BRINGIN' IT TO THE PEOPLE: Composer and San Francisco radio
host Charles Amirkhanian is on a mission to unite the creators
of new music with an increasingly skeptical public. His unique
program on KPFK-FM makes few judgments, and refuses to cater to
one particular style of composition. The resulting mish-mash of
modern music has garnered an unlikely following for what Amirkhanian
calls "outsider music." San
Francisco Bay Guardian 03/07/01
JARVI'S
GAMBLE: Kristjan Jarvi is convinced that modern audiences
are smart enough to sit through, and enjoy, modern music. He is
equally certain that classical music must adapt to and embrace
the newer musical traditions if it is to survive in an age of
music-on-demand. The result of these convictions is Absolute Ensemble,
an 18-member group that breaks every rule of the concert hall
in the hope of saving the staid, stuffy world of the classics
from itself. Detroit Free Press 02/25/01
FAILURE
TO REINVENT:
Here and there, a few signs of success in the orchestral world.
But by and large, orchestras are in a death spiral, with little
good news to cheer about as they circle the drain.
The Telegraph (London) 02/21/01
CLASSICAL COMEBACK: Classical music was steadily losing its listener
base in the UK just a decade ago, but now it’s more popular than
ever. Concert attendance and CD sales are up, and this week’s
"Gramophone" magazine recorded its highest-ever circulation
figures. Even demand for music lessons and instrument-making is
booming. "Why it has happened is a bit harder to understand.
Whatever the web of reasons, the fact that classical music is
now firmly a mass-market phenomenon is to be welcomed." The Herald (Glasgow) 2/19/01
DOING IT RIGHT:
Nearly every symphony orchestra in the U.S. has conceived of some
sort of "casual classics" series designed to bring in
listeners who ordinarily shy away from the pomp and circumstance
of the concert hall. But most of these series program little more
than elevator music, and assume that the rock'n'roll generation
will be turned off by anything challenging. The Chicago Symphony
Orchestra's new "Classic Encounters" series tries the
opposite approach. Chicago Sun-Times 02/15/01
HOW
TO RUIN A SYMPHONY: Nothing can spoil a climactic
moment in a performance like a beeping watch or a chirruping
cell phone, and increasingly, concertgoers are disregarding warnings
to shut them off. But in an industry desperate to attract the
public, most managements are loath to take any harsh measures
to enforce the ban. Boston Herald 02/15/01
DON'T SHOOT
THE PIANO PLAYER: Put him or her on the Endanger Species List.
The classic piano recital seems to be a fading pleasure - there
are fewer with each passing year. "Wasn’t there a time...
when the image of a noble profile, white tie and tails, and fingers
flying across black and white keys was the personification of
classical music?" New York Observer
02/14/01
SIGNING OFF: Although
most American cities are lucky to have even one classical radio
station, Chicago had long prided itself on its ability to sustain
several. No more. Chicago's WNIB abandoned its classical music
format at midnight Sunday, leaving WFMT as the city's only commercial
classical station. Chicago Sun-Times 02/13/01
DEMOCRACY
AND THE NEW NEW GROVES: "Traditionally, musicologists
have regarded music as a qualitative pyramid, with Bach at the
top, Hungarian folk singers somewhere in the middle, and Eminem
at the bottom. Since the first edition, however, the quiet congregation
of music scholars that used to spend much of its time seeking
new ways to explain the greatness of the great composers has been
shaken by a rude outbreak of postmodernism. The old pyramid model
has been partially displaced by the idea that music is a constellation
of equally valid systems, shaped in part by power relations, sexuality
and social context." The Globe & Mail (Canada) 02/12/01
THE CLASSICAL NET:
"Nobody knows yet if the Internet will be a boon or bust
in the long term for American orchestras, opera companies, chamber
ensembles and solo musicians. But classical groups large and small
are mounting some interesting experiments. In an inherently conservative
field, visionaries see the Internet becoming a super-efficient
box office for concert ticket sales, a global network for selling
CDs and a vehicle for broadcasting live concerts."
