The Guardian recently reported that the BBC Radio 3 is considering whether to remove BBC branding from its new classical podcasts, in an effort to entice more young people into trying them out. Continue reading “Branding Classical Music to ‘Trick’ Younger Listeners”
In a colossal career spanning more than 60 years, Igor Stravinsky was constantly reinventing himself with kaleidoscopic shifts in style. Along the way, the Russian composer forged key professional ties. In this program from the Chicago Symphony Orchestra, we hear three works linked to the CSO. Charles Dutoit conducts the Symphony in C, which Stravinsky wrote for the orchestra’s fiftieth anniversary.
We also hear The Firebird, which Stravinsky led in his CSO conducting debut in 1925, and to begin, the incendiary Fireworks. As a bonus, the program concludes with Esa-Pekka Salonen leading the CSO in a performance of Bartók’s Suite from The Miraculous Mandarin.
Stravinsky Fireworks, Op. 4
Stravinsky Symphony in C
Moderato alla breve
Tempo guisto alla breve
Stravinsky The Firebird
From performances in May 2016.
Bartók Suite from The Miraculous Mandarin, Op. 19
Esa-Pekka Salonen, conductor
From performances in April 2014. Photo: Charles Dutoit conducts the Chicago Symphony Orchestra (CSO).
March 12, 2015
Kirill Gerstein came to the WQXR performance studio to show why he believes history has embraced the “wrong” version of Tchaikovsky’s Piano Concerto No. 1. The Russian pianist had recently issued the world premiere recording of the concerto’s 1879 version.
As he discusses in this excerpt, the biggest difference between the 1879 and the more familiar 1894 version could be heard in the opening piano chords. Usually hammered out by hands crashing from a great height in three distinct registers, in the earlier, 1879 version, they were actually “rolled” sonorously, with an almost harp-like effect. Listen to this clip and read the full article.
While in the studio, Gerstein also gave a performance of Liszt’s Transcendental Etude No. 12 (Video: Kim Nowacki; Audio: Irene Trudel).
August 7, 2015
The Metropolitan Opera made news with its decision not to put darkening makeup on the face of the tenor singing the lead role in Otello, its 2015 opening-night production. Numerous newspaper articles followed. But largely absent from the discussion were the people with arguably the closest perspective on the issue: singers of color.
Joining host Naomi Lewin are:
• Lawrence Brownlee, who is one of today’s most in-demand tenors, and who frequently appears at the Met.
• Naomi André, co-editor of the book Blackness in Opera and a professor at the University of Michigan.
• Vinson Cole, a tenor who has sung with many of the world’s leading opera companies and orchestras over three decades.
October 18, 2013
New York City Opera made international headlines in 2013 after it filed for bankruptcy. But another longstanding New York arts organization faced similar troubles, and with much less fanfare. Even some of its longtime partners were surprised, as I found in reporting this piece for WNYC and WQXR.
This edition of WQXR’s Conducting Business explores the complex question of how to build ethnic and racial diversity in American orchestras.
February 6, 2015
This edition of WQXR’s Conducting Business podcast explores the complex question of how to build ethnic and racial diversity in American orchestras. Industry data has shown that African-Americans and Latinos account for just about four percent of all U.S. orchestra musicians and only one percent of orchestra board members and CEOs. The discussion explores the roots of this disparity, touching on blind auditions, building a diverse audition pool and board leadership. Also discussed are areas where signs of change can be found.
Joining host Naomi Lewin are three guests:
- Aaron Dworkin, the founder and former president of the Sphinx Organization
- Weston Sprott, a trombonist in the Metropolitan Opera Orchestra
- Melissa White, a violinist who performs in the Harlem Quartet.
Listen to the full segment in the above audio player.
In this edition of WQXR’s Conducting Business podcast, three top music critics looked back at the year 2014 in classical music. Joining host Naomi Lewin were Anne Midgette, the classical music critic of the Washington Post; David Patrick Stearns, classical music critic of the Philadelphia Inquirer and for WQXR’s Operavore blog; and Zachary Woolfe, now classical music editor of the New York Times.
