Archives for May 2010

Boosey & Hawkes’ latest promotional email just crossed my transom and my first thought was, “Damn, what ensemble got the great photo shoot?” Seriously, on its face it’s nothing radical–just a group of people sitting/standing around looking moody in a richly appointed room. For classical music, this is not exactly a stretch beyond. And I mean, there’s a chandelier and an oil painting in the background. Why does this not feel stuffy in the usual way? Is it the lighting? The arty detail of the extra character with only her knees in view? Is it Tilda Swinton’s piercing gaze? Wait, Tilda Swinton?

Ah, yes, after a couple seconds I got that it was actually a plug for the summer release of I Am Love, an Italian film with a soundtrack built heavily on John Adams’s catalog. It is not in 3D. It does not smell of sunscreen and cosmos. I will be in that ticket line as soon as it comes to a theater near me. Much more my speed than that last one.

As I might have mentioned, I’ve been invited by the League of American Orchestras to work on future of classical music questions via group blog over at Orchestra R/Evolution. We’re talking about the orchestra industry specifically, obviously: dipping attendance graphs, presentation problems, and if/why communities even need orchestras in 2010. As you, dear friends and fair readers, tend to show yourselves to be the type who have big picture thoughts, I wanted to make sure this trickled over in your general direction. The “r/evolution” is underway and we need your radical ideas. Have a minute to help save classical music? Pull up a bar stool and kick in here.

The discussions I’m directly involved in so far are here and here, but there’s plenty of great stuff on the docket to weigh in on. Stop by and procrastinate some with us.

Now, this is only vaguely related, but one of the discussion I got into with AJ’s very own Doug McClennan was re: the cheapening of great art by putting it in the mainstream, often using it to sell product. I think it’s not always a losing game, but then I came across this interesting discussion on the ARTSblog today regarding this commercial:

What do you think? Blatant abuse or better to have the artistic reference in front of so many eyeballs than not?

There are some great, innovative ideas out there when it comes to the musical education of our nation’s children, but sadly not every American kid is going to have the opportunity to participate in a kick-ass program like El Sistema USA or Baltimore’s own OrchKids. So in this time of anxiety about the waning attendance figures for live performances of symphonic music, I wonder about something: how important is quality vs. simple exposure?

Almost to a man when I interview someone in my age bracket about their early experiences with the great masterworks of the classical canon, they name check Looney Tunes but then go right to that “Hooked on Classics” record in their parents’ collection. Seriously, how many billions of copies did that thing sell? In my neighborhood, we wore the tape out, using it as a soundtrack for our awkwardly choreographed backyard dance routines. Sure it’s supremely schlocky, but it sure gets the exposure job done and buries the tunes deep in the ear.

More than any official training program, does this missing piece from the mainstream experience mark the true cause for alarm as we look ahead at the survival of the art form? I can’t see those Reader’s Digest 3-LP collections of great classical music melodies selling very many copies these days, but is there a 2010 equivalent? Fantasia 2, brought to you by Pixar?

Glee spoiler alert (maybe?). Better safe than sorry, I guess, so fair warning but…

Need a boost into your Thursday morning? This throw down between Glee‘s Matthew Morrison and guest star Neil Patrick Harris as they compete for the lead role in a community theater production of Les Misérables is sure to do the trick.

Just before I gave up on the idea of becoming a professional player of notes and committed to becoming a professional typer of letters, I remember taking a college entrance audition at DePaul University in Chicago. At the conclusion, the violin professor made some kind comments concluding with the acknowledgment that I was a “young woman with a very interesting sense of internal rhythm.”

Maybe it’s because of that, um, issue that I am so enamored with artists who have a bit more control of their groove, and no one I have met rocks that better Shodekeh, (a.k.a. Dominic Earle Shodekeh Talifero) a beatboxer out of Baltimore who I guarantee is a talent you’re going to want to have on your radar. You can read more about him here and here, and get schooled in the art of vocal percussion in the video below. If hip hop battles are outside your comfort zone, you can catch him with the Baltimore Symphony Orchestra on July 23.

Today the League of American Orchestras opens the doors on its Orchestra R/Evolution site which, in the weeks leading up to their conference in Atlanta in June, will be looking at the classic “How do you solve a problem like the state of the symphony orchestra?” question. The kindly folks over at the League have invited me to kick in a few ideas, so if things get a little slow over here it might be because we’re having too much fun throwing sand around over there.

I actually got in the mood to chat about the orchestra world last week when a couple of pieces of online promotional material floated my way. To start, I want to give props to the folks over at the New York Philharmonic. On Thursday morning I received a mysterious email from “nekrotzar527” that contained a short note and a link to a YouTube video: “SPOTTED: Alan Gilbert with a shady character traversing the Upper West Side: http://www.youtube.com/breughelland”.

