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This kaleidoscopic collection reflects on the multifaceted world of classical music as it advances through the twenty-first century. With insights drawn from leading composers, performers, academics, journalists, and arts administrators, special focus is placed on classical music’s defining traditions, challenges and contemporary scope. Innovative in structure and approach, the volume comprises two parts. The first provides detailed analyses of issues central to classical music in the present day, including diversity, governance, the identity and perception of classical music, and the challenges facing the achievement of financial stability in non-profit arts organizations. The second part offers case studies, from Miami to Seoul, of the innovative ways in which some arts organizations have responded to the challenges analyzed in the first part. Introductory material, as well as several of the essays, provide some preliminary thoughts about the impact of the crisis year 2020 on the world of classical music. Classical Music: Contemporary Perspectives and Challenges will be a valuable and engaging resource for all readers interested in the development of the arts and classical music, especially academics, arts administrators and organizers, and classical music practitioners and audiences.
During his lifetime, the sounds of Handel’s music reached from court to theater, echoed in cathedrals, and filled crowded taverns, but the man himself—known to most as the composer of Messiah—is a bit of a mystery. Though he took meticulous care of his musical manuscripts and even provided for their preservation on his death, very little of an intimate nature survives. One document—Handel’s will—offers us a narrow window into his personal life. In it, he remembers not only family and close colleagues but also neighborhood friends. In search of the private man behind the public figure, Ellen T. Harris has spent years tracking down the letters, diaries, personal accounts, legal cases, and other documents connected to these bequests. The result is a tightly woven tapestry of London in the first half of the eighteenth century, one that interlaces vibrant descriptions of Handel’s music with stories of loyalty, cunning, and betrayal. With this wholly new approach, Harris has achieved something greater than biography. Layering the interconnecting stories of Handel’s friends like the subjects and countersubjects of a fugue, Harris introduces us to an ambitious, shrewd, generous, brilliant, and flawed man, hiding in full view behind his public persona.
______________ 'A beautifully poised series of dialogues about literature, music and politics, and they're a testimony to the enormous gifts and courage of both men' - Tom Paulin, Guardian 'A marvellous eavesdrop on the discourse of exchange between two great intellects' - Nadine Gordimer, TLS 'An extraordinary meeting of minds in troubled times' - Financial Times 'A fascinating exchange of ideas on music, politics and literature' - Classic FM Magazine ______________ Israeli Daniel Barenboim, one of the finest musicians of our times, and Palestinian Edward Said, eminent literary critic and leading expert on the Middle East, were close friends for years. Parallels and Paradoxes is a series of discussions between the two friends about music, politics, literature and society. Barenboim and Said talk about, among other subjects, the differences between writing prose and music; the compromising politician versus the uncompromising artist; Beethoven as the ultimate sonata composer, Wagner (Barenboim is considered by many to be the greatest living conductor of his work); great teachers; and the power of culture to transcend national differences. Illuminating and deeply moving, Parallels and Paradoxes is an affectionate and impassioned exchange of ideas.
Handel wrote over 100 cantatas, compositions for voice and instruments decsribing the joy and pain of love. In the first comprehensive study of the cantatas, Harris investigates their place in Handel's life as well as their extraordinary beauty.
Based on his critically-acclaimed BBC Radio 3 programme The Listening Service, in which Tom Service takes an idea on an ear-opening and mind-expanding walk through the musical landscape every week, this book is a celebration of music's multi-dimensional power in our lives. With 101 short chapters based on the programmes and grouped thematically the book will open ears and imaginations to find answers to the questions we all have about why and how music - from Toots and the Maytals and J S Bach, Gustav Mahler and Miley Cyrus, to Anna Meredith and Mozart - works its magic over us. With direct links to the programmes using a QR code, the chapters draw on powerful and communicative anecdotes and analogies, as well as the latest scientific research, and above all, a spirit of discovery and connection across genres, cultures, and histories. At its heart is the conviction that music changes us.
In addition to his activities as a composer, Leos Janácek was a prolific literary personality whose works include not only letters, feuilletons, criticisms, autobiography, ethnographic and pedagogical studies but also numerous articles dealing with music theory. They are unique documents, stimulating, diverse, exciting, and sometimes bewildering, they reflect Janácek's intense involvement with contemporary trends in philosophy, ethnography, physiology, and music theory, and his struggles in these worlds; yet they can hardly be found on a single bookshelf outside the Czech Republic (From the Introduction).
This book analyzes the economic challenges facing symphony orchestras and contrasts the experience of orchestras in the United States (where there is little direct government support) and abroad (where governments typically provide large direct subsidies). Robert J. Flanagan explains the tension between artistic excellence and financial jeopardy that confronts most symphony orchestras. He analyzes three complementary strategies for addressing orchestras' economic challenges—raising performance revenues, slowing the growth of performance expenses, and increasing nonperformance income—and demonstrates that none of the three strategies alone is likely to provide economic security for orchestras.
Olivier Berggruen’s essays on aesthetics dissect some of the twentieth century’s greatest art.