In New Zealand, nationally specific material is separated out into its own section in book stores and record shops. But, by and large, contemporary classical music (that term again) is still overshadowed by standard rep and local pop fare. Sound familiar?
Even though I pride myself on how much I try to stress collaboration between performers and composers, I was still taken aback with the ease and forthrightness the documentary film crew had when talking about the music.
We bring the repertoire, you bring the audience. I’ll bring the popcorn.
The “system” is outmoded, and the divisions imposed by our institutions
only succeed in keeping young composers apart, despite the fact that
students themselves don’t buy into all the divisiveness.
What is lost if the Dexys Midnight Runners keep running?
Are over-the-top responses to performances sincere expressions of aesthetic pleasure or manifestations of emotional states that are far more complex?
Is interpretation something that we can foster in a player or is it innate?
The Titanic may be sinking, but this is the best part of the movie.
Why do the Japanese feel the need to import all the Western culture, something that might be called Tokyo Syndrome, and do we suffer as well from our own type of Tokyo Syndrome as well?
When difficult artists write cleaner music, does it represent a welcome clarification or a huge step backwards?