The magic of music is that, while it exists in time, it has the ability to bend time. So why do so many concerts list the duration of each of the works on the program?
NPR has cancelled their two remaining syndicated programs devoted to classical music: Performance Today and SymphonyCast, but I’m not terribly shocked.
In a world where most composers are self-published, wouldn’t the use of opus numbers today seem like the ultimate act of hubris?
Why is the classical music community so obsessed with how old people are?
The only constructive thing one can do with negative criticism is criticize it.
I’m beginning to realize that mistakes are not only unavoidable, they’re the prime force in shaping history.
Classical music as a genre has been too fixated on the past, so it goes to follow that most classical music enthusiasts would believe in yesterday more than in the here and now, but I’ve been experiencing a greater openness to new music than ever before.
The premise of Tonic’s new rock complexity festival last week was to highlight the ever porous boundary between rock and, for lack of anyone’s better term, contemporary classical music. But as exciting and as new as much of this music sounded, is this really a new idea?