Among the topics discussed were the Metropolitan Opera’s labor troubles and its contentious premiere of John Adams’s opera The Death of Klinghoffer; inventive programming at the orchestras of Philadelphia and Seattle; and the continued emergence of China on the orchestra landscape.
Girls often take up what they perceive as “feminine” instruments while boys tend to gravitate towards trumpets, tubas and percussion. Is this a bad thing?
May 1, 2015
It’s no secret that girls at a young age take up what they perceive as “feminine” instruments, such as the flute, piccolo, violin, and clarinet while boys tend to gravitate towards trumpets, tubas and percussion.
In this edition of WQXR’s Conducting Business podcast, three guests discuss the origins of this phenomenon and how, when old stereotypes are challenged, it can sometimes lead to “cyber-bullying” and other forms of harassment among children.
Hal Abeles, the co-director of the Center for Arts Education Research at Columbia University’s Teachers College, says that “adolescents, males in particular, get intimidated by not being with the majority. So if the majority of students in your middle school who are playing flute are girls, young boys feel ‘I want to belong.'”
But instrument-based stereotypes can vary from culture to culture. Sivan Magen, a New York-based harpist, said he experienced few stereotypes while growing up in Israel or at the Paris Conservatory, where four of his eight classmates were male.
Carol Jantsch, the principal tuba of the Philadelphia Orchestra, says she never got grief from her classmates as a kid in Ohio. “If you’re good at your instrument, your peers don’t care what you play,” she said. But conductors are another story, sometimes using the phrase “gentlemen of the brass” when addressing her section.
Finally, Ricky O’Bannon, a writer in residence at the Baltimore Symphony, believes teachers can do their part by simply downplaying the issue. “The moment you start saying ‘this instrument is not just for girls or not just for boys'” is the kiss of death, he noted. “It’s about having a child find the instrument that they’re going to enjoy and not having any extra pressures on that.”
The labor dispute that shook the Metropolitan Opera in 2014 was not the first of its kind. The company has had an on-and-off history of standoffs and strikes.
July 31, 2014
The labor dispute that shook the Metropolitan Opera in the summer of 2014 was not the first of its kind. The company has had an on-and-off history of standoffs and strikes involving its singers, orchestra musicians, stagehands and other workers. In this report for WNYC and WQXR, I looked at this history, and examined what was at stake if a threatened lockout were to occur.
“When the Met had a three-month labor battle in 1969, nearly 20 percent of its subscribers dropped off and it took the company five years to recoup the losses. The last time there was a lockout, in 1980, it lost donors and it took four years for ticket sales to rebound. Some question whether today’s audiences will be nearly as loyal.”
I have more than 15 years of experience as an editor, journalist and digital producer in major-market radio, websites and publications.
About Brian Wise:
I am an arts editor, journalist and digital producer with more than 15 years of experience working for major-market publications, radio stations and online media companies.
As a print and online journalist, my work has appeared in numerous outlets including The New York Times, The Guardian, Wall Street Journal, Slate, Listen magazine, FiveThirtyEight, Christian Science Monitor, Travel and Leisure, Strings Magazine and BBC Music Magazine. For the latter publication I write “Live Choice,” a monthly North American calendar feature.
As a radio producer, I currently produce the Chicago Symphony Orchestra’s weekly radio broadcasts for the WFMT radio network. Previously, I’ve produced a live, daily music talk show, launched and produced a weekly roundtable podcast, reported on breaking news, and directed an online video series featuring leading classical musicians.
Born in Morristown, NJ, I grew up mostly in Ann Arbor, MI. I earned a Bachelor’s degree at the University of Michigan, where I majored in music history and minored in communications. Subsequently, I attended Northwestern University, where I earned a Master’s degree in musicology with a concentration in journalism. Currently, I am studying front-end web development at New York University’s School of Professional Studies.
Outside of work, I enjoy traveling, studying languages, running, reading and exploring New York City, where I live.