Piazzola sounds great on the theorbo dt
At 08:28 AM 11/30/2007, you wrote: >Hi Howard, > >--- howard posner <[EMAIL PROTECTED]> wrote: > > > > > You accusin' me a' cheatin? > >Nah, ya ain't no cheater... But I think you have >missed my point. > > > Narrow specialization doesn't mean lack of > > interest. > >No, but by its very nature, narrow specialization does >imply a homogeneity that makes it difficult to relate >to groups outside of people already in the know. > > > > It's > > precisely those programs that sell. "Violin > > concertos by Venetian > > composers published in Amsterdam in 1725" seems > > arcane, but audiences > > will come to hear "The Four Seasons." "Viennese > > chamber music > > written in 1806" sounds bland, but they'll come to > > hear Beethoven's > > opus 59 quartets. "Italian operas written for > > Prague theaters in > > 1787" is a loser; "Don Giovanni" is a winner. > > Concerts of music by > > one well-known composer are safe programming bets. > > > >They are safe bets right now and I understand why they >are done. Still, most ordinary symphony orchestras >(i.e. not baroque) don't do a specialized program for >the vast majority of their other concerts. I think >narrow programming will give the field real trouble in >the future as those of us in EM become perceived more >and more as a one trick pony by the "outside world." > > > > > II can think offhand of all-Weiss CDs by Lutz > > Kirchhof, Konrad > > Junghanel, Yasunori Imamura, Toyohiko Satoh, > > Hopkinson Smith (2), > > Robert Barto (8?), Richard Stone, Jakob Lindberg, > > John Schneiderman, > > Michel Cardin and Franklin Lei, and I'm sure half > > the folks reading > > this post could double the listing. > >I could add to your list as well - but I was speaking >primarily of specialization in concert programing. > >To run with your point, however - aside from Robert >Barto, most of the performers you named _haven't_ >specialized on one composer, one repertoire, one >instrument for all of their other recording projects. >(Even Barto has the stylistically quite different >Hagen recordings.) So, while these guys do structure >their recordings around themes, they haven't done so >within the context of their careers. > >This was the past thinking in CD sales: pick a >composer or repertoire and make _that_ the selling >point rather than the skills or reputation of the >performer. In EM, no record company would touch a >recording project that featured a little of this/a >little of that because it was too hard to shelve in >the bins of brick and mortar stores. This is turning >out to be a REALLY BAD IDEA nowadays. Its coming back >to bite us in the rear end as the music industry moves >from a hardcopy-oriented format to online sales. >Unfortunately, having a neatly-packaged, specialized >CD program ain't gonna help you one bit on iTunes! >How will we cope when CDs go the way of the LP? > > > > > > (A somewhat well-known viola da gamba > > > player I know claims Weiss is "weird and > > > incomprehensible." What the...???) > > > > He's right. Weiss on the gamba is weird and > > incomprehensible, > > particularly if the gambist plays directly from the > > tablature. > > -- > >No, sadly, the person - a baroque music specialist and >international recording artist with a distinguished >pedigree from a prestigeous early music program - was >speaking of hearing Weiss performed under the capable >fingers of qualified lutenists. Undoubtedly, this >amounts to personal taste, but if we aren't turning >this person on, who ARE we connecting with? > >Chris > > > > > > > To get on or off this list see list information at > > >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > > > > >____________________________________________________________________________________ >Never miss a thing. Make Yahoo your home page. >http://www.yahoo.com/r/hs