Chicago Sun-Times 02/11/01
CLASSICAL
FORMAT DOESN'T ROCK ENOUGH: Longtime Chicago classical music
station WNIB was recently sold for $165 million, one of the highest
prices ever paid for a Chicago station. Prices for FM stations
have skyrocketed since 1996 when the industry was deregulated.
the high price almost ensures that WNIB will cease broadcasting
classical. The format can make money - but not enough to justify
the purchase price. The New York Times 01/31/01
(one-time registration required for access)
- COMMITMENT
TO CLASSICAL? Chicago's mom-and-pop classical music station
WNIB was a labor of love - a low-budget afair that survived
decades of buy-out offers on the strength of its owners' commitment.
But $165 million is too much money to turn down... Also too
much money for the new owners to continue the classical format.
Chicago Tribune
12/13/00
- ANOTHER ENDANGERED
CLASSICAL MUSIC STATION: Chicago is one of the rare US cities
that has two classical music stations. That may soon change.
WNIB, the second station, has been sold, and it's not considered
likely that the new owners will keep the classical format. Chicago Sun-Times
12/04/00
- DEATHWATCH:
A mood befitting a bedside vigil has descended on Chicago's
classical music community, with tributes issued, guarded hopes
expressed and numerous experts trying to determine whether WNIB's
situation was symptomatic of some grave illness plaguing America's
classical music scene.
Chicago Tribune 12/04/00
BITING
THE HAND THAT FEEDS: Minnesota Public Radio is the 800-lb.
gorilla of classical music radio. The network not only broadcasts
throughout the Upper Midwest, its "Classical 24" satellite
service provides programming to more than 250 stations nationwide.
Increasingly, MPR is under fire for the incessant "dumbing
down" of classical music on the air, and one of the network's
own news-talk hosts took on the man in charge of such programming
on her public affairs show. "Midmorning," Minnesota Public Radio 1/23/01 [RealAudio file]
WIRED UP CLASSICAL:
Seventy-three American orchestras have embraced the digital age
with an agreement about putting their music on the net. So will
music fans want to listen? Sure, "15,000 of them took to
the net and paid $2 to listen to the New York Philharmonic with
conductor and violin soloist Itzhak Perlman performing two hours
of Brahms, Bach and Beethoven." Wired 01/22/01
SOMETHING
ABOUT WINNIPEG IN JANUARY: The Winnipeg New Music Festival
manages to draw thousands to a week of concerts filled with challenging
music. The festival is ten years old and no one can explain exactly
why the city has taken to contemporary music with such gusto.
The Globe &
Mail (Canada) 01/23/01
IS
THE CONCERT HALL DYING? Is the live concert experience tottering
on its last legs? The ritual of "musicians playing to audiences
in buildings designed solely for that purpose - could soon be
a thing of the past. Already it is beginning to look like a relic
of another age - an age when people had time and leisure to give
up an evening for two or three hours of potentially less-than-perfect
music- making." The Guardian (London)
01/19/01
THE
MEANING OF OPERA: "The old definition of opera - people
singing instead of talking - stopped working long ago. Music becomes
operatic, says present conventional wisdom, when it's used as
the primary means to illuminate characters and tell stories. Opera
is one of America's fastest growing fine arts, especially with
the under-50 crowd. The opera subscription is what you get after
you've bought your BMW and worn out your Frank Sinatra records."
Philadelphia Inquirer 01/16/01
CLASSICAL
MUSIC LITE: Classical music radio is not exactly a thriving
format in America. But where it does thrive, the artform is often
inverted, with "serious" composers such as Brahms relegated
to the second string in favor of frothy fare by von Suppe and
Giuliani (Mauro). Certainly no 20th Century fare. These short
easily- digestible morsels subvert the weight of the repertoire.
Why? Minneapolis Star Tribune 01/14/01
THE
NEW SING: Until a few years ago, the song recital was one
of the most formalized stiff rituals on the concert stage. But
a new brand of losser, less-formal recital has emerged. "It's
a challenging, more naked way to go, and the typically modest
financial rewards for such endeavors haven't gotten any better."
Philadelphia Inquirer
01/14/01
THE DEATH OF NEW MUSIC? "New music is at an impasse—you can't convince people
it exists. There is a certain small culture around it, but it
is impossible to get power brokers outside that culture to believe
that anything is going on. The official line is, classical music
is finished, a closed book, Glass, Reich, and maybe John Zorn
the end of history. And it does not help that jazz is ever more
officially referred to as 'America's classical music'. First of
all, what is that supposed to do for jazz? Legitimize it, make
it blandly respectable and therefore ignorable? And it slaps those
composers whose training is classical out of the water."
Village Voice 01/09/01
GLAMOROUS
BUT CAN THEY PLAY? A new generation of female classical musician
is taking to stages with more glamorous (and sometimes suggestive)
marketing. Does it make a difference to how they play? "People
say it's because of what we look like that we get guff, but it's
not — it's because we're women. It has nothing to do with being
attractive or not attractive. But somehow there's an inherent
sexism in classical music that has always been there. And finally,
we're breaking that down." Sonicnet 01/09/01
AT
GREAT COST: John Eliot Gardiner spent the year 2000 recording
the Bach cantatas. "The haul was long, encompassing 93 concerts
at 61 churches in 12 countries, performed by his 18-voice Monteverdi
Choir and 35-member English Baroque Soloists. The price tag was
$8 million. The project will be held up as a model of either realizing
the impossible or stretching a thriving organization to the breaking
point, since there was one significant casualty: Gardiner's longtime
relationship with the recording company Deutsche Grammophon."
Philadelphia Inquirer 01/08/01
- BACKING
OUT ON BACH: Deutsche Grammophon and its parent company,
Universal, take the prize for chutzpah after finking out on
John Eliot Gardiner in the middle of his massive cantata cycle
- the Bach Pilgrimage, as it was called. The British conductor
and his musicians have been spending the year dragging themselves
through Europe and the United States, trying to perform all
198 of Bach's surviving cantatas, each one on the particular
day of the liturgical year for which it was written - some 90
concerts in 15 countries, all in 'interesting' churches. The
plan was that DGG would record them all and release one a week.
But last July the record company decided it was all a tad pricey
and pulled out, leaving the already cash-strapped Gardiner and
his merry band of musicians scrambling for funds." National Post (Canada) 12/20/00
- JOHN
ELIOT GARDINER AXED: Deutsche Grammophon has canceled its
recording contract with John Eliot Gardiner. This just as Gardiner
finishes recording "his remarkable series of 200 cantatas
in a year-long 'pilgrimage' to celebrate the 250th anniversary
of Bach's death. Sales of expensive new classical performances
are plummeting, and the major corporations are cancelling contracts
with all but the most bankable and attractive of celebrity performers." The Independent
(London) 12/17/00
REBUILDING
LA: A year ago when Deborah Borda took over management of
the Los Angeles Philharmonic, the orchestra was in shambles, with
a $7 million debt and attendance and morale problems. "By
September, the end of fiscal year 1999-2000, the Phil's operating
deficit had been reduced to less than $200,000. To date, this
season's ticket sales are up an average of 13% per concert following
10 years of steady decline - good news, but still 25% behind ticket
sales a decade ago." Los Angeles Times
01/07/01
NOT JUST
THE HITS: Why is orchestral programming so stuck in the past?
"The message to audiences would be: You can count on us to
sift through the centuries and present only the agreed-upon masterpieces
of the past, with occasional, carefully commissioned works by
living composers deemed capable of producing new masterpieces."
Don't we need some freshening? New York Times 01/07/01 (one-time registration
required for access)
THE
LITTLE-GUY CONSORTIUM: Big recording companies are consolidating
and folding up their classical operations. And small labels have
a hard time advertising and getting shelf space. Now a new consortium
of small classical labels hopes that by consolidating their efforts
they'll thrive. Sonicnet 01/02/01
JOHN ADAMS ON
BEING A COMPOSER TODAY: "It's been my impression that
in terms of commissions there's never been a more bullish period
in American history. There are all these operas being commissioned.
San Francisco Opera has commissioned 4 or 5 operas, and the Met
is on a big commissioning program, Chicago, those are all the
big ones, and the smaller companies are commissioning like crazy,
and orchestras are commissioning works, so it seems like actually
this is a tremendously good time to be alive as a composer of
large-scale works." NewMusicbox 01/01
THE PROBLEM WITH OPERA: Opera has enjoyed increasing
popularity in recent years. "But the fact that repertory
companies, overseas as well as here, avoid placing many of the
great modernist works on stage for fear of alienating traditionalist
audiences is almost a tragedy in itself. Here we are at the beginning
of the 21st century and three quarters of the major achievements
of the last, are not performed." The Age (Melbourne) 01/02/01
REPORTS
OF MY DEATH... Eight years ago tales of doom and gloom about
American orchestras were rampant. "Despite the troubling
statistics - in 1992 three-quarters of American orchestras were
posting debts - the business of making music has improved markedly
over the past eight years. Today, three-quarters of American orchestras
are balancing their books each season, accumulated debt has decreased,
and some prominent and once-troubled groups have enjoyed unprecedented
philanthropic favor and are on the road to stability." Washington Post 12/31/00
CLASSICAL
DEFINITION: "What is the relationship of America's classical
music to its popular music? Should singers be allowed to go back
and forth between the opera house and popular radio? Are Broadway
musicals the real American opera? Should symphonic composers use
jazz and popular music in their works? There was a very good reason
- cultural self-definition - to have these discussions, but at
some point it should have become obvious that these were mostly
hollow questions about the status of different types of music,
rather than real issues of substance." Washington Post 12/31/00
LOOKING
GOOD AT 400: Opera is 400 years old and still going strong.
"One way in which opera stays healthy is by reinventing itself
every generation or so. The old stereotypes - plump matrons impersonating
tender young consumptives, tenors strutting their high Cs at the
footlights - are so yesterday. Audiences are more demanding of
opera now. It's no longer enough just to have great singing; people
expect a total visual, dramatic and musical experience for their
buck. Chicago
Tribune 12/24/00
TAKING
A CHANCE ON SOMETHING NEW: "Most orchestras are still
wedded to the time-honored image of a paternalistic European music
director steeped in the Romantic tradition. And as luck would
have it, right now there simply aren't enough of those guys to
go around." So how about a new approach? How about some moxie
and inventiveness? San Francisco Chronicle 12/17/00
TORONTO
SYMPHONY DEFICIT: After a musicians' strike and a prolonged
search for a new executive director, the Toronto Symphony has
posted the largest deficit in its history. "The orchestra
now has an accumulated deficit of $4.9 million, after an operating
loss of $2.3 million this past year." CBC
12/11/00
WHAT DEFINES
A CLASSIC? "Occasionally we act as though artistic worth were constant
across the ages - hence the phrase 'timeless classic' - but it
isn't so. The past, as novelist L.P. Hartley remarked, is another
country, and the future another one still. Why assume that audiences
in all those countries value the same things? And why assume that
the things valued by future listeners are more profound and more
important than those that appeal to a composer's contemporaries?"
San Francisco Chroinicle 12/10/00
MAKING
RECORDING PAY: At a time when classical music recording labels
are floundering, the London Symphony Orchestra, which started
its own recording label last year, is actually turning a profit."This
may not be the answer to all the industry's ills, but it certainly
promises a wider variety of new recordings than might otherwise
be on offer, whatever happens to all those labels that have dominated
the field for so long." The Guardian (London) 12/08/00
A
DISASTER OF OPERATIC PROPORTIONS: Britain's TV channel 4 scored
one of the worst ratings in its history Saturday night with its
filmed version of Glyndebourne youth opera Zoe. "The programme
was watched by a mere 300,000 viewers, one of the broadcaster's
worst prime-time audiences ever." The
Guardian (London) 12/05/00
AUSTRALIAN
ORCHESTRAS WARNED: Leading new music proponents warn that
Australia's six major orchestras risk becoming marginalized and
irrelevant if they don't do better at promoting new repertoire.
"I’m concerned that the former ABC orchestras are now merely
an ornament in our cultural lives dedicated to perpetuating the
European canon." Gramophone 12/00
TOUGH
SEASON: Argentina's National Symphony is wrapping up its season.
But it's been a tough year for the orchestra. Due to "indifference"
by the government and withholding of funding "several concerts
had to change programme or artists, and many didn’t get paid,
along with programme-note writers, purveyors of orchestral parts,
and, most grievously, the Auditorio de Belgrano."
Buenos Aires Herald 11/30/00
OPERA
BROADCASTS CLOUDY? The Metropolitan Opera saturday broadcasts
begin their new season this weekend. But there is anxiety about
the future. Texaco has sponsored the Met broadcasts for 60 years,
the longest continuous sponsorship in America. The company has
recently merged with Chrevron though, and neither company will
commit to the future. Hartford Courant
12/01/00
THE
BEHAVE-AS-YOU-WANT CROWD: "Classical concerts are a free-for-all
these days, with no human behavior apparently too shabby for public
display. Last week at the Academy of Vocal Arts, a trio behind
me reviewed the singers in real time. Part of this orchestras
have brought on themselves. In an effort to drum up business,
they have stressed informality and accessibility. The come-as-you-are
message of the 1990s has been interpreted beyond its intended
sartorial directive. It has come to mean behave-as-you-want."
Philadelphia Inquirer 11/21/00
IN
THIS CORNER...THE BATTLING TOSCA: The rock 'em sock 'em World
Wrestling Federation has become one of the major sponsors of the
Connecticut Grand Opera & Orchestra's Education Program. "It
would seem like there are a lot of differences, but there are
facets of both that are the same. They perform on a stage, we
perform on a stage. They have a story line with good and evil,
greed and jealousy, just like we do. The only difference is they
solve things through singing, we solve things using various household
objects such as tables, chairs or ladders." Hartford Courant 11/10/00
HOW
TO MAKE MUSIC BORING: Almost 4,000 musicologists from around
the world gathered in Toronto in the largest musicological gathering
in history to present about a thousand academic papers. "Classical
music is failing an awful lot of people. Boring concerts and lack
of classical music programs in the schools are partly to blame.
But so is boring musicology. Granted, I only heard a handful of
papers over the weekend. But almost all of them - whether on pop
or classical music - were jargon-laden, intellectually trivial,
poorly written and atrociously delivered." National Post
(Canada) 11/07/00
AN OPERA HOUSE OUT OF
TOUCH: London's Royal Opera House has become increasingly
more foreboding to everyday people, not less. "It has become
increasingly impossible to defend £20 million of public money
subsidising this exclusive club year after year, not to mention
the £78 million lottery grant for the rebuilding." So maybe
a little populist flair is in order... The Times (London) 11/07/00
IS
CLASSICAL MUSIC IN TROUBLE? Composer John Corigliano worries.
"There's so much to take its place now. With Internet and
500 TV channels; I can see that those things [we view today as]
essential can be left behind. It's easy to avoid it and still
have a full life without it. And it's changing hourly. I don't
know if it's a good thing. [But] there will always be people who
love what we do." Sonicnet.com 11/02/00
DO
THE MATH: "Music, you would think, is manufactured in
the Old Economy, and the distributed free of charge as common
property by the New. Yet in that case, is the New Economy an economy
at all any longer? Who would go on providing music if buyers want
to purchase at one price only, namely that of zero, getting it
for free? The Net's great promise – that every ware should preferably
be shareware – does it not overlook that this 'everything' has
to be produced before it can be distributed?" Frankfurter Allgemeine
Zeitung 11/01/00
OFF ON ITS OWN:
There are a few hotbeds of contemporary music where both the musicians
and the audiences are engaged in the music. But why are they separated
off from the mainstream? Ghettoizing new music does no favor to
the music establishment. Traditional programs could benefit from
the energy of the new. New York Times 10/29/00 (one-time registration required for entry)
CHICAGO IN BALANCE:
For the 14th season in 15 years, the Chicago Symphony has balanced
its budget, posting a modest surplus on a $55 million annual budget.
"Attendance at CSO concerts was up 2.3 percent overall, from
257,336 to 263,376. Ticket revenue rose to $15.6 million from
$14.7 million." Chicago Sun-Times 10/26/00
IN
SICKNESS OR IN HEALTH... Collecting recordings is becoming
a dicey proposition. Mergers of recording companies, endangerment
of long-favored labels, and the growth of downloadable music on
the internet is a threat to the collector. Just why do people
collect recordings? Can they adapt to the new world of music recording? The Guardian (London) 10/20/00
THE
ART OF SELF PRESERVATION: "These days, one of the tasks
with which orchestras find themselves saddled is the nearly impossible
one of educating audiences. Schools aren't doing it, and neither
are most parents. Orchestra musicians themselves may resent the
kind of musical spoon-feeding they are called on to do by the
organization for which they work. But even many of them realize
that it's a question of self-preservation; for better or worse,
you don't have to wait for Aunt Buffy to will you her orchestra
subscription to get a seat at the Academy of Music." Philadelphia Inquirer 10/19/00
OPERATIC
DILEMMA: "If other artforms are in a constant scramble
to reinvent themselves, opera gives the singular impression of
a maiden aunt cast upon a desert island, clutching her trousseau
of frocks circa 1910 and a pile of 78s of 'Great Voices of the
Century' ready to play 'Desert Island Discs'. It is a source of
some anxiety to opera companies, not just locally, but around
the world, that their audiences are getting older."
The Age (Melbourne) 10/16/00
RAGE
AGAINST THE DUMBING DOWN: For years, British composer Harrison
Birtwistle lived as a recluse on a remote French hillside. Now,
at 66, he's moved back to Britain, with some strong ideas about English culture. "I
believe we have in this country the best musicians in the world,
but we don't have the best orchestras because we don't give them
the money to rehearse. It's spread too thin. So second-rate becomes
good enough, and we don't know the difference any more." The Telegraph (London) 10/14/00
HOW TO SELL
A NEW OPERA: "The puzzle of how to produce a new opera
that will not tank at the box office, and that may even last as
long as a Volvo (to borrow a phrase from Leonard Cohen), has become
a minor fixation of opera companies all over North America, including
the San Francisco Opera, which on Saturday raised the curtain
on an adaptation of 'Dead Man Walking'. In many ways, the opera
is a textbook example of current received wisdom on how to introduce
new work into the deeply conservative opera world." The Globe and Mail (Toronto) 10/10/00
CLASSICAL
EROSION: Following a trend around America, Washington DC public
radio classical music station WETA pares down its broadcasts of
classical music. Is it true that "public radio listeners
have demanded more news; that folks driving home at night want
news and not music, certainly not classical music; and that classical
music listeners aren't the best pledge donors?" Washington Post 10/03/00
NEW DAY FOR
OPERA: "The very fact that America's two largest opera
companies, the Metropolitan Opera and Lyric Opera, are trading
productions of untested works by American composers, signifies
that the move toward multiple productions has turned into a promising
trend. It also suggests that opera directors and audiences are
taking new American works a lot more seriously than they once
did." Chicago Tribune
10/01/00
A SHADOW
OF ITSELF: BMG Classical was once a giant in the classical music recording business.
But a major reorganization will gut the label - where it once
produced hundreds of new recordings a year and boasted a roster
of the biggest stars, it now focuses on its archives, and will
drop most of its recognizable performers. Washington Post 04/19/00
THE
DAY THE MUSIC DIED:
What killed the venerable BMG's classical music recording operations?
"A run of pin-striped MBAs and former wine salesmen was put
in charge of classics, only to depart before their signings cut
a debut disc. On the rock side BMG flourished, winning a record
24 trophies at this year's Grammy awards. BMG has annual revenues
of $16.4 billion and owns 200 labels, including Ariola, Arista
and Windham Hill. Classics amount to less than four per cent of
turnover. When the bottom line reddened amid a general classical
downturn, the division was swatted by an executive fist, like
a flea on a giant's hide. That is the way of the corporate world,
and that is what is killing classical recording." The Telegraph
(London) 04/26/00
CLASSICAL REBIRTH:
Classical music
has "entered the third Christian millennium more bewildered
than most art forms, having long since lost its bearings. Yet
the very anarchy of millennial mayhem may subtly assist its arrival
at an epochal self-recognition. For the more diffuse society becomes,
the more it reflects the eclectic state of musical creation."
London Telegraph 01/05/00
"A MILKY
TEA, HEAVILY SUGARED": That's one description of today's British classical
music journalism. Shake-ups in the editorial leadership of the
small world of British music magazines and the Grove Dictionary
has put classical music journalism in an uproar, writes Norman
Lebrecht. "The common weakness is that all these magazines
rely primarily on record-label advertising, and most classical
labels are in trouble."
BATTLE
OF THE PYGMIES: In the wake of protests over what music gets to be
listed on Britain's classical music sales charts, some are wondering:
so what is classical music anyway? Who cares? The Guardian 03/14/00
BRUCH
THIS: Yikes - for the fifth year in a row Max Bruch has
won top spot on the UK's Classic FM poll of favorite composers.
But then, what do you expect? "If you spoonfeed your audience
a pappy diet of light classics and bite-sized chunks of larger
works, all seasoned with the odd bit of cross-over, and then get
them to vote for their favourites, the result is more or less
a foregone conclusion. Pavlov couldn't have conditioned his salivating
dogs any more effectively." The Guardian 04/26/00
CLASSICAL
FRINGE: There's nothing
particularly "classical" about Canada's Top Ten classical
recordings bestseller list - Bocelli and Church and some crossover
stuff. "So how many copies does a real classical album sell?
On average, 300 in Canada. (And for reasons that remain obscure,
40-50% of those sales will be in the province of Quebec.) A few
albums, of course, do much better than that - Heppner's Great
Tenor Arias has almost gone gold. But BMG's 94-CD set of Rubinstein's
complete recordings sold only 30 copies in Canada - which is not
entirely surprising given the price tag of $1,500. National Post
(Canada) 04/25/00
A
MOMENT WITH THE MAESTRO: Daniel Barenboim has been hailed as a “phenomenon”
since the age of 12, when his piano playing was compared to Mozart.
Now just a few months from the 50th anniversary of his stage debut,
the maestro reflects on his career and the sad demise of classical
music’s audience. “It is beginning to look as endangered as the
Siberian tiger. There is no music education now in the schools.
The crossover business, and all the other trivialisations of classical
music, is a result of this basically unhealthy state of affairs.”
The Telegraph 04/20/00
A SHADOW
OF ITSELF: BMG Classical was once a giant in the classical music
recording business. But a major reorganization will gut the label
- where it once produced hundreds of new recordings a year and
boasted a roster of the biggest stars, it now focuses on its archives,
and will drop most of its recognizable performers. Washington
Post 04/19/00
CLASSICAL
DEFENSE: BBC’s Head of Classical Music Peter Maniura defends
the BBC against recent criticism that it’s gone soft on classical
music programming. The Telegraph 05/26/00
A
MATTER OF ECONOMICS:
"Where once the classical recording giants could allow themselves
to fill a cultural need while making money, now they are only
interested in making money - lots of money, and quickly. A new
recording by 'N Sync sells 1.1 million copies in a single day,
and the accountants wonder why a Kissin or Pierre Boulez cannot
do the same. A successful classical recording will sell not much
more than 10,000 to 20,000 copies, unimpressive by the inflated
standards of the pop music market." Chicago Tribune 05/18/00
THE
CLASSICAL MUSIC COUNTERCULTURE:
With major labels abandoning the classical music genre and alternative
purchasing outlets such as the internet on the rise, a new counterculture
of buyers of classical music recordings is growing. Philadelphia
Inquirer 06/18/00
ALTERNATIVE
SOURCES: As doom-sayers
worry over the end of classical music recording, new ways of getting
orchestra recordings to consumers pop up. Boston Herald 06/15/00
CURSED
CROSSOVER: The classical
music world has sunk so low that it's pandering to whatever gimmicks
it thinks will sell recordings. Pavarotti is bad enough, but when
the Berlin Philharmonic defaces itself... The Telegraph (London)
06/14/00
BRAHMS
AND THE PLAYMATE: Classical music recording companies may be dumping the big established
stars, but they have room for Linda Brava, a Playboy Playmate
and moderately talented violinist. She's being promoted by EMI
Classics, no less. "Recording companies are no longer satisfied
with a decent return on an investment that may take several years
to realize. They want profits, they want them big, they want them
now." Philadelphia Inquirer 06/06/00
CROSSING
OVER OR SELLING OUT?
Crossover recordings, once a low-risk, easy-profit cash cow that
the big classical companies employed to subsidize more serious
and expensive recording projects, have become a primary lifeline
for those firms now that sales of classical recordings have flattened.
But as the stakes grow higher and the new releases pile up, the
debate about crossover flares anew. Is it a healthy means of bridging
the gap between the classical and non-classical public? Or a crass
ploy to kick new life into a sagging market? Chicago Tribune 08/27/00