Tuesday, November 18, 2014
Monday, November 17, 2014
I've heard around the water cooler that I "won't recognize Longy in 10 years." I sense that the administration has big plans for our school. In a nutshell, where is Longy going? Will its core mission change? Are there any imminent faculty or staff appointments you can discuss that reflect that change / movement?
I second Doug's question. Where do you see the future of live performance heading? And given that, how should we students position ourselves to be at the vanguard?
Can you please discuss the Longy Alumni community? What resources might be available to us at graduation?
What steps might you recommend for those of us who hope to ultimately wind up in an academic/administrative position like you?
Sunday, November 16, 2014
Saturday, November 15, 2014
As music college students, we need a great deal of performing experiences not only in the symphony orchestra, but also in other types of ensembles to accumulate the experience in varied repertoires. Since the three orchestra concerts this semester only allowed students to perform one to three times (depending on instrument.) Do you think we can set up more and various concerts for orchestra?
It is the most important thing for everyone if we can practice hard and positively by ourself. Besides, I was wondering if the school could push us to promote to a higher level in performance. For the orchestra, is it possible to make a real grading system (A, B, C, etc.) for each one? Since it should be a reason to make everyone practice and respect the music in the orchestra.
It seems that more and more, performers and audiences alike are no longer content with the old-fashioned concert where performers get up on stage and just play some music. Whether it’s playing music with a film projection, playing in the dark, or making a concert interactive, the public seems to want a multimedia experience when they enter the concert hall. Maybe this is a trend or a fad, or maybe this is instrumental music’s way of catching up to the multi-faceted entertainment medium of opera. Either way, I know that the performance the JACK quartet staged was art. They, in collaboration with Haas, forced me to hear and experience reality in a new way. And that was definitely worth the trip downtown.
"Yet I’m wedded to the wall of plastic. I like browsing the spines—Schnabel, Schnebel, Schnittke—and pulling out disks at random. Even in the age of Wikipedia, liner notes and opera librettos can be informative. (Not everything exists online: I tried and failed to find the libretto for Franz Schreker’s “Christophorus,” which begins with the lines “Her eyes—hot summer. / Her thinking—cool.”) I get a pang of nostalgia in seeing recordings that I bought almost thirty years ago, using money earned through an inept gardening business: the cover of Karajan’s Mahler Ninth bears the scratches of a dozen college-era moves." I still remember my CD of Phantom of the Opera from back in 8th grade. Every detail of the liner notes, the pictures they used from the movie, my feeble attempts to draw said pictures from the cover. It wasn't just music from a good musical that I happened to be currently obsessed with, it was an experience. When you download a single track from an album or pull it up on YouTube, it is far less personal and much less memorable.
Music is a personal thing, and emotional tool. Is the cloud helping not just classical music, but all music to lose some of its significance? If it's so easy to obtain it, does it become less poignant? Could there be such a thing as too accessible? '.... only by buying the albums are you likely to help the label stay in business." So according to Ross, not only does buying the CD of an album instead of grabbing bits and pieces of it from various online resources give me something to hold in my hand that I can attach some memories to, it also helps the artist and the label break even. I think it's about time I went out and bought a CD. For more information visit http://nyr.kr/1CjGfqa
This week, the New York Times shared that general manager Peter Gelb has started asking celebrity opera stars to accept 7% cuts in their salaries as well. Gelb promised the singers that this pay decrease would be optional, that it could be replaced by a tax-deductable donation to the Met of the same amount, and that whether they agreed to the cut would have no bearing on the Met's artistic opinion of them. The author of the article names Anna Netrebko, Joyce DiDonato, Plácido Domingo and Renée Fleming as singers who have already volunteered for a decrease in salary to help the Met.
This is not the first time big name singers have been asked to accept less money in hard times for the Met. In the early 20th century, Enrico Caruso offered to take a smaller salary to continue being the Met's main ticket seller. During the Great Depression, general manager Giulio Gatti-Casazza proposed similar salary cuts and got the agreement of all of his stars except Beniamino Gigli. In the recent recession, the Met also asked artists to accept less pay, without as much success, but Gelb thinks that he will get better results now that the unionized Met workers have agreed to a decrease in salary.
Some might say this is a fair application of the "tax the rich" approach to financial stability. Since the big name artists get the highest salary, decreasing their salaries would save more money and get the Met out of trouble. On the other hand, as the article author alludes to in passing, enough of a decrease might dissuade some celebrities from performing at the Met, because they can get better pay at other opera companies. For now, let's hope that enough stars pitch in to make things better.
Read the article here.
Where would you like to see the future of the school head?
