Continuing with the topic of scandals and current events as topic for dramatic musical works—here is a piece on NPR about a new oratorio to premiere at the Brooklyn Academy based on the WikiLeaks debacle. Before there was the story of whistle blower Edward Snowden, there was Chelsea Manning and her disclosure of military documents to WikiLeaks. Now there is composer Ted Hearnes and a new oratorio using these documents as well as the identity struggles of Manning due to his sex change.
Music review from
Last week on “On Being,” Krista Tippett interviewed Bernard Chazelle, who is Eugene Higgins Professor of Computer Science at Princeton University. Some of his approaches to listening, thoughts, and insights about the music of Bach were fascinating.
Chazelle also keeps a fairly extensive blog on music. I haven’t explored all of it yet, but here it is!
Here’s a great resource for those who don’t feel like spending your life’s fortune on the Kennan, White, or Forsyth texts. Best of all, this online database contains audio files that exemplify various orchestral scoring techniques from the repertoire. Very cool!
This site is part of a larger project called “The Sound Exchange,” that makes orchestral resources available online. The project is headed up by the Philharmonia Orchestra under Esa-Pekka Salonen (whose music has come up, variously, in studio class, and was featured prominently in a recent iPad advertisement)
Be sure to supplement your open-source learning diet with generous portions of IMSLP scores of Stravinsky, Rimsky, Mahler, Holst, and Vaughan-Williams, Bartók, and/or Lutosławski (just kidding, Lutosławski isn’t on IMSLP).
Leo Brouwer is a Cuban composer, conductor, and guitarist. His music was featured during Composer Idol (sadly, he didn’t make it to the last round).
Ivette submitted this video of his piece for guitar, Un dia de Noviembre to give a sense of what his music is like. I think it’s especially appropriate for the season as the snow begins to fall this week.
Baldur Bronnimann recently shared a compelling blog about making some changes to conventional concert etiquette. He states that we, as listeners, often accept unspoken rules quietly and that these rules are ‘making the experience of classical concerts worse than it should be.’ Although I am supportive of many of these ideas, I don’t totally agree with that statement as I feel there is a lot of room for these conventions and there is still a consortium of musicians who value them.
There’s a lot more I could say on this topic, but I’m curious on how other’s feel about the blog itself as well as many of the suggested innovations. Have you ever been to a concert that utilized some of these behaviors? What did you like? What did you not like?
You can read the blog here: