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  • On An Overgrown Path: Your chance to learn from music industry experts
    copyright owner s Report broken links missing images and errors to overgrownpath at hotmail dot co dot uk Posted by Pliable at Tuesday March 06 2012 Email This BlogThis Share to Twitter Share to Facebook Share to Pinterest Labels abc classic fm BBC Radio 3 classical next gramophone haymarket consumer media james jolly 7 comments Pliable said A resonant link comes from David Derrick http davidderrick wordpress com 2011 12 12 the kingdom and gramophone 11 30 am Pliable said An interesting side path http www guardian co uk media 2012 feb 19 magazines sell well website 5 06 pm Pliable said More on this thread from David Derrick here http davidderrick wordpress com 2012 03 06 jollys gramophone 5 30 pm Philip Amos said This has me rather lost for words not a condition I suffer from often It seems to me nothing more than a gathering of foxes who want to tell the chickens how to repair the henhouse the foxes wrecked in the first place Well the chickens have left and become free range birds who know the problems that have been foisted on them including by a certain rogue roosters of their own and are showing great ingenuity in coming up with their own solutions as you have recently and eloquently discussed in posts 11 38 am Unknown said Glad to see the issue raised I started buying every issue in the early 1980s and at one point managed to pick up every issue from 1967 secondhand So I have 45 years worth in a cupboard Hence one would hope some trouble might have been taken at renewal time Please excuse the long case study below I had thought very hard about renewing this year given the quality of reviews low and the fact that I really don t buy many CDs anymore because my collection is very large How did Gramophone handle this I received three letters encouraging me to renew not emails snail mail which took weeks to arrive in Australia I got totally frustrated trying to renew on line through the Haymarket website and had to RING the UK from here to sort it out After such dedication a couple of days ago I received two more letters One told me to renew because my subscription had expired the other thanked me for renewing I would have thought a couple of emails and a better on line facility would have sorted things out rather faster So much for their engagement with the digital age And also so much for their engagement with subscribers because not surprisingly I have received no acknowledgement of an email I sent suggesting that there might be better ways to handle the situation Maybe given your readership numbers the editor might be reading this in which case I will take the liberty to say he would be better off responding directly to reader emails 12 40 pm Pliable said More on this thread here http www overgrownpath com 2012

    Original URL path: http://www.overgrownpath.com/2012/03/your-chance-to-learn-from-music.html (2016-02-11)
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  • On An Overgrown Path: Why louder classical music is better classical music
    if it creates some controversy in the process that cannot be a bad thing What goes around comes around dynamics were used sparingly by composers until the late 18th century and perhaps contemporary music should now be entering its high energy neo baroque period Nobody is suggesting throwing the dynamic baby out with the bath water But new listeners hear louder music as better music so if classical music really wants a new audience it needs to get louder Header image shows Future Radio editor Tim Wilds and me toiling with the dynamics during editing of my 2010 Jonathan Harvey interview That programme has taken on a life of its own and it is now available on a number of platforms including Soundcloud and YouTube extract as well as the original Future Radio stream In that interview Jonathan Harvey highlighted the need for classical music to drop its silly conventions and the post above is another contribution to that valuable debate My thanks also go to Andy Moore at Arcam for an illuminating email discussion about dynamics and music reproduction This post is also available via Facebook and Twitter No review samples were used in its preparation Any copyrighted material on these pages is included as fair use for the purpose of study review or critical analysis only and will be removed at the request of copyright owner s Report broken links missing images and errors to overgrownpath at hotmail dot co dot uk Posted by Pliable at Tuesday January 22 2013 Email This BlogThis Share to Twitter Share to Facebook Share to Pinterest Labels Arcam Edith Canat de Chizy future radio guillaume connesson jonathan harvey louis andriessen York Holler 3 comments mrG said Isn t that a little like saying if a haute cuisine restaurant wants more customers it should start