If any orchestra wants to play this on their next season, I'll arrange it for them. RPO, I'm looking at you.
How do we approach an orchestra with a sordid history and some questionable tactics when it comes to hiring women and minorities? This March, New Yorkers will face that exact question when the Vienna Philharmonic comes to Carnegie Hall.
When times get tough, the tough collaborate! Such was the case for the three-day, three-concert Pipedreams Live! event presented by WXXI-FM Classical 91.5, the Eastman School of Music, the Rochester Chapter of the American Guild of Organists, and the Rochester Theater Organ Society, February 13-15, 2009.
The LAGQ came to town for multiple concerts, both with your RPO and without, and master classes at the Eastman School of Music. Much to our surprise and pleasure, they agreed to appear on Backstage Pass. We got ready.
This Spring, there will be Congressional meetings and hearings about how the arts and music benefit the economy and education. What do you think Congress can do to bolster the arts? Or conversely, should they do anything?
By the time our current Membership Campaign is over, I will have worked for three and a half pledge drives at WXXI. Every time we finish a pledge drive, I find myself thinking the same thought: doing this should be mandatory for any college student trying to make a living in the arts.
I like to abide by Duke Ellington's mantra that "There are two kinds of music: good music and bad music." But what defines good music? Let's consider some pieces of "new" music--are they good or not?
Mozart turned 250, and you couldn't turn around without banging your shins on another recording of Eine Kleine Nachtmusik. Mendelssohn turns 200 and...not so much.
Aaron Copland's book "What to Listen for in Music" invites music fans of all types to consider listening to music on multiple levels and multiple planes. Last weekend at a concert, I caught myself listening on just one level, and it got me thinking how others listen.