The first jukebox was made in, believe it or not, 1889; it played wax cylinders and people listened through stethoscope-like earphones. In 1927, the Automatic Musical Instrument Company unveiled the first amplified, multi-record coin phonograph. Jukeboxes … introduced the world to music on demand, for far less than buying a record.” - Smithsonian Magazine
"The sound quality is horrible. The disposable-ness of music has become almost culturally endemic, and then obviously the financial aspect of it is a joke," says Jamie Stewart of the experimental rock group Xiu Xiu. "It has not done anything good for bands. It has done good things for itself." - NPR
Crucial to Dohnanyi’s conducting was his belief that musicians had to perform older music in a contemporary way. “I’m not interested in the Brahms of the 19th century,” he said in 2002. “I’m interested in the Brahms of the 21st century.” His interpretations flowed from that insight. - The New York Times
Might London’s most civilised music venue have the answers that classical music needs if it is to claim the audience that is undoubtedly there, as well as the freedom that – for any serious art – is even more vital than subsidy? - The Spectator
According to the Agence France-Presse, “Gelb is actively exploring other sources of raising funds including licensing agreements of its intellectual property, as well as naming rights to the Met building at Lincoln Center.” - OperaWire
As one of the foremost arts institutions in the US, the Met gets the funds it needs, and its partner gets the imprimatur they seek. But does the “artwashing” undercut the Met’s own principled (and admirable) stands elsewhere, such as its support of Ukraine and against Russian artists who defend Putin? - Parterre
Carrie Underwood, winner of American Idol in 2005, has sung the musical opener for every game of Sunday Night Football for 12 years. “Underwood gamely sings each version before her, giving NBC options when it edits the song into the version that makes the television broadcast.” - The New York Times
Riley’s “In C launched a maximal musical journey and one of the most remarkable in American music. If he was the father of Minimalism — or, more accurately, the affable uncle — he presented In C as a gift to the world, rather than a plan for action.” - Los Angeles Times (Yahoo)
“(The move) escalat(es) a bitter contract dispute just weeks before the orchestra is set to open its new season. The vote, announced Thursday, Sept. 4, allows players to walk out if talks with Symphony management fail to produce a deal. The 2025-26 season is scheduled to begin Sept. 12.” - San Francisco Chronicle (MSN)
“The contract, ratified a year before the current one expires, includes a $10,000 salary increase in the first year and at least 3% raises in subsequent years, bringing the musician base pay to $128,036 by 2030. It also introduces changes to night rehearsals, offering greater flexibility for the musicians.” - Fox 2 (St. Louis)
Director Chris Columbus: “(It) not only propels the story forward but from a narrative standpoint, he’s taking the audience’s hand and inviting them inside that world. ... Certain film scores almost keep the audience at bay, but John manages to immerse the audience in the warmth, or the terror, of the film.” - Vulture (MSN)
There is a yawning gap between Columbia’s marketing—“Let magician Terry Riley float you on his tangerine carousel into a sunshine universe you might have dreamed of once when everything was easy and colorful and innocent”—and the still-reverberant utopian spirit of the actual music, infused with the composer’s lived experience. - The New Yorker
It is a mammoth undertaking that involves about 3,500 artists; 1,000 staff members; 16 stages; and a budget of 75 million euros (about $88 million). This summer alone, there were six staged operas and four plays, featuring more than 1,500 costumes, including leopard-print hats and glittering Swarovski-covered masks. - The New York Times
The creative director post is the first major initiative by Kim Noltemy, who became L.A. Phil president and chief executive last summer, and with it she proposes a possible rethink of the very nature of how a symphony orchestra might operate in the future. - Los Angeles Times
