“Andre Gremillet comes to Northeast Ohio by way of Australia, where he has served as managing director of the Melbourne Symphony Orchestra since November 2012. The distance notwithstanding, the administrator brings from there experience doing much of what the Cleveland Orchestra is still in the midst of doing here: connecting more deeply with its hometown while simultaneously raising its profile worldwide.”
“AEG and Live Nation [are] trying to buy every festival out there that can be bought. What you’re seeing now is a race to control the content of festivals. The competition shows how much the $6 billion North American concert industry—long focused on arenas, amphitheaters, and stadiums—is tilting toward music festivals, which offer dozens of artists, specialty foods and other amenities.”
“The debate has been enabled by social media and reflects changes in many artists’ attitudes toward the online economy over the last 15 years or so — a period that stretches from the rise of Napster and iTunes to online streaming outlets like YouTube, Pandora and Spotify, and has been accompanied by enormous changes in how money flows through the industry.”
“The last Music Row store, Alex Musical Instruments, is closing in a few months, owner Alex Carozza tells The Post. Carozza’s landlord would have let him stay if he agreed to a rent increase from $4,000 to $12,000 a month. No thanks, says the shopkeep. By the end of the year, Music Row will officially be dead.”
“I think it will be a while before we see any massive surge, not necessarily because of politics but more because of mentality. Most Cuban artists and producers do not fully understand the American market per se. Their lyrics are extremely local and the level of production is poor in most cases, due to the lack of technological knowledge and expertise.”
“It’s easy to blame new technologies like streaming services for the drastic reduction in musicians’ income. But on closer inspection we see that it is a bit more complicated. Even as the musical audience has grown, ways have been found to siphon off a greater percentage than ever of the money that customers and music fans pay for recorded music.”
After a two-year hiatus, the erstwhile Center City Opera has re-emerged with a new name (that doesn’t include the word opera) and mission, a four-shows-in-18-days summer festival format, a new home (the Prince
Music Theater, itself recently brought back from the dead), a world premiere, two local premieres, and the musical version of Heathers.
“Awadagin Pratt, who was dismissed by executive director and CEO Mark Ernster on July 8, will continue in the role of artistic director. The competition also announced on Wednesday that Ernster resigned from his position on July 20. Board chair Jack Rouse, who had resigned on July 8, returned as chairman on July 26.”
“When the developer Erik Kemp designed the first metadata system for MP3s in 1996, he provided only three options for attaching text to the music. Every audio file could be labeled with only an artist, song name, and album title. Kemp’s system has since been augmented and improved upon, but never replaced.” Robinson Meyer explains why Apple’s music software is such a disaster at handling classical (and other kinds of) music.
“In a typically Cageian manner, he announces he will make music out of seemingly unmusical objects. The piece, he explains, is called Water Walk ‘because it contains water and because I walk during the performance.'” When told that audience members might laugh, he said, “Of course. I consider laughter preferable to tears.” (video)
“I rediscovered my love for writing music. The young campers offered up creativity in its purest form. They were interested in making their own music without consideration for genre, marketability, or careerism, but rather with the intent of simply writing the music that they wanted to write. There was little angst associated with their writing process.”
“But why Phaedra in a Beckett festival? Yes the Racine/Lowell/Britten links were evident, but how to join Beckett and Racine? I had to trace my own constellation of connections from one great artist to another and, without wanting to deny the audience their own chance to join the dots, here are just a few of the discoveries made.”
“Music, at least in terms of noodling around on the piano, strumming a guitar or trying out new things on the violin, actually hardly features in the struggle. Typically, this is all about grades, age and a formal classical instrument, a trio which is locked together in a pressurised algorithm calculated to result in a place at a youth orchestra or decent secondary school.”
“Now that I’m an adult, now that I’m a father, I understand the world a little better. And I understand sometimes more than people think I understand. You know when you are in a turbulent situation, you have to see beyond the turbulence instead of putting more things in the turbulence. That is Maestro Abreu’s vision.”
“Classical radio is a business like everything else, and the American Public Media Group has the right to sell a station to any entity they like and for any price they deem acceptable. But the manner in which the company went about doing so was wrong, unconscionable and, frankly, despicable. … But what are the prospects for a new classical station arising from the ashes of Classical South Florida? To be honest, not great.”
So why do so many artists take this route? Well, it allows them to reassert their musical bona fides, and even when critics find said bona fides wanting, these efforts tend to net tremendous commercial success. These albums tend to fall into three basic categories: Legitimate, Enh … Passable, and — how to put it? — This is Not Your Best Work.