The new episode
of my book is now online. It’s about the conflict between classical and popular
music in the 19th century. Popular music was Rossini and Paganini; classical
music was Beethoven and Schumann. Eventually the two worlds came together,
which is why we now think The Barber of
Seville is classical music, and put the aura of art around it, something
that never would have been done when the piece was new.
The next episode — in which I’ll start to explore the effect
modernism had on the current state of classical music — will be out two weeks
from today, on October 25. If you want to be notified when new episodes appear,
please subscribe (as of course I’ve
urged before). Just type “subscribe to the book” in the subject line of the
e-mail form that appears when you click the link. And, if you would, tell me a
little about yourself, since I’m eager to know who my subscribers are, and why
they’re interested.


Recent Comments
Greg Sandow on Good news from Toronto
Thanks! It's wonderful to have this corroboration. I'm sure Peter Oundjian is a crucial part of the Symphony's success.Greg Sandow on Philharmonic clarification
Christina, when the Philharmonic played in Lewisohn Stadium, they didn't have any marketing department. Or any corporate sponsors. Those things...D Shapiro on Good news from Toronto
As a subscriber, and a parent of a 29-year-old, I can provide a little insight. My daughter is fairly typical...Christina Jensen on Philharmonic clarification
If that is true, it's unlikely any publicists were involved, but rather marketing departments and corporate sponsorship folks. http://nyphil.org/support/corporate_benefits.cfmJon Silpayamanant on Good news from Toronto
Some classical music institutions attract a young audience by lowering ticket prices, but then they need funding to offset the...