Another photo by Joe Mozdzen:
Very good article in the NY Times about whether conductors/orchestras should always follow the composers intention…
Composer’s Intent? Get Over It – NYTimes.com
Most experienced listeners know that thinking in terms of definitive performances is as meaningless for new music as it is for any other kind. To consider one approach (say, Mr. Boulez’s X-ray vision readings) ideal and another (Mr. Barenboim’s high-energy accounts) illegitimate is actually antimusical. Music is as much a performer’s art as a composer’s, and for the listener there should be as much (or nearly as much) excitement in a performer’s insights about a work as in the work itself.
In the mid-Seventies I had endless discussions with my dad, about economic growth and other political views. I didn’t see why an economy had to grow year after year, and how that was even possible without it crashing from time to time or without it damaging the economy of other countries. To base one’s country’s economy on permanent annual growth seemed foolish to me. Dad disagreed and claimed that significant annual growth was absolutely essential.
Many years later, some time in the Nineties, the subject came up in our conversation for the first time in a couple of decades and he surprised me by saying that he had changed his mind, that he thought I had been right earlier. I was incredibly touched by that, by him saying that, and also by his remembering our discussions when I was a teenager.
Momus touches on the same theme in this recent blog entry about the Japanese economy.
click opera – Growing old in, and with, Japan
Japan will get cheaper, smaller, poorer, purer, wiser, more itself. Rather than forging new forms of industry and commerce (same old thing, same old bling), Japan will from now on be pioneering new ways of living; post-industrial, post-materialist, post-wealth, post-growth. This is something the world doesn’t know much about yet. How to live longer, live better, yet live cheaper, live smaller. How to live for the pure joy of living, not for the grim accumulation of money. How to “decline successfully”. How to be wise. Show us how it’s done, Japan!
Sade talks to the NY Times about her upcoming album. Here she discribes the recording studio experience:
For Sade, a Reluctant Return to the Spotlight – NYTimes.com
It’s “alchemical,” an “out of body experience,” an attempt to preserve insights from the “etheric moment” between wakefulness and dreams. And with the band working together where they can record at all times, “we are able to capture that in the studio, to capture it technically in the right frame so it sounds good,” Sade said. “It is almost like a church, because you’re going to that room, you know your purpose, you know what you’re going to do in there, and you don’t have to take anything in with you that you don’t want to take in there.”
That’s the sound of a birthday card I received. I am guessing that the cold weather drained the little battery, but it sounds quite interesting. Experimental music. I wonder how one should dispose of musical cards. They have a battery inside, which means I should not throw it in the trash. After the card has had its time on the magnet-wall I will place it in the cardboard box with all the other batteries to be delivered to the Santa Fe hazardous waste department. The card and the sentiment is very much appreciated, but the devil is in the details: we have to consider not only what we buy, but how it will, eventually, be disposed of. Not easy, that.