I don’t think even Grand Theft Auto could prepare you for classical life in the digital age.
What “sad” music do you like to listen to, and does it make you feel happily sad, or sadly happy?
Here’s the deal: I have a new dream job. I want to be the Tim Gunn of new music.
Can brutal frigidity be good for productivity?
At what point in your career can you afford to turn down a non-paying request for music?
If the music that is so central to us is something that not even our mothers can love, might there be something fundamentally wrong with what we’re doing?
Just because certain composers can play the piano, it doesn’t make them write well for the keyboard—and vice-versa.
A look at the rarest of rara aves in the annals of double-threat composers: successful composers who sustain wholly separate, successful careers as artists in other forms.
There are dangerous addictions lurking in the world of classical music, and I’m not talking about that business with Liszt and the crystal meth.
Only now, 16 years later, is the irony fully apparent—that the technology that created a Goliath music industry also has served as the stone that threatens to topple it.