{"id":16452,"date":"2017-12-15T15:33:11","date_gmt":"2017-12-15T14:33:11","guid":{"rendered":"http:\/\/blogs.nmz.de\/badblog\/?p=16452"},"modified":"2017-12-24T14:03:14","modified_gmt":"2017-12-24T13:03:14","slug":"everything-that-is-wrong-in-mozart-in-the-jungle-season-3-episode-9-creative-solutions-for-creative-lives","status":"publish","type":"post","link":"https:\/\/blogs.nmz.de\/badblog\/2017\/12\/15\/everything-that-is-wrong-in-mozart-in-the-jungle-season-3-episode-9-creative-solutions-for-creative-lives\/","title":{"rendered":"Everything that is wrong in „Mozart in the Jungle“, Season 3, Episode 9 „Creative Solutions for Creative Lives“"},"content":{"rendered":"

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Just when you thought it was safe to watch TV again a new series of \u201eMozart in the Jungle\u201c arrives, our favorite show that apparently exists in a parallel dimension to our dimension, a dimension where classical music is incredibly popular, where the stars look good without photoshop and where the audience screams with joy every time a conductor enters a stage.<\/p>\n

Season 3 is again loaded with the little inconsistencies and inaccuracies that we have come to love, as screenwriters try desperately to understand the world of classical music and very often get it\u2026completely wrong!<\/p>\n

Still, I love the show, and nitpicking these details is a lot of fun, as long as we don\u2019t confuse \u201eMozart in the Jungle\u201c with any kind of reality. Here we go again:<\/p><\/blockquote>\n

watch the episode here<\/a><\/p>\n

1) 00:45 \u201eA Pumperkanickle scone\u201c is what Rodrigo actually says (not \u201ePumpernickle\u201c). Is that some kind of in-joke?<\/p>\n

2) Basically the dress that Gloria wears must really hurt her boobs, no wonder she is in such a bad mood.<\/p>\n

3) Pembridge gives the premiere of his piece in the hands of his most inexperienced student? And the enthusiasm of the orchestra members for his music is endearing but unrealistic. In fact orchestra musicians are not that keen on conductors who mainly have made a name for themselves as conductors suddenly turning into composers. They would never spontaneously applaud them before the rehearsal but instead go \u201ehmph, let\u2018s see about that…\u201c.<\/p>\n

4) Pemberton as an experienced conductor should know that as a composer you either speak up directly in the rehearsal when something is obviously wrong, or you silently make a list of things to go through with the conductor after the rehearsal. You don\u2018t \u201eabduct\u201c the conductor from the rehearsal for an extended length of time, this would be rude. But perhaps Pemberton is just that, nervous as he is.<\/p>\n

5) Isn\u2018t it amazing how much time the nice lady from the bank spends with someone who is obviously mocking her with names of composers and mate gourds? In real life Rodrigo would not even get a meeting…<\/p>\n

6) 11:00…oh, these kids and old folks are so eager to \u201egather round in a circle\u201c once a man completely unknown to them enters the room and plays some chords on a piano. Even Rodrigo isn\u2018t THAT charismatic…<\/p>\n

7) 14:30 :\u201cthe new page 36\u201c in Pembertons piece would mean that it is a REALLY long piece. There are some evening long operas that have fewer pages in individual parts. Also, nobody seems to have 36 pages on their note stand.<\/p>\n

8) In a situation where the composer wants to change things in a composition it is actually always the composer who is \u201eright\u201c, even when he is annoying as Pemberton here. Most conductors would simply try to realize the changes, cursing under their breath.<\/p>\n

9) 15:50 If Esther wants to support the \u201emaestro\u201c, why is she leaving the rehearsal? And why is Pemberton so happy about it? It basically means she isn\u2018t playing the solo part in the piece he is trying to salvage.<\/p>\n

10) 16:15 \u201erewriting a part so somebody else can play it\u201c can definitely not be done as quickly as Hailey seems to suggest here.<\/p>\n

11) 17:11 The whole performance and rehearsal situation portrayed here is kind of ludicrous, but if it really was like that, comments like \u201eyou have to play with the blood\u201c would not help musicians at all in such a situation – organizing their sheet music and concentrating on the changes on a pure technical level would have top priority, not nuances of expression.<\/p>\n

12) 19:16 frenetic applause for a song that lasted 15 seconds.<\/p>\n

13) 22:41 it\u2018s kind of embarassing to see an experienced musician like Joshua Bell recite dialogue that he definitely would not say in such a situation, like \u201eit\u2018s not what you do with your hands, it\u2018s what\u2018s inside\u201c. No, Joshua, it is about your hands, because if nobody can understand what you are conducting it simply won\u2018t work. Also even Joshua would not attempt to play the premiere of a contemporary concertante piece sight-reading it, orchestra musicians might do that, but their parts are usually much simpler than a solo part.<\/p>\n

14) The great show in the memory of a great Czech woman composer consists mainly of vaudeville acts, improvised banter and the premiere of an old grumpy British composer. Not exactly women\u2018s lib going on here.<\/p>\n

15) 25:13 Joshua Bell barely looks at the music of a piece he has never seen before and plays it perfectly. That\u2018s pushing it, folks.<\/p>\n

16) And listening to the piece reminds us again that Pemberton should stick to conducting.<\/p>\n

17) 26:46 …and the ecstatic face expressions of Hailey have no relation to the music at all (the orchestra musicians would fall from their chairs laughing if anybody did that to that music). Also audience reactions are again completely exaggerated when listening to such an unassuming and unspectacular piece.<\/p>\n

Moritz Eggert<\/p>\n

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