Category: music

“Until a few years ago, labels automatically took their shiny bread-and-butter format for granted and all the way to the bank. Customers had few other options and rarely balked when list prices were raised. But the unlimited possibilities of music downloads have transformed the playing field, turning the glamorous CD into a badly aging star that needs a major face-lift. For a music business desperate to steer people into stores and away from illegal download sites, that cosmetic surgery couldn’t come soon enough. Infamous for infighting and contentious disagreements, all four major record labels are setting their differences aside and supporting DualDisc, a new format that they believe offers the best of the audio and visual worlds.”

Orange County, California (just outside of Los Angeles) has a beautiful new concert hall, and big plans to make use of it. But will the public care enough to keep coming to the hall once the novelty has worn off? “Behind the scenes and off the record, the classical powers that be are worrying and wondering about the outcome… There is a great deal of casual interest in classical music here, but connoisseurship doesn’t seem to run deep.”

“Circuit bending started about 10 years ago when a geographically diverse group of basement tinkerers began to experiment with soldering guns and the cast-aside first-generation electronic Christmas gifts of their childhood. They discovered that if you pop the top off anything that has a simple circuit board and makes a sound — an ’80s-era talking doll, for instance — you can hot-wire it and produce squawks that the manufacturer never had in mind, squawks that in some cases had never before been heard. United by the Internet, circuit benders started sharing notes and trading pointers, and now they’re a certified subculture.”

“Inspired by a true story, composer Richard Danielpour and Nobel Prize-winning author Toni Morrison tell the tale of a fugitive slave who kills her children in order to save them from a return to bondage. The A-list creative team and cast, including mezzo-soprano Denyce Graves, has the opera world buzzing. But the opera is also galvanizing newcomers and financial supporters within Detroit’s black community.”

Music education in English schools is not well supported. But at least a long decline has been slowed, writes Julian Lloyd Webber.

Composer/conductor Loren Maazel’s first opera is about to debut. It’s an adaptation of George Orwell’s 1984. “Whether 1984 works or not depends, however, on Maazel’s music. Few of his works have been performed in the UK, and as a composer he remains an unknown quantity.” The score is described as “a mixture of atonal and lyrical, with dramatic crises.”

It’s almost impossible to write a profile of the suddenly-new-again Pierre Boulez without mentioning how the onetime enfant terrible of music has mellowed over the years. But while Boulez may no longer blast his contemporaries and openly dismiss composers whom the rest of the world loves, his opinions haven’t really changed all that much. For instance, Boulez still insists that Stravinsky’s neoclassic period is “totally artificial,” and that the composer didn’t really do anything interesting from the beginning of his neoclassicism to the day he “discovered” twelve-tone music.

Opera Company of Philadelphia may not exactly be La Scala, but that hasn’t stopped the company’s new young music director from thinking big. When Italian conductor Corrado Rovaris agreed to take the reins at OCP, he shook things up immediately, and has won praise for his willingness to push for what he believes are the highest artistic standards, and the free rein to achieve them. The effect has been immediate. “Many substantial opera companies rely only on visiting conductors and go for years without a music director to consistently build orchestral standards. It’s opera: Singers are the attraction… Besides raising musical standards, [Rovaris] is attracting singers whom the company couldn’t normally afford.”

1905 proved to be a bumper year for birthing British composers. But you’ll not be hearing much about them this year. “So who’s to blame for centennial neglect? The finger points at craven British orchestras which seldom venture these days from a narrow corridor of safe works. London bands which once begged Lambert to conduct them cannot spare a birthday bouquet. Birmingham, which commissioned a Rawsthorne symphony, will not revive it. The Halle shows no interest in a local hero. Their timidity diminishes the art they exist to serve.”

One year after an embarrassing cancellation, the Cleveland Orchestra is returning to the BBC Proms festival this summer for the first time in eleven years. The orchestra’s musicians forced last summer’s cancellation when they refused to allow the BBC to stream online audio from their scheduled concert without additional payment. But since then, the musicians have negotiated a new contract which allows their management to grant such streaming rights to presenters. Music director Franz Welser-Möst will conduct the performance, which will take place in late August.