Category: music

Composer Kaikhosru Shapurji Sorabji was a difficult artist. “Cut off from the world and supported by a private income, he composed dauntingly huge pieces which were regarded as all but unplayable. He forbade the performance of his music lest inferior musicians ruin it. He remained alone, despising the trivial productions of others, in his artistic castle of ideal, Platonic complexity, a lone voice in the wilderness until his death.”

The Canada Council’s recent competition to loan rare string instruments to young musicians is a quintessential Canadian exercise. “All of these musicians had international careers by the time they were in their teens. They are already playing with great symphony orchestras and chamber ensembles, and already recording classical CDs. These lovely instruments are, for the three years of their tenure, going to further their careers, giving them richer sounds and greater delicacy of tone and enabling them to impress even more audiences and producers.”

A closed concert takes Carnegie Hall’s newest auditorium for a spin. “Naturally, the question buzzing about the hall during this varied program was: How are the acoustics? I think a pass is called for on that one until I hear some full-fledged programs this weekend, though my very initial reactions were mixed. The sound seemed bright but not especially warm; details and definition came through better at soft volumes…”

Terry Teachout has mixed first impressions of Carnegie’s Zankel Hall. “I’m sure it’s obvious that Zankel Hall didn’t make as favorable an impression on me as I’d hoped, but I long ago learned that first impressions of a new auditorium can be deceptive. What seems problematic on first hearing often proves less so later on (and vice versa).”

London is getting a third opera house. The impresario Raymond Gubbay, the commercial arch-rival and a bitter critic of subsidised opera, is to mount year-round productions at the Savoy Theatre. He will begin in April with two guaranteed crowd pleasers, Mozart’s The Marriage of Figaro and Rossini’s Barber of Seville.”

Kyle Gann writes that music criticism has been reduced to shorthand that renders it toothless. “We critics are told that it’s up to us to defend classical music in the public marketplace – but the newspapers have taken away our tanks, bazookas, and machine guns and left us armed with garbage can lids and pea shooters. The space crunch is everywhere, in every publication. It used to be, when I’d write for the New York Times, they’d ask me one of the sweetest questions a writer can hear: ‘How many words do you need?’ No longer. Articles that would have once garnered 2000 or 2500 words now get half that. And according to what editors tell me, this is true across the board.”

The mother of the 12-year-old music downloader sued by the recording industry has paid to settle the suit. “Brianna LaHara, of New York, was one of 261 people served with a lawsuit by the Recording Industry of America (RIAA). She has admitted swapping music online, and her mother has agreed to pay $2,000 to settle the case.”

A 12-year-old girl was among those sued by the recoding industry for music file swapping. “I got really scared. My stomach is all turning. I thought it was OK to download music because my mom paid a service fee for it. Out of all people, why did they pick me?”

File trading is only one of the recording companies’ problems. “Among the problems they cited were the consolidation of radio stations, making it harder to expose new bands and records, and the lack of a widely popular musical trend like teen-pop, which relied on stars like Britney Spears and `N Sync to drive young people to record stores. They also blamed a poor economy and competition for the limited time and money of teenagers and young adults, their main customers, who often find that they prefer buying DVD’s, video games, sneakers and more. Indeed, thousands of music retail stores have closed recently, and the ones that are still open have given shelf space to competing products, like DVD’s and video games.”