serving big macs I don t doubt your thesis but I do doubt the intention is the purpose of classical music simply to put bums in seats I don t want to believe that art music should be about advancing the art and in painting that means attention to the skill and craft as much as to the message and even more so the advancing of the ability of the audience to see It is by nature educational because it is to elevate the receiver Classical music whatever that label may mean in 2013 needs to reclaim its role as the vanguard of the sonic arts as the exploration into the depths of our ability to hear and connect to each other Pop music on the other hand is a classical burlesque it is about the illusion that anyone can be great if they just let it all hang out One hopes there is a better destiny for humanity than that 6 48 pm Pliable said mrG as I was at pains to point out I am suggesting commissioning and programming of high energy music alongside the core repertoire and Nobody is suggesting throwing the dynamic baby out

    Original URL path: http://www.overgrownpath.com/2013/01/why-louder-classical-music-is-better.html (2016-02-11)
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  • On An Overgrown Path: Listening with the ears of the heart
    by Pascal Rophé Little more needs to be said other than quoting Hubert Culot opinion that Moïra is with Dutilleux s Tout un monde lointain one of the finest cello concertos of the late 20th Century and an unquestioned masterpiece Also on Facebook and Twitter No review samples were involved in the preparation of this review The Path of Subud was found in the Norwich Oxfam shop Any copyrighted material on these pages is included as fair use for the purpose of study review or critical analysis only and will be removed at the request of copyright owner s Report broken links missing images and errors to overgrownpath at hotmail dot co dot uk Posted by Pliable at Sunday January 13 2013 Email This BlogThis Share to Twitter Share to Facebook Share to Pinterest Labels buddhism Edith Canat de Chizy Husein Rofé Muhammad Subuh Sumohadiwidjojo olivier messiaen Subud sufism Witold Lutosławski 1 comment Philip Amos said This post got me so worked up with anticipation that I temporarily put aside streaming the McPhee discs and holding my breath went on a hunt for discs of Canat s works four discs devoted to her compositions including the disc at the heart of the post and with no duplications Also one work in an organ recital and one in a violin recital A cornucopia I have just listened to the disc featured and I really have nothing to say The reason spiritual verbal works so often resort to metaphor is because what they write about is really ineffable The ineffable is also central to the nature of music and never more so than in Canat s case I think All I can say is that I was staggered intensely moved and I shall surely be returning to her works when I need them and I stress that word need May I just add that I m well aware that only a mention of the word streaming causes some people to move on or on occasion to write a diatribe I understand why if the person is an obsessive audiophile in which case there is mutual suspicion for I sometimes wonder if such really give a damn about the music or performance at all But even so the vividness with which the music and in this case I think of the start of Canat s Siloel comes through my Altec Lansing speakers can still give me a shock and I ve had them for seven years It truly makes me wonder what the anti streamers are looking for 12 35 pm Post a Comment Newer Post Older Post Home Subscribe to Post Comments Atom Chance headlines Loading Search On An Overgrown Path Loading Blog Archive 2016 19 February 5 January 14 2015 196 December 21 November 9 October 23 September 24 August 13 July 25 June 12 May 12 April 17 March 3 February 21 January 16 2014 211 December 13 November 23 October 13 September 19 August 17 July 10 June 21

    Original URL path: http://www.overgrownpath.com/2013/01/listening-with-ears-of-heart.html (2016-02-11)
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  • On An Overgrown Path: Classical music must return to its esoteric roots
