September 23, 2010 |
The seminal story of how modern classical music turned Louisville, Ken., into a mid-20th century cultural phenomenon feels far less thrilling than it should, at least in the hands of co-directors Owsley Brown III and Jerome Hiler. That's because their documentary, "Music Makes a City," despite its gorgeous soundtrack, historical sweep and wealth of archival material, is weakened by sluggish pacing and an overly detailed, increasingly narrow focus. Singer-songwriter-actor Will Oldham's lecture-like narration tells how the 1937 formation of the Louisville Orchestra helped rejuvenate the city after the Great Depression and, later, a devastating flood.
November 20, 1993
"Making Classical Music Kid's Stuff" (Nov. 2) by Lynne Heffley was such a discovered treasure. Having several grandchildren, I was absolutely enthralled to read this article. Just imagine: Young people can listen to good music even on trips with parents or others instead of all the nothingness. When parents discover that listening to Mozart actually increases the IQ of their children, can you imagine what will become the hottest craze? Hope there will be follow-up articles on this same theme.
July 11, 2010 |
Grammy Award-winning violinist Joshua Bell, 42, returns to the Hollywood Bowl on Thursday with a program of Mahler and Bruch. The boyish classical superstar talked about music, friends and adrenalin rushes from his home in New York. You've done a lot of TV, like VH1, and film, and I'm wondering whether you're consciously trying to bring more young people into the classical music fold. Yes. It's hard to say what my main motivation is, but I'm definitely conscious of trying wherever I can to bring young people in, whether it's doing "Sesame Street" or going into schools.
July 3, 2005 |
Twenty Fresno schoolteachers were learning last week how to integrate classical music into such core subjects as math, science and history, thanks to a new pilot music education program developed by the San Francisco Symphony. The effort is part of a $23-million orchestra project called "Keeping Score," which also includes television and radio programming, websites and community outreach projects.
June 6, 1994
Face it: Classical music is a dead language. In the latest skirmish of the Thirty Ears War, music-lover Claire Rydell writes that composers "Milk a Dead-End Aesthetic" (Counterpunch, May 2), composer Burt Goldstein retorts with ad hominem tut-tutting ("New Music Merits Respect, Not Attack," May 16), Times Music and Dance Critic Martin Bernheimer scolds the troops for defecting ("Modern Progress Under Salonen's Green Umbrella," May 18), and UCLA Professor Paul Reale preaches that history will go on ("In Support of Well-Conceived Music--Old and New," May 23)
December 3, 1986 |
The public-television documentary about "The VIII International Tchaikovsky Competition," held every four years in Moscow, offers American audiences a broad exposure to what has been called "the Olympics of classical music." The 90-minute program, filmed at the competition held last June, is scheduled for broadcast tonight on public television stations around the country, including KCET Channel 28 in Los Angeles, which co-produced the documentary with producer Robert Dalrymple.
October 26, 2011 |
Attention, classical music marketers: Cursive script is boring. Raw meat and green shag carpet are the future. According to classical music label Naxos, that is. A recent digital-only album of Wagner's best bits dispensed with the label's usual livery of white background and blocky typeface and small, out-of-copyright images in favor of the rather more outré image of steak tartar and shag. The title of the downloadable album is "Bleeding Chunks of Wagner," a reference to an oft-quoted passage written in 1935 by English classical music critic Donald Tovey: "Defects of form are not a justifiable ground for criticism from listeners who profess to enjoy the bleeding chunks of butcher's meat chopped from Wagner's operas.
November 3, 2007
Re "Accompanying history," Opinion, Oct. 28 Alex Ross leaves out a considerable amount of significant classical composition produced in countries outside Europe and the United States. Japan, where the horror of modern warfare was certainly a factor, had Toru Takemitsu, among many others. Most of Central and South America had their nationalist and post-impressionist lions, some of whose work is just now receiving decent exposure.