Monday, September 14, 2015

A List Like This

Last month the CBC published the "30 hot Canadian classical musicians under 30, 2015 edition", a post which makes me shiver.

Though I have no doubt that the performers mentioned in the click-through gallery are dedicated servants of their art, CBC Music's investment in celebritization ultimately does the art more harm than good.

The 'industry' in North America, as it were, is in a truly pitiful state (take a look at Norman Lebrecht's When The Music Stops, an outing of the business of classical music, finds its conclusion at the turn of the 21st century where the trend of corporate mergers and the swallowing up leftover independent firms was just beginning): a small handful of multi-national corporations manage the bulk of touring artists, conductors, and ensembles, as well as own and operate seemingly independent media. Private interests control the incredible salaries paid to stars by publicly-funded institutions and the argument which, surprisingly, has held this system in place has been the necessity of celebrity to secure institutional longevity. 

In fact, if a performing artist is not directly or indirectly (through an ensemble) in contact with this celebrity system, they can very easily find themselves in a second tier: falling victim to labeling (referred to as 'local', or similar terminology), or making their income from other, non-performance based sources. It's the reality of the system in place, but should a national broadcaster be paying homage to it? (This isn't the first time I've tackled CBC Music's online coverage, and, as you can tell, my overall position hasn't changed.)

The media coverage at present surrounding a typical performance is almost entirely PR-driven. Newspapers 'sponsor' arts organizations, meaning that they guarantee coverage of that organization's activities (usually with an interview or promo piece) and, due to the thinning out of newspaper arts sections across Canada, it is getting harder and harder to get any coverage of non-institutionalized music-making at all.

So what's the alternative? Nurturing a culture of participation, encouraging the idea that live performance is categorically different from, and cannot be substituted by recorded media; cultivating the notion that the reward a live performance can grant you is worth taking the risk of attending. The most difficult pill to swallow for institutions in this scenario is the requirement to attack dwindling attendance culturally, not simply on a case by case basis (as is the norm). Performance art organizations would have to join together in encouraging a wholesale reinvestment in the culture of attendance - even if that means encouraging patrons to go elsewhere in the case of a conflict.

In order for any meaningful change to be made leadership from among the establishment is needed. It's about time, CBC, will you step up?

Thursday, September 10, 2015

Just a Few More Days

This coming Saturday marks the return to my regular Basel-based activities: I will referee two rugby games this weekend, and will begin taking lessons again at the Schola Cantorum Basiliensis on Monday. Looking back at my summer activities, it seems I've had quite the experience.

Wednesday, September 9, 2015

New Format for Discovering Old Sources

I saw an update today from Elam Rotam, co-editor of They've recently changed their database format to make it even easier to find that treatise you are looking for, even incorporating a tag system for those wishing to browse by category.

I don't think I've mentioned this website before on the blog, but it is a fantastic resource worth your attention. Over 550 sources are listed, the majority of which can be viewed online for free, and more are being added everyday.

Tuesday, September 8, 2015

The Next Step

“If all the musicians in Europe performed as you did today, there would be peace on Earth.” – Anonymous listener at NewBO’s premiere, 2/9/15

On September 2nd, my most important project to date came to fruition. As part of the Utrecht Oude Muziek Festival’s Fabulous Fringe series, NewBO (The New Baroque Orchestra) celebrated its premiere performance with a program of English music from the middle of the 18th century. As administrator and co-director of this project, a lot has rested on my shoulders over the past few months and I can’t tell you the feeling I had when we stepped onto that stage in the Hertz room at the TivoliVredenburg.

NewBO was conceived in the bar of the Hôtel des Ardennes in Echternach, Luxembourg, almost two years ago. After hours of discussion, as well as a few more weeks on tour, it was clear that a fire was lit. Following two seasons as EUBO, our desire to play together burned ever stronger. After our final tour to Malta I began preparing the materials for our Utrecht debut.

Monday, September 7, 2015

Proposing a Project?

I have recently begun to offer my services as writer to individuals or ensembles wishing to increase the profile of their English-language promotional materials. If you know of someone in need of copy editing, a completely new bio, or wanting to bring their application materials to the next level, please feel free to direct them to the blog. They can contact me through the link on the menu bar at the top of the page. 

Recommended samples: 

The Post-Camp Decline, Part 2: Machines

The last evening of the camp saw a presentation of a revolutionary gouging system and automated profiling machine by Greg James. The three-stage gouging system gave incredibly precise results: with good cane being gouged at an accuracy of plus or minus 0.01mms. The secret, Greg said, was the way the cane was clamped to the bed. Traditionally, this is done by clamping the cane end to end as it lays in the bed. The drawback of that system is that the cane cannot be gouged evenly unless it naturally conforms to the bed. Greg’s system clamps the cane on either side down along the length of the carriage, forcing it to conform to the bed’s diameter. Of course, the effectiveness of the process depends on how close in diameter the cane is to that of the bed, but the standard bed diameter of 25.4mm produced outstanding results for cane ranging from 23-27mm. That’s a huge window for accuracy without needing to reset the machine.

Sunday, September 6, 2015

David A. Wells, You are a God

I've just discovered a very important tool created by David A. Wells. Blank baroque bassoon fingering charts! Not only one, either. Three! Based on Bret Pimentel's Fingering Diagram Builder, Wells has designed a chart for for a four-keyed instrument, another for a French-style instrument (low Eb for the LH thumb), and a third for a German-style instrument (low Eb for the RH little finger). Thank You, Sir!

Click here to check the page out.
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