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Read MoreDarkness Audible: Depression Among Musicians
While depression is not the taboo subject that it was when I was young, it still takes a fair amount of courage for anyone to open up about their own struggles with the disorder, much less someone who occupies as public a role as does ICSOM chair Bruce Ridge. His article resonated for me in[…]
Read MoreDigitICE: Opening Access, Historical Records, and Performance Practice through Documentation
By nature, a composer’s work exists outside the bounds of human time. Works are remembered for centuries and, eventually, millennia, but the feedback loop varies greatly; it often takes years or generations for a composer’s work to receive deserved recognition. For performers, the feedback loop is immediate—sometimes rewarding, sometimes disappointing, always providing an opportunity for[…]
Read MoreSpinning Plates, Entrepreneurship, and the Social Relationships of Ensemble Residencies
Over the last few decades, many American schools of music have embraced the repertoire and missions of new music ensembles. Boundaries are broken, venues explored, students challenged, and new sounds ring out. What a change from the 1980s, when musicologist Susan McClary argued that “both popular and postmodern musics are marked as the enemy, and[…]
Read MoreThird Coast Percussion’s “Currents”: Branding in Support of an Artistic Mission
As a touring percussion quartet, devoting an entire concert to new works for our group sometimes seems like a luxury. The logistical pressures of unfamiliar venue layouts, small stage sizes, and traveling with instruments, combined with the musical demands of presenters and unfamiliar audiences, means that we often stick with what we know while we[…]
Read MoreBoston’s Handel and Haydn Society Turns 200
Claiming to be the oldest continuously performing orchestra in America, the Handel and Haydn Society celebrates 200 years this year. The Society gave the American premiere performances of Verdi’s Requiem in 1878 and Bach’s St. Matthew Passion in 1879. The Society was created at the conclusion of the War of 1812, giving a performance of[…]
Read MoreSome thoughts on Hartford
The Hartford Symphony has been in the news recently, and not in the way that orchestras want to be: Behind the two-year dispute between the Hartford Symphony Orchestra and the musicians union over a new labor agreement is the symphony’s effort to remake itself to appeal to changing audiences and tastes. The orchestra says it’s[…]
Read MoreSenza Sordino Editor Richard Levine: An Editor’s Parting Thoughts
Richard Levine has the distinction (along with the late Henry Shaw) of being the longest-serving editor of Senza Sordino in ICSOM’s history. His thoughts on departing from the post were contained in a long article in the August 2014 edition of the newsletter. Richard has been a friend for a long time, so I will[…]
Read MoreWhy Does London Need a New Concert Hall?
The press and media are all over this one and obviously excited at the prospect of luring back Rattle to his homeland. They also argue for something that London really needs. And this feeding frenzy, I fear, could obscure some rational and strategic thinking that needs to be put in place before anyone signs up for a project.
Read MoreWhat is a #MusiciansInstaMeet and what can it do for Classical Music?
Hey everyone! Happy New Year! Boy, 2014 was an amazing year, and it looks like 2015 is going to be even better! Fun fact, in 2014 we experienced the last consecutive date of the millennium: December 12, 2014 (12.13.14)! The next truly consecutive date will be January 2, 3456, and I’m pretty sure it’s safe to say[…]
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