    of contrast empathy dislike ecstasy tension catharsis Individually God help the teachers who tell those before them what the music is about or what the emotion s in it is To do so is again to objectify it to make it exoteric But the goal is to captivate your audience which is why I think that those first works should be of an overwhelming sort though age and attention span must also be taken into account so it may be necessary to play movements from larger works the second and or third movements of Rach Two the third of Tchaik One the Gloria from Bach s Bminor Mass the last movements of Sibelius Two and Five Allegri s Miserere Bruch s first violin concerto none of these works are hackneyed to THEM and the point is to stir the emotions and to let them experience those subjectively esoterically Music therapy for the brain damaged the troubled those in pain recovering from heroic surgery affects mind body and spirit and again the music must be chosen with care for the same reasons I ve never regarded The Mozart Effect as grounded in scientific experiment If it were the researchers would surely have had to do with every other great composer what they did with Mozart and if they did that they d still be working on it The consequence everyone interested in some aspect of the effect of music turning to Mozart is unfortunate and possibly harmful There are most certainly babies and people in music therapy who would benefit in other ways and more from exposure to other composers If I wanted to stimulate the intellectual growth of babies they d be hearing rather more Bach As Norman says of course there is a future audience for classical music It knows not of time and fashion It is of the nature of eternality Its performance assuming that we are allowed to hear the greatest performers who come to us not the most putatively marketable is not a matter of repetition in a dusty cupboard full of old people It is as such as Solomon Cortot Cherkassky Furtwangler demonstrated a matter of recreation recreated anew in and for each generation that comes 3 23 pm Lyle Sanford RMT said Regarding the previous comment God help the teachers who tell those before them what the music is about or what the emotion s in it is To do so is again to objectify it to make it exoteric That s a terrific insight Would that more of the musical elite realized individuals can have very different responses to music Don Campbell the man who popularized the Mozart effect passed away recently but in an interview not long before that he regretted having run with that one study before the others came along and made things much more complicated as they so often do I live in a rural area and have a little group that plays at various outdoor public events and over and over toddlers and preschoolers will wander up with mouths open and sit on the ground in front of us entranced by people playing real instruments Increasingly I wonder if small ensemble live music in the community isn t going the way of Morris dancers and other artifacts of the past Growing up in this area I never heard live music outside of the church organ and came to the classical repertoire through early stereo LPs in the 60 s What got me engaged was Handel s Water Music and Music for the Royal Fireworks and an E Power Biggs LP for organ brass and percussion I appreciate all that came after that but that s what triggered something inside my self and to this day I much prefer Elizabethan through Baroque for small ensemble over the massive things that came later I realize most people think of music therapy as something only for people damaged in one way or another and that s certainly part of it but I would also include in music therapy what the previous commenter is talking about when he says the point is to stir the emotions and to let them experience those subjectively esoterically 2 53 pm Philip Amos said I must thank Lyle for his compliment which I consider all the greater for coming from him Lyle s own previous comment I think contains two very important points I m an ex pat living near Vancouver and the question of small ensemble over large has been something of an issue in that city I m very happy to say that the number of small groups I subsume duos in this performing in a great variety of venues has increased This means local venues of course lower ticket prices and the audiences are very good indeed Far more people are so reached than are by the Vancouver Symphony Orchestra So what about the VSO It would customarily be classified as mid rank but I consider it frankly third rate God knows it had an opportunity to be first rate Have a dekko at the list of music directors on its patently self written Wiki page Do you see the name Rudolf Barshai No He was appointed in 1985 a coup if ever there was one and lasted not much more than a year It didn t help that he fired the long time and very popular Leader though that very nice man was clearly having technical problems but in general they d had it easy for too long and couldn t cope with a Russian taskmaster of the old school After him came an ad interim director and a slew of guests until Comissiona was appointed in 1991 I ll leave the history there Second the Wiki says that 240 000 people attend its 140 concerts every year Of course they don t The Board is addicted to the idea that you have to get every seat occupied by subscribers Such seats

    Original URL path: http://www.overgrownpath.com/2012/11/classical-music-must-return-to-its.html (2016-02-11)
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  • On An Overgrown Path: Do the arts need wide or deep audiences?
    s 41 0m listener hours for the quarter compares with 12 2m for BBC Radio 3 Or putting it another way if Radio 3 not only reversed its current decline in audience mass but also achieved the totally impossible by doubling it the station s total listener hours would still only be slightly more than half that of its commercial rival Which raises the question of what on earth is Radio 3 trying to achieve by attacking Classic FM instead of gap spotting The folly of Radio 3 s current strategy is self evident and needs no further discussion But hopefully this post may draw attention to important and wider points Audience width aka bums on seats is now the international currency of the arts Nowhere is this more evident than in the BBC press release quoted above which makes not one single mention of the depth of the audience as measured by hours per listener despite this being an integral part of the RAJAR data Audience depth hours per listener for radio or return visits for concert goers is a vitally important measure which is in danger of being forgotten in the rush to achieve top level volume targets to satisfy PR departments and funders In the final analysis it is audience mass width x depth that matters But the BBC and many others seem to be overlooking a crucial point it is almost certainly more cost efficient to increase audience mass by boosting depth hours per listener or return visits to concerts through improving the quality of the experience than by hiking the number of people exposed to it Finally Radio 3 s futile and self harming battle with Classic FM provides an important lesson to any arts organisations tempted to abandon its core competencies in order to chase market share As Genghis Khan said Never fight a battle you can t win All RAJAR data quoted is available online There is an excellent explanation of the RAJAR methodolgy here Also on Facebook and Twitter Photo credit BBC Radio 3 blog Any copyrighted material on these pages is included as fair use for the purpose of study review or critical analysis only and will be removed at the request of copyright owner s Report broken links missing images and errors to overgrownpath at hotmail dot co dot uk Posted by Pliable at Monday February 14 2011 Email This BlogThis Share to Twitter Share to Facebook Share to Pinterest Labels abc classic fm BBC Radio 3 broadcasting classical music rajar No comments Post a Comment Newer Post Older Post Home Subscribe to Post Comments Atom Chance headlines Loading Search On An Overgrown Path Loading Blog Archive 2016 19 February 5 January 14 2015 196 December 21 November 9 October 23 September 24 August 13 July 25 June 12 May 12 April 17 March 3 February 21 January 16 2014 211 December 13 November 23 October 13 September 19 August 17 July 10 June 21 May 27 April 15 March

    Original URL path: http://www.overgrownpath.com/2011/02/does-classical-music-need-wide-or-deep.html (2016-02-11)
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  • On An Overgrown Path: Do classical music's big new ideas have real substance?
    of successful implementation Which means his recommendations are no more than personal hunches that need testing So by all means let s do A B testing of concert dress versus undress let s experiment with concerts in alternative venues and track what proportion of the new audience is retained and let s do in depth research of the profile of Sinfini website visitors etc etc But let s do it in a controlled and limited way until we have objective evidence that there is a net gain in audience Only then should we suggest that every British orchestra adopts these big new ideas My final concern is that Max Hole ignores opportunity cost the loss from the existing core classical audience of implementing his recommended changes and also fails to differentiate between net and gross audience gain It has become fashionable to despise the older and loyal audience for classical music and this presentation to the Association of British Orchestras is typical of the like it or lump it approach to change Of course we must innovate but as BBC Radio 3 has discovered at great cost if you change things some of those that don t like the change leave you That loss of audience is the opportunity cost of change and in an inherently conservative activity such as classical music it can be surprisingly in fact disastrously high And unless there is a long term net gain new audience gain exceeding loss the whole exercise is an expensive zero sum gain exercise Change driven audience loss needs to be understood and managed by orchestras and there is no recognition of that at all in Max Hole s presentation My headline poses the question Do classical music s big ideas have real substance As explained above I am becoming less optimistic about the efficacy of many suggested changes But classical music definitely needs big new ideas whether they come from Max Hole or someone else However we must differentiate between personal hunches and facts and we need to test big new ideas before they are widely