Category: music

“Creativity is hard to schedule. Yet orchestras today have to plan their seasons months, even years in advance. This leads to a disparity: on one hand, stringent deadlines; on the other, a process of creation that requires flexibility and can never quite be pinned down. For when you commission a piece, you’re never sure what you’re going to get — or when you’re going to get it.”

Does a piece of music’s back-story change the way we hear it? Of course. But “do we serve music as a whole by giving attention to pieces whose qualities, taken by themselves, rarely rise above the competent and the agreeable? In other words, does a life that resonates with profound circumstances justify the reputation of music that falls short of such depths? Music moves the spirit in a way that other arts do not. Dare we compromise its integrity, no matter how moving the story attached? Some would say not.”

Conductor Valery Gergiev was greeted as a star at the Metropolitan Opera when he first arrived. And the reviews were terrific. But “in recent seasons he has had tense relations with the Met musicians and choristers, who are from all reports dismayed by what they consider his idiosyncratic technique, lack of focus and penchant for showing up late to rehearsals. That tension, and even hostility, showed. What is going on? Few artists have risen so fast at the Met.”

“Although often vilified in his lifetime, in the years since he died in 1992, the Argentinian musician Astor Piazzolla, who invented what he called “new tango”, has become lauded by increasing numbers in the classical world as one of the greatest contemporary composers of the last century.”

The compact disc is 20 year5s old. And two new enhanced CD formats introduced in 1999 offer big improvments in the sound of a CD. Questionj is – will consumers catch on and want them?

The Sarasota Opera in Florida is thriving. “Sarasota County – with a population of just less than 326,000 – is home to two professional orchestras, more than 10 theaters, 30 art galleries and a ballet company. None of them raises bigger budgets or draws on a larger local, national and international public than the $4.8 million Sarasota Opera. Ticket sales this year declined only 2 to 3 percent, for a loss of about $46,000, from last year’s record revenues of $2.04 million – not bad for any opera producer in a flat economy. The less obvious reason is that Sarasota Opera is giving its audiences – business-suited seniors as well as the jeans-and-Gucci-loafers younger crowd the company actively woos – the kind of opera they can’t hear or see anywhere else.”

“Rap music, which ushered the wonders of hip-hop culture from graffiti-splattered playgrounds to suburban front lawns, is in trouble. Nearly three decades since spoken wordscapes were married to beats to create a new musical vocabulary, rap music is flirting with creative bankruptcy. A genre once characterized by innovative, restless spirit now seems little more than an assembly-line product. Take a menacing scowl, a few platinum rings and pendants, a video filled with lip-licking, come-hither hotties, and someone who can rhyme about bullet-riddled mayhem, cognac, sneakers, dubs, or the latest Hummer — and an MTV or BET-ready rap star is born.”

Mix tapes/CDs are hot. “Mix tapes are the creations of local DJs who take hits, rarities, the works of up-and-coming rappers or all of the above, and use them to turn a blank CD into a highly personal jukebox. There is intense competition among those DJs to get the freshest material, and because the formal music industry has long viewed the whole scene as a copyright nightmare, a spirit of pirate radio pervades.”

Of the 20 songs on the American Top 20 list last week, ten of them plugged products in the songs. “Stars love plugging. Brands love getting plugged. But someday the slightly murky relationship of product placement and what initiates that product being placed in a song might have to change. If you were a sandals-wearing, lead-the-people-through-great-hardship kind of a guy, you might say that this was because it was in some kind of fundamental way “wrong” or something like that. If you’re slightly less amazed in these days of ‘created brand relevance that doesn’t appear orchestrated’, then you might just say it’s because it’s all getting a bit boring.”

The setup is a familiar one: talented young string quartet is heard by wealthy donor who, taken with their skill and enthusiasm, sets the foursome up with priceless old Italian instruments which they could never otherwise afford. But in the case of the Miró Quartet, one of a small number of headline-grabbing young quartets vying to be the next Juilliard or Guarneri, their benefactor was a North Carolina musician who wanted to see if a collection of specially crafted modern instruments could elevate the group in the same way that four Strads could. The result was a specially commissioned set of two violins, viola, and cello, tailored to meet the Miró’s needs. And the results? Well, it depends on which player you ask.