“Culture Minister Marianne Jelved said on Tuesday that she has signed a new public-service agreement with broadcaster DR that will see the 42-person orchestra shut down as planned. Jelved said that although a majority of parliament was against the closing of the orchestra, politicians were unable to come up with a realistic alternative for funding it.”
Peter Phillips, director of the Tallis Scholars: “The standard of singing in our liturgical and concert choirs has steadily gone up, to the point where many non-Christian composers now feel able to express themselves fully writing for them. … Sacred choral music has aligned itself with orchestral and operatic composition as an accepted medium for contemporary thought.”
“Traditions, styles, vernaculars—so many new pieces I hear these days pledge allegiance to some form of authenticity, some repertoire, some community. A lot of times, such pieces are the result of a deep engagement with the cited style on the part of composer and performer; a lot of times, it’s simply an expression of momentary curiosity. But much of the listener’s intended satisfaction is to come from the feeling that the experience has been both unfamiliar and authentic. In other words: the ideal tourist experience.”
John Luther Adam’s Pulitzer Prize-winning Become Ocean and John (Coolidge) Adams’s City Noir are both up for awards, as are the beleaguered Atlanta Symphony, the up-and-coming Seattle Symphony, 86-year-old pianist Leon Fleisher, and Partch (the percussion ensemble, not the late American composer/hobo).
“The kerfuffle exploded in the violin world like an out-of-tune screech in a Haydn quartet. The Suzuki method is vastly popular, selling some half a million books a year, according to its publisher; Mr. O’Connor is a star who has toured with the jazz violinist Stéphane Grappelli, worked as a major session musician in Nashville, composed for the concert hall and recorded with top musicians including Yo-Yo Ma.”
Revenue in the year ending Aug. 31 reached $20.8 million and expenses totaled just under $21.5 million. Smith said the budget for the current fiscal year is about $29 million, compared with several years in the recent past when expenses reached as high as $32.4 million (in 2009). The decrease in musicians’ compensation accounts for $1.7 million, he said.
“The deficit era is over,” new CEO Jeff Melanson said in an interview before the TSO’s annual general meeting where it was announced the orchestra posted a modest surplus of $222,349 on revenues of nearly $24 million. It’s a considerable improvement over last year’s deficit of $1.2 million and $800,000 the year before.
“The planned theater has been the subject of one of the most closely watched legal battles in the worlds of classical music and philanthropy, after a major benefactor of the Lucerne Festival, Christof Engelhorn, offered to donate more than $100 million to build it, but died before the money was paid. That led officials from the festival to sue for the money.”
“For all their strengths, new music festivals like Tanglewood or the Bang on a Can Marathon can’t attract the same sort of money (and therefore glamour and press attention) as the Whitney, São Paolo, or Venice biennials. Art, through the biennial, can become particularly symbolic of the flow of global capital—often concretely too, as works are bought and sold. Music, as a time-based art form rooted in experiences rather than in objects, cannot attract the same level of capital investment.”
The company’s previous board and general director abruptly tried to shut down the company last spring, claiming that there was not money or local interest enough to keep it going. But the audited financial statements for that season show an operating deficit of $52,067 on operating expenses of $15.9 million – roughly one-sixth the deficit of the previous season.
“Two months on, the success, not to mention the sheer speed, of the campaign, is impressive. Over 6,000 instruments were handed in to the 700 Oxfam stores acting as collection points. The instruments were then matched to specific requests from 150 primary schools across the UK, and delivered by Yodel. Each school has received up to 20 appropriately-sized instruments.”
“The agreement will keep Mr. Noseda – who has been enjoying a growing international reputation and who was just named the conductor of the year by the classical music publication Musical America – with a company he has been credited with elevating to a new level. And it offers some welcome news in what has been a rough year for opera in its birthplace, Italy.”
“Programs providing young migrants with the opportunity to perform music within a larger, culturally heterogeneous group can be viewed as an effective intervention to encourage adaptation to mainstream culture,” writes a research team led by psychologist Emily Frankenberg of J.W. Goethe University in Frankfurt.
“The partnership begins next fall [in Ann Arbor] with three concerts [by the New York Philharmonic] Oct. 9-11, 2015 in Hill Auditorium, including two led by music director Alan Gilbert. The Philharmonic will return in the 2017-18 and 2019-20 seasons. The Berlin Philharmonic and another orchestra to be named later will appear in the alternating seasons.”
“As a violinist who helped define the classical music scene through the 1970s and 1980s and became a role model for subsequent generations of players – not least, female Asian ones – [Kyung Wha] Chung could fairly be described as legendary. And she is certainly returning, concluding an extended “disappearance.