implemented because only then can we understand if they have real substance We also need to show more respect for classical music s loyal core audience and need to understand the opportunity cost of alienating that audience But most importantly we must recognize that the biggest and best new idea is the music itself As T S Eliot tells us in Little Gidding We shall not cease from exploration And the end of all our exploring Will be to arrive where we started And know the place for the first time Also on Facebook and Twitter Any copyrighted material on these pages is included as fair use for the purpose of study review or critical analysis only and will be removed at the request of copyright owner s Report broken links missing images and errors to overgrownpath at hotmail dot co dot uk Posted by Pliable at Sunday January 27 2013 Email This BlogThis Share to Twitter Share to Facebook Share to Pinterest Labels Association of British Orchestras bbc proms BBC Radio 3 classical music Colin Currie max hole universal music 7 comments Mike said With respect to orchestral dress and presentation I look forward to reacquainting myself with the Australian Chamber Orchestra back in Sydney who retain older aficionados as much as they attract the new with their non stuffy sensibility and interesting photo kinetic themed concerts As Max Hole acknowledges in his reference to iTunes sound quality matters in classical music and CD delivers superior sound to the mass market downloads There are certainly places to purchase CD Studio quality downloads but the music producers have to address availability Buyers are scattered around the globe and the digital market is as fragmented as the CD LP supply chain ever was I m a fan of a number of central eastern Europe composers but obtaining even contemporary recordings is so messy I find myself writing to the actual musicians in Googlified Czech or Polish and trying to work out to transfer money iTunes is lowest common denominator in terms of both sound quality and tagging so it s a terrible terrible benchmark for the classical music industry Unless music producers step up the delivery and presentation they will remain victims of circumstance 5 40 pm Pliable said Mike thanks for that In fairness to Max Hole he says in his presentation that Universal Music is in discussion with iTunes about improving the sound quality of classical downloads 5 43 pm Mike said I hope that search tagging is also on the agenda At the moment it seems that Apple is focused on Mastered for iTunes which some musicians have been lead to believe means 24bit lossless music but is actually lossy music optimised for Apple devices The masters may have improved but it doesn t necessarily translate to a better purchase Treating all other digital distributors as also rans doesn t help either especially when many of them are willing to present classical music more attractively eg Qobuz Also that Universal chooses NOT to make its catalog universally available across iTunes stores means that musicians lose on potential sales Sitting here in France I have no easier access to English sourced online music than I will in Australia in a few months time I can read music reviews from Sinfini Gramophone musicOMH and the Guardian my interest is grabbed but the iTunes Spotify links are invariably useless across national borders so why bother Perhaps they could rename themselves Parochial 6 01 pm Rameau said The basic idea behind all those empty theories is that classical music is declining and that nothing has changing since insert random date in the classical world This is what should be demonstrated before some Justin Bieber manager should tell us what we all people from classical music management and us from the audience do wrong OK classical music lovers are not always young that s true but

    Original URL path: http://www.overgrownpath.com/2013/01/do-classical-musics-big-new-ideas-have.html?showComment=1359308427533 (2016-02-11)
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  • On An Overgrown Path: Remixing Japan
    heard in a sonic garden from different perspectives Re issue specialists Brilliant Classics have released the Takemitsu orchestral works at sub budget price The two disc set provides an excellent introduction for newcomers to the composer s music but are also a valuable resource for Takemitsu philes as they contains the rarely heard November Steps for orchestra and two traditional Japanese instruments the biwa and shakuhachi and Gémeaux for oboe trombone two orchestras and two conductors with Christian Lindberg as trombone soloist The notes for the Brilliant Classics release are provided by Takemitsu himself and in his note for Dream Window he describes how beneath the hushed serenity of Kyoto the gears of change grind on and on without cease It is Takemitsu s unique ability to blend the hushed serenity of Zen gardens with the ceaseless change of contemporary culture that makes his music so special and which also make this Brilliant Classics re release of his Japanese