“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.
With box office takings of £1.1m from 460 cinemas, the annual event has set a record for a music concert concert at UK cinemas. And that doesn’t mean just classical concerts: André Rieu’s army of fans turned him into a Take That- and One Direction-beating draw at the nation’s picture-houses, and, indeed, Picture Houses.
An alternate model? “A musical curator, someone who comes in for one year perhaps. Isn’t there something kind of exciting that someone could come in and talk about pop programming and jazz programming as well as chamber music recitals and what goes on at the CSO? For one summer? [They could] start working three years in advance, and we’d see what comes of it. I think we should explore that model.”
“You’re never really told how to feel when you look at a chart, even though it may have to do with something that is very human like income inequality or climate change. It ends up being just information that you don’t really internalize or contemplate. So I wanted to figure out how to take something like a chart but curate an experience in which you’d feel a certain way while listening to the song.”
That would be Harry Partch’s Delusion of the Fury. “For many years there was essentially only one set of instruments” – the ones the composer built himself – “capable of playing Mr. Partch’s largest works, which meant the pieces were rarely performed. But a few years ago Ensemble Musikfabrik, the German contemporary music group, decided to revive … Delusion of the Fury, and turned to Thomas Meixner, a percussionist and instrument maker, to build a new set of Partch instruments.”