Youth orchestras: killing two stereotypes at once

Young people these days can’t be pried away from their cell phones. They’re lazy and undisciplined. At least, that’s the prevailing stereotype. Classical music is just about dead according to obituaries that seem to appear in magazine articles and well-read blogs every year. No one cares about such old-fashioned music except an increasingly aging population. At least, that’s the prevailing stereotype. Don’t be fooled. Youth orchestras all over the country (and all over the world, for that matter, in case the stereotypes cross international borders) work very hard to polish performances of the standard orchestral repertoire. They love the music, … Continue reading

Music Inspired by Romeo and Juliet

William Shakespeare has been regarded as England’s leading poet and dramatist since the latter part of the 17th century, first in England, and by the end of the 18th century all over Europe. No single work has inspired as many adaptations as Romeo and Juliet, including parodies, prose and verse adaptations, films, television shows, paintings, and music. In classical music alone, Romeo and Juliet has inspired a couple of dozen operas, some ballets, and considerable orchestral and choral music. This post will examine four acknowledged masterpieces, but first, let’s look at some of the earliest of the Romeo and Juliet … Continue reading

Composers: quotations about other composers

As a lover of classical music, you enjoy the music of many composers, but dislike others. Composers are no different, except that they are required to study other composers’ music carefully whether they like it or not, both their contemporaries and generations of earlier composers. Perhaps you have never heard of Brian Ferneyhough. Living composers are little known to today’s public, but he made the observation more eloquently than I can: “Composers dialogue – and obsessively, bitterly argue – with other composers, often over the span of several centuries.” … Continue reading

Kid Ory, Trombonist, Businessman

Music history has no shortage of musicians with no business sense. In jazz, Jack Teagarden never led a successful band; he drank too much, was too generous with friends, and had no idea how to make contracts. Fletcher Henderson failed so miserably financially that he had to sell all of his arrangements to Benny Goodman just to get money. In contrast, Kid Ory, the legendary tailgate trombonist, displayed his business sense at the age of 8, the same time he started performing music. … Continue reading

Sibelius and Nielsen: Two Scandinavian Sesquicentennials

Jean Sibelius and Carl Nielsen, two of the most important Scandinavian composers, were both born in 1865. They met only once and had very different personalities. Nonetheless, they have more in common than being Scandinavian symphonists. For example, both of their names have unusual stories, and the year 1926 had special significance for both. On the other hand, their relationship to the controversy between Brahms and Wagner took opposite paths. … Continue reading

Race relations, social change, and American music

Minstrel show poster 1910

Race relations in the US are probably better than at any time in history. The recent racially motivated mass murder at a prayer meeting in Charleston, South Carolina demonstrates that they are not good enough. Many simmering misunderstandings and controversies rooted in racial tension likewise show that we have a long way to go achieve racial harmony. Harmony. That’s a musical term. The history of American music reflects the history of race relations. Music has also played a role in bridging the racial divide. … Continue reading

Getting off the classical music merry-go-round

Walt Disney Concert Hall

Last month I examined arguments in the periodic obituaries for classical music and found most of them a bunch of bunk. One, however, rings true. If classical music isn’t “circling the drain,” then it’s on some kind of merry-go-round, covering the same ground over and over. After a while, the charm wears off. The greatest asset classical music possesses is its current audience, people who regularly attend concerts. For all the disrespect heaped on them by people who would prefer that classical music go away, they attend concerts, purchase recordings, and listen to classical radio. Performing organizations always seek to … Continue reading

Perspective on yet another obituary for classical music

classical music composers

Another obituary for classical music appeared recently at  It points out that classical music sales only amount to 1.4% of music consumption. It says that audiences of classical music are not diverse. It quotes a pianist as being “kind of tired of making music for the same people all the time.” The obituary in Slate by Mark Vanhoenacker that made the rounds last year said, “Classical music has been circling the drain for years.” Such pronouncements usually provoke a flurry of posts about how healthy classical music is. By “for years,” Vanhoenacker means since some time in the mid-20th … Continue reading

The Civil War and Musical Institutions in the South

New Orleans falls to Farragut

Last week’s post examined how the Civil War affected performance of music in three Northern cities: Boston, New York, and Chicago. This week’s is devoted to musical institutions in the South, looking at New Orleans, the state of Georgia, and Richmond, Virginia. Disruptions to Northern musical institutions came as a result of citizens’ preoccupation with war news, the number of musicians called to military service, and in New York, the exodus of foreign opera stars. These same concerns also disrupted musical life in the South, but the South knew at least one major disruption that the North did not suffer. … Continue reading

The Civil War and Musical Institutions in the North

Boston Music Hall, 1852

As young men fought and died on Civil War battlefields, most of the population of both the Union and the Confederacy remained on farms or in towns and cities. Life went on, and in some cities, life included attendance at concerts, the opera, or other musical theater. But life went on in wartime conditions, though not as normal. How did the war affect the institutions that provided this entertainment? This post looks at some of the ones in Boston, New York, and Chicago as representative of Northern cities. Boston In his history of the Handel and Haydn Society, John S. … Continue reading