Category: music

“Seldom, it would appear, is music simply thought of or enjoyed as music anymore. It’s a commodity, a type of virtual contraband, the “sport” at the centre of cutthroat, Olympian competitions. Even the sense of community that a shared love of music is supposed to bring people has been supplanted by a pitched us-against-them mentality between the recording industry and the hordes of downloaders it longs to drag into court.”

So with all the money to be made in online downloading, why don’t recording labels and the downloading networks just get together and be content making their fortunes? Answer – they don’t like each other. “Label executives continue to hold hush-hush meetings with leading distributors of file-sharing software, trying to find common ground. But they also seethe at the companies’ refusal to change their software in ways that might deter piracy, using words like “extortion” and “rape” to describe their situation.”

The Pittsburgh Symphony Orchestra is being sued by its former ticket manager, who claims that she was the victim of age discrimination when she was dismissed without cause at the age of 60, and replaced by a 30-something employee who made a lower salary. The plaintiff “is seeking back pay and benefits, compensatory damages and attorneys’ fees.”

Ask your average classical music buff how Mozart died, and most will probably answer that he was murdered (or at least driven to the grave) by his jealous rival, Antonio Salieri. This theory has been around for centuries, and was firmly embedded in the modern consciousness by Milos Forman’s 1984 film, Amadeus. But the truth is that Salieri had very little motive to kill off Mozart, and there is nothing but the thinnest anecdotal evidence to link him to the master’s death. Furthermore, Salieri was hardly the hack composer that Amadeus made him out to be, and a newly revived interest in his operatic work is sweeping across Europe.

“The defensive posture of classical music these days has been much argued. But in the face of folding orchestras, diminishing finances, vanishing record sales and retracting audiences, there exist stubborn and imaginative pockets of resistance determined, for example, to put string instruments into the hands and ears of children. The University of South Carolina, now a model for the rest of the country, is doing work here that may at best keep the violin a mainstream instrument and at worst provide it a permanent niche. It will not be allowed to become an antique.”

The Montreal Symphony Orchestra is currently marketing the heck out of a new Christmas CD it recorded with Quebec singer Bruno Pelletier. To date, the disc has sold over 100,000 copies, which has Arthur Kaptainis despairing for the orchestra’s reputation. “Pelletier is a voiceless wonder in the Helmut Lotti tradition. Splashy arrangements by Simon Leclerc cannot disguise the ghastly mediocrity of Pelletier’s singing, which is not even reliably in tune… If there is a musical equivalent of blasphemy in Quebec, this is surely it.”

Apple iPod users are, let’s face it, a bit over-the-top in their love of the device, which is, let’s face it, just a jukebox with a long memory. Still, many iPod users claim they couldn’t live without theirs, which has caused some consternation of late, because as it turns out, the rechargable battery packs that power the little boxes of joy can run down after a year or so. No problem, you say? Just pick up a replacement pack, you say? Good thought, but Apple doesn’t actually sell replacements, and the company has been telling users to shell out $300-$500 for a whole new iPod when their batteries run down. One jilted user was so angry that he’s made a film about Apple’s betrayal.

When Bugs Bunny first appeared in a cartoon as the protagonist of a spoof of The Barber of Seville, the public roared with laughter, but classical purists rolled their eyes at what they saw as the bastardization of Great Art. Decades later, with classical music becoming an endangered art form, and pop culture occupying an ever more important role in society, the Vancouver Opera is using the cartoon to promote their more traditional performances. “You might call this missionary work. From a company with a million-dollar debt, teetering a few years ago on the brink of bankruptcy, Vancouver Opera has transformed itself into a debt-free, community-conscious, grassroots purveyor of an art form once associated with social elitism and a disdain for everything Bugs Bunny stood for.”

Poet Lavinia Greenlaw recently found herself writing an opera libretto. “Singing is not a casual act. Opera (again, like poetry) works best when it refuses to be embarrassed about its artifice. Libretti work best when the lines are fluent and convincing, but also emphatically styled. As I have begun to learn in my own libretto-writing, it’s a question of texture rather than vocabulary. Rossini once said: “Give me a laundry list, and I will set it.” WH Auden points out that this is not so great a claim, since lists lend themselves to music particularly well. Any words can be used if they contain a space for the music and action and are strong enough to change shape without losing meaning. It’s like making the skin for some fantastical beast based on what it is going to do rather than what it might look like.”

Detroit’s troubled Labor Day jazz festival is morphing. “The new festival, which would begin in 2005, will keep jazz at its core but also showcase Detroit’s Motown legacy and the city’s unique contributions to blues, rock, R&B, gospel and techno. The result, according to artistic director Frank Malfitano, will be Detroit’s answer to the New Orleans Jazz and Heritage Festival and the Montreal Jazz Festival – North America’s biggest and most successful annual music festivals, both of which attract tourists from all over the world.”