remixes so recommendable Max Hole chief executive of Universal Music recently presented his vision for classical music In an earlier post I countered these proposals by saying we should stop apologising for the way we present our sometimes challenging but always inspiring music and instead be much more confident and bold in the way we programme and champion it This is the first in a short series of posts about new music that can if programmed confidently and championed boldly spread the classical dharma to a new audience far more effectively than dressing down and dumbing down And it is not without significance that all my examples will come from CDs released by independent record labels Also on Facebook and Twitter No review samples were used in the preparation of this post Any copyrighted material on these pages is included as fair use for the purpose of study review or critical analysis only and will be removed at the request of copyright owner s Report broken links missing images etc to overgrownpath at hotmail dot co dot uk Posted by Pliable at Tuesday January 29 2013 Email This BlogThis Share to Twitter Share to Facebook Share to Pinterest Labels john cage jonathan harvey max hole stephen batchelor toru takemitsu universal music No comments Post a Comment Newer Post Older Post Home Subscribe to Post Comments Atom Chance headlines Loading Search On An Overgrown Path Loading Blog Archive 2016 19 February 5 January 14 2015 196 December 21 November 9 October 23 September 24 August 13 July 25 June 12 May 12 April 17 March 3 February 21 January 16 2014 211 December 13 November 23 October 13 September 19 August 17 July 10 June 21 May 27 April 15 March 2 February 23 January 28 2013 257 December 21 November 17 October 31 September 8 August 35 July 24 June 24 May 8 April 31 March 8 February 24 January 26 The buildings in which you play are seen as forbid The practice of engaged classical music Remixing Japan Do classical

    Original URL path: http://www.overgrownpath.com/2013/01/remixing-japan.html (2016-02-11)
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  • On An Overgrown Path: Where late the sweet birds sang
    co dot uk Posted by Pliable at Friday January 25 2013 Email This BlogThis Share to Twitter Share to Facebook Share to Pinterest Labels hmv linn records Magnificat max hole Philip Cave Robert Parsons Robert White Sally Dunkley universal music william byrd 3 comments GiordanoTed said I just listened to the first piece of Magnificat s Where late the sweet birds sang and I am perplexed by the Latin pronounce Aspice sung as aspiTSE We might never know how Romans pronounced or whatever you d like to call it original Latin pronounce but I strongly doubt it had this British inflection The same for eius pronounced ejus with the J for Jet On my book it should be eius with a long i like the first sound of York The music is wonderful and the singing is magnificent but I think Philip Cave and Magnificat should verify their Latin pronounce 1 44 pm Pliable said Sally Dunkley has sent me the following reply to the comment above Hello GiordanoTed I m delighted to read that you enjoyed the performances by Magnificat Philip Cave The question of how Latin was pronounced in different places has been studied by a number of people you can read a little about it in the preface to Philip Brett s 1972 edition of the Byrd five part Mass Stainer Bell and a lot about it in Harold Copeman s book Singing in Latin 1990 Magnificat s pronounciation on this CD was based on what is generally accepted as English Latin at that time Best wishes Sally Dunkley 12 34 pm GiordanoTed said Thank you Pliable and Sally Dunkley for the most corteous and erudite reply I suppose the matter of the precise Latin pronunciation will be a tricky one forever and ever I will check out the recommended readings and listen many many times to the wonderful music in Where late the sweet birds sang 9 02 pm Post a Comment Newer Post Older Post Home Subscribe to Post Comments Atom Chance headlines Loading Search On An Overgrown Path Loading Blog Archive 2016 19 February 5 January 14 2015 196 December 21 November 9 October 23 September 24 August 13 July 25 June 12 May 12 April 17 March 3 February 21 January 16 2014 211 December 13 November 23 October 13 September 19 August 17 July 10 June 21 May 27 April 15 March 2 February 23 January 28 2013 257 December 21 November 17 October 31 September 8 August 35 July 24 June 24 May 8 April 31 March 8 February 24 January 26 The buildings in which you play are seen as forbid The practice of engaged classical music Remixing Japan Do classical music s big new ideas have real subst Where late the sweet birds sang Classical music as an antiques roadshow Before mobile ringtones there were air raids Why louder classical music is better classical mus Who needs a conductor A symphony a day keeps the doctor away I find

    Original URL path: http://www.overgrownpath.com/2013/01/max-hole-hmv-and-british-orchestras-note.html (2016-02-11)
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