The video is short and charming–a little bit awkward, a little bit adorable. I was impressed that such a large, pro organization had embraced the lo-fi format and developed an appropriate idea for it, and that their fearless leader had rolled up his sleeves and was willing to play silly for his audience. While I didn’t feel the need to forward it to all my friends, I did both click through from the email and watch all three related videos on offer immediately, so it was a solid marketing score in my opinion and I look forward to their next production.

Over in Cleveland, they also tried their hand at some online marketing buzz, but this effort I found less successful. To begin with, I’m not sure that an organization that dubs its own video “viral” in the headline without the matching page views understands the medium well enough yet. The video is also more than two minutes long and plays for 10 seconds before it even fades in and gets going. When it does, I feel like the musicians are faking it (in their sentiments, not their playing, obviously). Maybe they really do care about LeBron and the Cavs and want to cheerlead for their home team–that would be awesome–but I don’t buy it in their delivery and so I think this piece backfires.

I know Cleveland is abuzz with LeBron drama and so the underlying concept isn’t a bad one, but for me the execution and expression didn’t rise to the challenge of engagingly communicating it. Cleveland may be a world-class ensemble, but somehow it’s actually this musical love letter to LeBron that gets the job done in a much better, if slightly off pitch, way.

When I saw that Ashton Kutcher had tweeted about Greyson Michael Chance’s amazing cover of Lady Gaga’s “Paparazzi,” I wondered what it must be like to go to school dreaming of becoming a famous musician only to come home and discover you’re a phenomenon. Also (betraying my age) I wondered how his mom felt. I mean, picture it: Dinner is on the table, parents ask how school was, and then “Well, um, mom, so I posted this video of myself playing the piano at
that 6th grade assembly last week, and, uh, heh, a funny thing
happened…um, a lot of people liked it, like, a lot, and well, I think I need to miss soccer practice tomorrow
’cause Leno emailed to ask if I can do his show.”

But that was just in my imagination. In real life, turns out it was Ellen who made the call.

I usually get totally 2nd-grade-violin-recital nervous for kids making public performances and can’t watch, but trust me, no need to avert your eyes in this case. That’s sixth grader Greyson Michael Chance at the keyboard.

Cuter than Bieber and giving Gaga a run for it: This is a pop culturally current argument in support of making sure kids have access to instruments and music lessons if I’ve heard a good one lately (and sadly, a look at all the potential we probably let slip through the cracks when those things are not available). Be sure to stick around through 2:55. (Bonus entertainment: Check the girls in the background as they go from bored to swoony.)

[via]

Go ahead and dream without napping for two minutes.

This video is the second place winner (and my favorite) in the Fisher Ensemble’s just-concluded competition to create a film set to a soundtrack excerpted from Garrett Fisher’s The Passion of Saint Sebastian. The complete list of winners and more videos are here.

It wasn’t until the day after I heard the Mousetrap parody of OK Go’s relatively recent Rube Goldberg-esque video that the whole “original work vs parody/remake” devaluation argument started to gain any traction in my thinking. There was a song stuck in my head, and it wasn’t the original. Is imitation still flattery if that’s possible?

This particular matter was already on my mind because just a few weeks earlier there was all that drama over the Downfall parody videos on YouTube. In a nutshell, after much time and the creation of many videos, the film’s owner, Constantin Films, asked YouTube to take them all down. The backlash was fierce, as you might expect from a community that had put hours into creating and enjoying the re-subtitling of a particular four-minute clip lifted from the 2004 German-Austrian epic (178 minutes in the extended cut) about Hitler. Debates over whether these new videos could actually be defined as parody ensued. Several commenters questioned what possible harm the clips could have done, regardless. Was it not much more likely that the clip encouraged people to see the film simply because, without the spoofs, far fewer would have even known of its existence? Anecdotally, others weighed in to say that this was indeed true in their personal experience. Still, was it possible that Constantin Films felt that the parodies were making too light of their very serious film and the publicity wasn’t worth the perceived damage?

I have no real idea what was behind the film owner’s sudden erasure move. However, perhaps because YouTube alerted users that they could protest the takedown and that their videos would be available once again while the claims were investigated, many of the videos appear to be available again. In addition, so powerful was the meme that Hitler himself quickly responded to the takedown in style.

For those who argued that the clip’s use wasn’t true parody because it used the original film rather than creating a “cover” (à la Weird Al), the clip was re-imagined by one super talented (and apparently not-German-fluent) actor.

So much creativity! It warms my heart, regardless of the legal issues in play. Okay, all that is fun and interesting and trendy, but to get back to the OK Go situation, in this case the foundation (same notes, more or less) is given a new (and quite memorable) story to tell. For your entertainment/comparison: