npressfetimg-3081.png

What Shouldn’t Change About Classical Music – The New York Times

In our pervasively amplified, streamed, digitally connected world, the vibrant spaces where classical works are ideally performed are precious preserves of natural acoustics.

Of course, we should be careful not to let the ambience of these experiences feel rarefied, as if audiences are entering sacred temples. Yet even newcomers I’ve taken to hear a renowned orchestra at Carnegie Hall are often stunned by the shimmering, resonant sound. We may be missing an opportunity today to sell a classical concert as a break from routine, an invitation to turn off devices and sit in silence among others — listening, sometimes for long stretches, to works that demand our focus, music that may be majestic, mystical, shattering, tender, wrenching, frenetic, giddy or all of the above.

Since the early 20th century, electronic resources have dramatically expanded the range and palette of sounds and colors. Olivier Messiaen, Steve Reich, Philip Glass, Meredith Monk, Osvaldo Golijov and many other composers have created works that imaginatively fold electronic sounds into traditional ensembles — with transfixing results.

Still, I hope that composers and performers will never forgo the magic of unamplified sound in natural acoustics. Think of how the Broadway musical changed starting in the early 1960s, when amplification became commonplace, often to excess. I can only imagine how glorious it must have been to hear Ethel Merman and Ginger Rogers in “Girl Crazy” in a theater with no amplification — or John Raitt, who could have been a Verdi baritone, singing Billy’s “Soliloquy” in “Carousel.” Those days are gone.

During the time I’ve reported on this field, I’ve been continually impressed by the entrepreneurial energy of artists who — realizing that traditional career paths were becoming limited, and that major institutions were overlooking new generations of creators — ventured off on their own. They formed composer-performer collectives and ensembles, like Bang on a Can, which presents concerts and festivals of experimental music; and the International Contemporary Ensemble, founded by the flutist Claire Chase, who has been an impassioned voice calling on young musicians to create their own groups and put on concerts anywhere, anyhow.

Source: https://www.nytimes.com/2021/12/17/arts/classical-music-tommasini.html

Leave a Reply

Your email address will not be published. Required fields are marked *

Releated

npressfetimg-5376.png

Blac Youngsta Raps Next to Tomb with Young Dolph’s Name in Music Video – TMZ

Blac Youngsta is either clueless or he’s gonna have a wave of hate coming his way from Young Dolph fans after posing next to a tomb with the late rapper’s name on it in a new music video.

Youngsta — who was a known enemy of Dolph — released the video for his song “Im Assuming” Monday, filmed almost entirely in a cemetery. While it’s very brief, around the 1-minute-mark of the video, you see the last n…….

npressfetimg-5375.png

Music Box Cookie Tin is Truly ‘Note-Able’ – Packaging Digest

Isn’t it a wonderful feeling when packaging surprises you in a good way?

My packaging-induced wonder came upon a recent night-time visit to a nearby Aldi’s. As I perused the shelves, there it was: Benton’s “Music Tin with Sugar Cookies”, which captures exactly what it’s about.

It was so unexpected to find such a premium-looking, interactive item at the discount grocer that I was beaming like a kid on Christmas morning. Then I became self-conscious and looked around to see if my fellow shoppers noticed my reaction. If so, they may have thought I’d enjoyed some liquid holiday cheer beforehand.

…….