedy, as a horrible example for youth. Her voice would de-feather a screech-owl, but no-one was allowed to tell her she couldn’t sing. The only classical musician still active who bears comparison to Ms. Jenkins is a certain Philip Ewell, now a professor of music theory at Hunter College, who posts videos of himself torturing a cello until it squeals in pain. Prof. Ewell is African-American and has won his fifteen minutes of fame by denouncing whiteness in classical music.
All this would be of scant interest except that Prof. Ewell has become the scourge of alleged racism in the classical music world, and may have succeeded in extirpating from the academy a grand tradition of musical analysis that began with Beethoven. Ewell also dismisses Beethoven as merely “an above average composer” whose prominence erases the contribution of composers of color. Thanks to Ewell’s rampage against supposed white supremacy in classical music, the living chain of teacher-to-pupil transmission of this aspect of Western civilization may be broken irreparably.