How much do you charge for the music that you compose?
The only constructive thing one can do with negative criticism is criticize it.
I heard a colleague remark that in order to understand a new work one first needed to know the classical music repertoire; I could not disagree more.
Is there anyway to persuade the wealthy from buying seven-figure classical music relics and, instead, spend the cash on cultivating a rich musical culture; the likes of which that spawned icons like Beethoven?
I’m beginning to realize that mistakes are not only unavoidable, they’re the prime force in shaping history.
Let’s concede for the moment that a lot of educational music out there is truly junk. So then, what is causing this low level of quality fare?
Tired of all that fastidiousness surrounding so-called proper concert hall etiquette? If so, I have the antidote: new music served under tents, in converted grain silos, and afloat on a rescue boat.
I’d like to focus this week on a particular musical urban legend: Everybody who’s hip to the Smiths seems to know someone who was saved from suicide by the their music.
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.
Michael Colgrass’s list of what not to do when composing for young players can be boiled down to a list of five no-nos.