It seems to be an interesting time in the world of opera, we have a majority of major opera houses either closing or in financial crisis but at the same time many younger smaller opera companies sprouting up that only produce between one to three shows a year. Do you see this as the future of opera performances or a viable business strategy in the opera world?
Do you think that streaming performances besides those in universities really does bring more people to classical music or does it allow those who are already fans a way to not go to the theatre and decrease sales of tickets? Do we then start to charge for the ability to live stream?
Where do you see the future of live performances heading? Will they continue to be the way they know them or how do you see them evolving?
Thursday, November 13, 2014
Sunday, November 9, 2014
While the majority of the article is about Mr. Palumbo's career and impact at the Met, it also shows the underbelly of what makes the Met's artistry. We as an audience forget that when we attend an opera or orchestral performance that there is so much more that we are paying for then just the players and the conductor. We are also paying for people like Mr. Palumbo who make the Met what it is and bring a level of artistry that is hard to rival. Audiences have forgotten that when they pay for a newspaper, magazine, or a ticket to a show that there are other costs they have to pay for besides the main players. If we don't have great people like Mr. Palumbo we loose the artistry and slowly we loose the standard of quality.
Full article here
Julia’s post is a new series on New Music Box. I’m looking forward to reading more of her posts to get a better understanding of what she experienced during her time as a music theory teaching at a maximum security prison.
Saturday, November 8, 2014
This video earned over two million views in only a week and as of this post has over a 98% like-to-dislike ratio. It was promoted by reputable news sources such as NPR, Time magazine and the Huffington Post, as well as dozens of lesser-known online news portals and Internet culture websites. The comments on YouTube consist mostly of impressed and commiserating viewers, marveling at the musicians' concentration and professionalism but amused at their discomfort.
"Challenges" like this are a staple of current Internet culture: The long-standing cinnamon challenge and the recent ALS ice bucket challenge are just two of the many, sometimes dangerous, dare games attempted by videomakers worldwide. For an orchestra, an organization with a strong need to adapt to modern trends, a memetic device such as a challenge might be a good start to gaining popularity among a younger audience. It has certainly made an impression since the video went viral and viewers might be rushing to the Danish National Chamber Orchestra's website to find out their history, or else trying to learn more about Jacob Gade's music.
On the other hand, there might be such a thing as going too far. Several YouTube commenters expressed their concern that the orchestral musicians should not have put themselves at risk for the sake of exposure. Other professional musicians might worry that people will expect the Danish orchestra to pull more stunts or that the orchestra will become known only for the video and not the music. In short, will they "sell out?" Obsessed with formalism and professionalism, the classical music world might not want to give up its niche for the sake of widespread popularity, even though popularity could keep it alive. A classical music organization using "cheap" tactics, however well they work, could be looked on as having a lower status and lower standards. Does it really matter what works anymore? Will chewing hot peppers and fighting back tears lead to a brighter future for classical music?
|Pennsylvania Philharmonic's conductor, Michael Butterman|
1) My teacher, Laura Bossert. I have already asked her if she'd like a Wikipedia page, and she said yes. This of course nearly borders on promotion but I would have to be careful to keep it informational. She could either be her own page or be attached to Longy's page.
2) Longitude. In the spirit of spreading information about Longy, I thought it could be helpful to make a page for the new music ensemble which has been around for the entire six years I've been at Longy, and which I've played in. This would be part of Longy's main page.
3) The New England Chamber Music Festival (VT). This is a relatively new chamber music program for high schoolers for whom I was a teaching fellow this summer. It is run by one of my teacher's former students and his fiancee and I know they would appreciate help spreading information about the program. I might put it under chamber music festivals or under Montpelier.
Tuesday, November 4, 2014
1) Substantial expansion of Roger Vignoles' wikipedia page. He's one of the premier collaborative pianists working today.
2) New article about one or more of Clara Schumann's works. While a substantial wikipedia article about her does exist, there do not appear to be any articles delving into her individual works. Her compositions are merely listed without comment on her main page.
3) Substantial expansion of Martin Katz's wikipedia page. He's another major collaborative pianist working today, and is also my "grand-teacher."
Monday, November 3, 2014
2. Tom Alonso and/or his Phantom of the Opera musical. Tom is my favorite composer and I am friends with him, so obviously I'll need to get his permission to put info about him on Wiki.
3. Indiana University Children's Choir. I was in this program for many years at almost every level and feel very attached to it. I think that faculty members like Brent Gault and Mary Goetze would be willing to give me the information I need.
I checked and none of these topics have their own individual pages.
I have three potential topics for my final project. 1.Terry King, cellist and teacher at Longy. 2. Lyricafest, a summer music festival run by Terry King and Laura Bossert. 3. Klassical Kidz Music Studio, my business. I realize that it may not be possible to do this last one, as it maybe hard to prove it exists.