“When artists lament Spotify’s meager payouts, the real culprit isn’t the streaming service, which pays out 70 percent of its revenue to labels and musicians—it’s the fact that streaming doesn’t make a whole lot of revenue to begin with. The most likely way for that to change is for there to be more paying users in the system. So if the golden age of simplicity for streaming’s early adopters is coming to an end, the health of the music industry might be worth it.”
As with advice on what to wear, just telling uncertain newcomers to clap when it feels right and don’t worry about shushers isn’t necessarily helpful. Holly Mulcahy offers “some general guidelines I’ve observed both from the stage and as an audience member.”
The orchestra’s president said that Lisitsa’s contract was bought out due to “ongoing accusations of deeply offensive language by Ukrainian media outlets.” The Kyiv-born, ethnically Russian pianist’s “tweets about the Ukrainian regime have included some harsh comparisons with Nazi Germany, sometimes laced with morbid comedy.” Lisitsa’s outraged fans are fighting back.
Star Tribune rock/pop/jazz write Jon Bream kept his giant record vault in a distant corner of the newspaper’s building since 1991. Now that the paper is moving its offices – and now that we’re in the digital age – Bream decided it wasn’t worth schlepping the collection. Here’s what’s happening to it.
“In a lot of ways, we’re kind of like an art museum – for music. It’s interesting – a lot of people don’t know how to look at art or talk about art. But people definitely know how to talk about music. Music is something a lot more people are literate to. And people don’t really have anywhere to go, outside of a show, to cultivate that. The closest you can get is to come to a place like Amoeba.”
“As a number of American orchestras — including the National Symphony Orchestra — embark on the search for new music directors of their own, Nézet-Séguin appears to be a template for what they’re looking for. If there’s a flaw in his seemingly perfect profile, everything around him is usually moving too fast, with too much electricity and excitement, for anyone to have time to figure it out.”
“As Italy’s unofficial national symphony for more than 100 years,” the orchestra of the Accademia Nazionale di Santa Cecilia “has long commanded respect and attracted the finest conductors. And while it is regularly ranked among the world’s top orchestras, it has had its ups and downs, like most such groups.” Over the past ten years, things have been up, thanks to music director Antonio Pappano.
“When you buy a Spirio—not you, necessarily; they run upwards of $110,000—it comes with an iPad loaded with a Spotify-like app. This app communicates with the piano via Bluetooth, prompting the piano to play any one of the 1,700 songs recorded specifically for the instrument. New songs will sync every week. By itself, an iPad-controlled piano is nifty, if not exactly a technological marvel. What makes Spirio different is that it can play songs with an unprecedented level of accuracy and nuance.”
“By the beginning of the twentieth century, because of Schubert, song had become a musical form to rival the symphony, the string quartet, and the piano sonata. … Its aesthetic claims are complex and multifaceted: the response to text, the compression of drama (the thrill of the opera in a matter of minutes), a melodic sweep and harmonic language as worthy of attention and analysis as anything in Western classical music. In this sense the lied is a standing rebuke to classical music’s hierarchies, in which the biggest – or most expensive – is best.”
Graham Parker: “What has frustrated me more in all the articles I have read since Alan Gilbert announced his conclusion as music director, was the complete lack of considering the audience in the short listing of candidates. The audience, in this case, are: current patrons of the New York Philharmonic; future audiences who like classical music but don’t buy tickets; folks who don’t yet like classical music but have a latent reason to like it at some point; and then the wider audience of New York and all that it stands for as a leading cultural capital of the world.”
“Russia’s culture minister on Sunday fired the director of a Siberian theater whose modern staging of Wagner’s opera ‘Tannhauser’ offended the powerful Russian Orthodox Church. … ‘Orthodox Christianity is the foundation of the great Russian culture,’ said one of the signs held by the protesters in Novosibirsk.”
“The extension means that Dudamel, who’s also music director of the Simon Bolivar Symphony Orchestra in his home country of Venezuela, will lead the Phil for at least 13 seasons. The orchestra did not disclose financial terms; Dudamel earned $1.44 million in 2012, according to the Phil’s most recent public tax filing.”