Germany’s Orchestral Scene Isn’t As Marvelous As It May Look To Outsiders

“Germany might have more orchestras [than other countries], but it also has more musicians (including those flooding in from abroad) looking to fill positions in them. The audition procedure is often archaic, unnecessarily nerve-racking and, with strict voting systems, sometimes deeply frustrating. Musicians go from one temporary contract to the next in the vain search for the security of a permanent position.” – The Strad

Opera-Ballet-Concert House Flooded By Sprinkler System, Closed Indefinitely

The municipal theater in Duisburg, a city in Germany’s industrial Ruhr Valley, saw 80,000 liters of water pour over the stage, the floors, and crucial building infrastructure following a mishap during sprinkler system testing. (No answer yet as to whether the cause was mechanical or human.) The venue is home to the Deutsche Oper am Rhein, the Ballett am Rhein, the Schauspiel (spoken theater) and the Duisburg Philharmonic Orchestra. (in German; for Google Translate version, click here) – WDR (Cologne)

Chicago Symphony Musicians Reject Management’s ‘Last, Best And Final Offer’

“According to the musicians’ statement, the offer from the Chicago Symphony Orchestra Association would ‘freeze the pension plan at its current level today, thereby prohibiting new hires from joining and denying nearly 2/3 of the orchestra currently in the pension plan any guarantee to increase their retirement benefit, even if they don’t retire for another 20 years.'” – Chicago Tribune

The Music Genre Wars: Does It Matter How You Label It?

In the 1920s, with the creation of the record industry that followed the development of recording technology and the pre-Depression economic boom, genre began to shift from function to demographics of consumption. Genre became, in music industry parlance, format: defined by who was buying and listening to the record. Immediately, this demographic slotting took on explicitly racial dimensions.  – Pacific Standard