Interchanging Idioms

Pacific Symphony, led by Music Director Carl St.Clair, has been invited to perform for the very first time at one of the world’s most prestigious venues, Carnegie Hall in New York City, in honor of one of today’s leading composers, Philip Glass. Joining them will be Pacific Chorale, also appearing at Carnegie Hall for the first time. One of America’s most revered composers, Glass is Carnegie Hall’s 2017-18 composer-in-residence, where he holds the Richard and Barbara Debs Composer’s Chair. With this season-long residency by Glass, Carnegie joined a yearlong celebration of the composer’s 80th birthday, presenting performances that feature his classics and premieres. As part of the residency, orchestras from across the United States were invited to submit programs featuring important works by Glass in illuminating contexts. Pacific Symphony and the Louisiana Philharmonic Orchestra were the two orchestras chosen, in part by Glass himself, to perform during Carnegie’s upcoming season. B...

There is more to orchestras balancing their books than just selling more tickets It is hardly news anymore to hear of an orchestra struggling to balance their budget. Atlanta musicians are locked out for the 2nd time in two years over contract negotiations - the musicians have been asked to take yet another pay cut. The Philadelphia Orchestra declared bankruptcy a couple of years ago. Colorado Symphony has been operating with a deficit for years. These are not isolated examples. When ever the news reports the demise of an orchestra, there are a half dozen articles that pop up to discussing what changes need to be made in order for orchestras to be profitable again: - raise ticket prices to cover costs - lower ticket prices to get more people into the concert hall - program new music - program old music - attract a younger audience - better leverage the existing audience (particularly the donor base) The list goes on and on, yet the real problem is: based on the  typ...

Many of my friends are not classical music enthusiasts. They are very supportive of my career choice (crazy as they find it) and go to great lengths to critique each of my compositions. Still, when it comes to attending a concert, many would prefer to take in a contemporary "commercial" ensemble rather than join me at the symphony. When I speak to them about classical music and the virtuosity involved by many of the performers, my friends often speak about the other virtuoso's in the world --people playing music that isn't "classical" but still displaying unbelievable skills. The other day, the following video was played for me and my jaw dropped. The music, the performance, everything about this short piece by the Sleepy Banjo Boys is virtuosic! Fortunately enough, their skills have not gone unnoticed. Here they are on David Letterman earlier this year. Watch out Mark O'Connor, one is a mean fiddle player, and Chris Thile, the youngest is ...

I was reading a short response by Joshua Kosman, SF Chronicle, A 'modernist' view of classical music . The reader's husband doesn't like 20th century composers, so the reader was looking for suggestions as to "Modernist CD's" he might like, "rather than the more obvious 'Rite of Spring.'" In Kosman's reply he starts by saying, "Let me start by quibbling a little with your terminology. "Modernist" refers to a particular view that sees music history as a forward march, with each composer extending and building on the innovations of his or her predecessors. It's been an important and influential way of approaching artistic creation, but it's not the only strand in 20th century music..." Hmmm... I beg to differ with your opinion Mr Kosman. According to Wikipedia (for quick reference) Musicologist Carl Dahlhaus restricted his definition of musical modernism to progressive music in the period 1890-1910: Th...

LENNON, STOCKHAUSEN, BERNSTEIN + BERIO: WHEN THE AVANT-GARDE + POP COLLIDED The year 1969 brought the moon landing, Nixon’s inauguration, Woodstock, the Stonewall riots, the first Gap and WalMart stores, and something called the ARPANET. Early that year, according to Stockhausen biographer Michael Kurtz, a meeting had been set up to plan a joint concert between Karlheinz Stockhausen and The Beatles. Though details are elusive, the meeting was supposed to take place at the apartment of composer/conductor Lukas Foss, but was evidently thwarted by a snowstorm. This tantalizing tale forms the nucleus of 1969, an evening-length multimedia program conceived by Alarm Will Sound Artistic Director and Conductor Alan Pierson and co-created by Pierson, writer Andrew Kupfer and director Nigel Maister. More than three years in the making, 1969 will be performed at the Elizabeth Eriksen Byron Theatre at the Newman Center for the Performing Arts on Saturday, April 23 (7:30 pm). The performance wil...