Und es ist doch eine wunderbare Vorstellung, dass ungefähr zur gleichen Zeit als Helmut Lachenmann in der Cello-Kadenz seines „ Notturno / Musik für Julia“ in die Welt der Geräusche vorstieß, drüben in Kalifornien im Studio zwei Cellisten auf exorbitante Weise ihre Instrumente traktierten, sodass diese aberwitzigen Basstriolen zur Sirenenmelodie im Abspann von „ Good vibrations“ entstanden!
The first part of the following video is what happens when you leave a composer at home during rehearsals of his new opera with too much time on his hands. And the second part is an attempt to condense the wild tale of love, imagination, adventure and backwards-talking men that...
After many month we have finished the first electronic interpretation of Mr. Carlson’s „Alphabetized Winterreise“. Thank you, Ian Bostridge. Thank you, Leif Ove Andsnes. Thank you, Franz Schubert (1827). Thank you, Erik Carlson (2013). Thank you, listener!
Now also in English! You still have to keep your distance – also concerning musical intervals! The minor 2nd at the beginning of Beethoven’s „Für Elise“ is too tight! Please keep your distance: at least a major 3rd! Download the Score View this post on Instagram Distance also between the...
„By suppressing modern music, the performing musicians project their own distrust in the music to the public. Is it then a wonder the public distrusts the music and is often not willing to seriously engage with it?“
Since most of the relations between music institutes and agencies takes place behind the scenes, it is only natural that it is rife with corruption and criminal behavior. Like many other immoral environments in the music world, everybody seems to turn a blind eye to these occurrences. It is a well-known fact among musicians that some prominent agencies even engage in criminal financial dealings with institutes and clients.
Of course, psychology plays a huge part in the conductor’s work with the orchestra. In order to get the best out of the musicians one must be able to sense their feelings, opinions and character. However, the need of conductors to appease their orchestras has given rise to such a servile attitude that one can hardly take the profession seriously anymore.
„No less damaging is the anxiety and pressure surrounding the need to maintain one’s career in this manner. But the young conductor has no choice. He must put his Beethoven scores aside, and tend to more pressing matters: networking, publicity, and finagling his way up the hierarchy.“