“It is a little disheartening that everybody, including “classical” musicians, has the need to grasp for terms like “classical,” “concert,” or worse, “art” music. Is there not a tacit air of aristocracy or bourgeoisie to the concert-going community? I know that what I do and with whom I do it are privileges, but our products ought to be more publicly digestible.”

“Back when he recorded his first tracks, studio musicians weren’t appreciated or even known by name outside the record industry. But Purdie was one of the foremost sidemen to advocate for his own visibility, and few others had his charisma or cockiness. Everywhere he goes, Purdie is called upon to play his defining creation, the Purdie Shuffle, a notoriously complex four-limb beat that he invented (and quickly named after himself) in his salad days.”

“In each country, the Concertgebouw will perform one opening work side by side with a local youth orchestra, and members will give masterclasses and tuition to young musicians. Daniele Gatti will conduct the first concerts of the tour.”

The Genoa-born conductor “has been named as the new music director designate of Florence’s Opera di Firenze and its annual spring festival, the Maggio Musicale Fiorentino, in what appears to be something of a shakeup at the Tuscan company. The position of music director is a new one within Opera di Firenze, and an office that was reportedly created especially for Luisi.”

The city’s arts community has entered “its 2.0 phase,” says Catherine Cuellar, an official at the Communities Foundation of Texas and former CEO of the Dallas Arts District. The arrival of such energetic figures as van Zweden, 55, credited with transforming the Dallas orchestra into one of the best in the country, and Anderson, 59, who devised ambitious programming and reinstated free general admission at the DMA, proves the arts community has turned a corner, Cuellar said.