J. Bryan Lowder: “The same music that you’d be chastised for dozing off to during a concert is available for precisely that purpose when you get home. Why does the taboo apply in one place and not the other? … I’m happily using a Cy Twombly piece as my iPhone background right now; should using a Beethoven sonata as nightcap really feel any different?”
Category: music
2016 Classical Music Grammy Nominations
This year’s Pulitzer winner, Julia Wolfe’s “Anthracite Fields,” is a predictable nominee for contemporary classical composition, as is the ubiquitous Andrew Norman’s “Play,” yet a possible dark-horse is Gerald Barry’s uproarious setting of “The Importance of Being Earnest.”
Frank Oteri: Grammy Nominations Don’t Reflect How We Listen To Music
“It might take Taylor Swift recording an album with John Luther Adams or (an even greater probability) Caroline Shaw recording with Kanye West for the folks in charge of the Grammy Awards to catch up with the breadth of music that people are now listening to and how they are listening to it. Once that happens, hopefully the various categories in which musical achievement are acknowledged by the Recording Academy won’t feel quite as straitjacketed.”
Marina Abramović Turns Sitting Still And Listening To A Classical Concert Into An Art Installation
“Upon entering the Armory, ticket-holders will be presented with numbered keys, which will lead to individual lockers [for cell phones, watches, etc.] … And for 30 minutes, listeners will be required to wait, in silence and near-darkness. … When the centimeter-by-centimeter approach of the musician and his instrument is complete, listeners will remove their headphones” and listen to the Goldberg Variations.”
The Pattern Of Classical Grammy Nominations
“One development in the classical-music Grammys during the last several years has been the inclusion of more diverse corners of this vast field. For many, that is a good thing — better than having Georg Solti (still the all-time Grammys champ), Vladimir Horowitz or the Atlanta Symphony Orchestra dominate year after year, as in the past. Yet patterns sometimes persist.”
Early Music Pioneer Nikolaus Harnoncourt Announces His Retirement
“‘Dear audience,’ Mr. Harnoncourt wrote in the letter, which was in German. ‘My bodily strength requires me to cancel my future plans.’ He wrote of the ‘unbelievably deep relationship has developed between us on the stage and you in the hall,’ added that ‘we have become a happy community of pioneers,’ and urged audiences to remain faithful to that spirit.”
The Opera ‘Bel Canto’ Might Be A Little Too Real For Lyric Audiences
“‘We are living in troubling and volatile times,’ Mr. Freud wrote in the letter. ‘On an almost daily basis, the news is dominated by reports of horrifying and indiscriminate violence. Through its years of planning, none of us could have known how shockingly topical ‘Bel Canto’ would be at the time of its world premiere performances.'”
Composer Ryuichi Sakamoto Talks About Cancer, Writing For Movies, And Revenge
“The difference between European and Japanese music is that there is almost no common element, there is nothing shared between them. It’s a very different system. Like languages: the Japanese language is so far away from the European languages. When we see European languages—even English and French—they share 50,000 vocabulary words between them, but compared to the distance of all the European languages and Japanese language, it’s so far away. It’s the same with music. Very different.”
The 15 Seconds That Will Decide Your Orchestra Career
“If you want to absolutely precise, it boils down to about 15 seconds. We can tell with a pretty high degree of accuracy what kind of a player you are within the first 15 to 30 seconds. The rest of the time, we’re there to make sure that our initial assessment was correct.”
The Arduous (Fascinating) Task Of Packing Up The World’s Largest Orchestra Music Library
“It is the largest orchestra library in the world, and it is a treasure that has been hidden in plain sight. It tells stories of Cincinnati, of its musical organizations, its artists and its audience tastes.”
