What sort of psychology induces the programming of known bad repertoire rather than the only possibly bad commission?
Is it better to compose away from an instrument or at one?
Similar to fashion, some artists and ensembles have lots of style while others only blend in with the crowd, and some people just don’t care about fashion—musical or otherwise.
Making a statement, without saying a word.
Do you have to suffer to produce excellent music? Hard to say: Cage didn’t, and Randy doesn’t, but you (and I) might.
Orchestras all over the country traditionally celebrate the annual marker of our sovereignty with a bombastic concert, replete with fireworks and all sorts of other extra-musical hoo-ha. Frequently, Tchaikovsky’s historically inappropriate 1812 Overture gets trotted out.
I ask the age-old question: If a tree falls in the forest and no one is there, does it make a sound? Or, if a composer writes a piece of music, and there is no one to perform it, does it matter?
It’s intriguing to hear Alsop speak about the necessity of providing experiential education for young conductors. I wish she had an equally wide-ranging vision for the music she programs at Cabrillo.
Do you have to struggle during the compositional process in order to create something musically worthwhile?
I can’t cite statistics, of course, but I wouldn’t be surprised to hear that YouTube gets more people interested in new music than all the symphony orchestras in America put together.