CAVE ART
The New Yorker|May 15, 2023
The Louisville Orchestra goes underground with Yo-Yo Ma.
ALEX ROSS
CAVE ART

To understand why Louisville, Kentucky, has a lofty status in the world of contemporary classical composition—a status reaffirmed the other day, when Yo-Yo Ma and the Louisville Orchestra presented a première inside Mammoth Cave, Kentucky’s chief natural wonder—you have to go back to 1948, when a singular character named Charles Farnsley became the city’s mayor. Deceptively folksy in manner, Farnsley professed nostalgia for the Confederacy and sported a Southern gentleman’s string tie. At the same time, he gravitated toward the progressive wing of the Democratic Party, dismantling aspects of segregation and promoting adult education. Most unusually, he adored modern classical music—the more dissonant the better. A writer for High Fidelity visited him in 1953 and found him demonstrating Ampex tape recorders at the public library. “Play me some Stravinsky and Villa-Lobos and some Edgard Varèse, boys,” he hollered.

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