Tag: 12.23.04

MusicMax, Direct-To-You

For many composers, the decline of classical recording has meant a lack of new opportunities to get their music memorialized in a permanent recorded fashion. For Sir Peter Maxwell Davies, it meant half a lifetime’s work suddenly becoming unavailable to the public when his record label was sold. But Davies’ refused to admit defeat, spent months reacquiring the copyrights to his recorded work, and launched a new web site offering the old recordings and more, either by quick-and-easy download for between £1 and £4, or on custom-made CD for only slightly more. “It is a dazzling, breathtaking example of the composer cutting out the middle man and taking charge of his own destiny.”

That’s The Ticket

Many of Toledo’s arts groups are banding together in an effort to devlop a joint ticketing service which would save them all money on their individual box office costs, and make it easier for patrons to plan their nights out. “The idea was generated at a series of town-hall meetings about the arts in 2002 and 2003. The strategic plan that grew out of those meetings recommended more collaboration and a calendar of events. An on-line calendar – www.toledoarts.org – has been established.”

How Do You Say ‘Merry Christmas’ Three Octaves Down?

Tuba may seem like an odd instrument around which to center your life and work, but ask the musicians of nearly any orchestra, and you’ll find that those brassy low note specialists are usually among the most well-liked members of the band. So it shouldn’t be a big surprise that all-tuba Christmas concerts are an increasingly popular phenomenon. “For many, the annual concerts–held in Chicago and 200 other cities worldwide–are a chance to break away from the tubist’s traditional role as steady bass accompanist and whale away on the melodies, albeit a few octaves lower than they’re normally played.”

The Last Orchestra Settlement of 2004 (We Think)

The musicians of the Rochester (NY) Philharmonic have a new contract, albeit one which will last only eight months. After playing without a contract for several months as negotiations continued, an agreement was reached on a one-year deal (retroactive to September) which will freeze the base salary at $36,100. There is little time for either side to catch its breath, though, as negotiations will need to begin anew in the spring.

Second Theatre pulls Plan To Stage Controversial Sikh Play

A second UK theatre has abandoned plans to stage a controversial play. The theatre had planned to “invite theatres across the country to read the play and discuss it afterwards, to have a debate so there was more understanding about the whole issue. But that plan was canceled after the play’s author called and asked for the cancellation because of “increased threats” to her safety. The theatre itself had also received several threatening phone calls.

Artists Sign Letter Of Support For Sikh Playwright

More than 700 artists have signed a letter of support for Sikh playwright Gurpreet Kaur Bhatti, who has gone into hiding after her play was threatened with violent demonstrations. “Actors, writers, directors and others – ranging from Prunella Scales to Tariq Ali, via Terry Jones and the poet laureate, Andrew Motion – have signed the statement, published today in the Guardian.”

The FCC’s Moving Target On “Indecency”

Michael Powell has taken the FCC into a tougher and tougher stance in regulating “indecency” (a moving target). “As Mr. Powell nears the end of his time in office, critics say he has evolved into the most heavy-handed enforcer of speech restrictions in decades. But with Mr. Powell now widely expected to step down, they are hardly gloating about the prospect of his departure; the short list of candidates to succeed him includes another Republican member of the five-person commission, Kevin J. Martin, who – echoing those who say television is too tawdry – has repeatedly argued that the commission and Mr. Powell are not tough enough. But the broadcasters are also beginning to fight back.”

Melbourne’s “Commonsense” Opera Merger

Why are Melbourne’s two opera companies merging after all these years? “The merger is ‘primarily one of commonsense’ for companies staging the most expensive of artforms on private patronage and box-office income alone – that is, they get no government subsidy. ‘You can’t have two non-funded companies struggling in competition against each other and against [companies such as Opera Australia] which are subsidised’.”