And you thought the only ones who needed to worry were the illegal file-sharers? After reading this article, think again:
…in an unusual case in which an Arizona recipient of an RIAA letter has fought back in court rather than write a check to avoid hefty legal fees, the industry is taking its argument against music sharing one step further: In legal documents in its federal case against Jeffrey Howell, a Scottsdale, Ariz., man who kept a collection of about 2,000 music recordings on his personal computer, the industry maintains that it is illegal for someone who has legally purchased a CD to transfer that music into his computer.
The industry’s lawyer in the case, Ira Schwartz, argues in a brief filed earlier this month that the MP3 files Howell made on his computer from legally bought CDs are “unauthorized copies” of copyrighted recordings.
“I couldn’t believe it when I read that,” says Ray Beckerman, a New York lawyer who represents six clients who have been sued by the RIAA. “The basic principle in the law is that you have to distribute actual physical copies to be guilty of violating copyright. But recently, the industry has been going around saying that even a personal copy on your computer is a violation.”
Gavin Borchert, composer and the Seattle Weekly‘s classical music critic, has an interesting take in this week’s rag, on current calls for jazzing-up or otherwise “slumming” the concert experience. A couple cogent paragraphs:
A couple of things puzzle me. First, the classical concert experience is, in all essentials, identical to that of dance, theater, literary events, or for that matter—barring the munching of popcorn and cheering the fireball deaths of villains—movies. Go to the performance space, buy a ticket, sit down in rows, watch and listen, try not to disturb your fellow audience members. Yet it’s only in conjunction with concerts that you hear complaints about what a crushing burden this all is. Second, why is sitting quietly considered such an unendurable ordeal? Millions of people do it every night in front of their televisions.
[….]
So what have we learned? Well, maybe people behave the way they do at concerts not because it’s an artificial standard imposed by ironclad tradition but because the music sounds better that way. Maybe listeners feel classical music most deeply when they pay quiet attention to it. Maybe sometimes not clapping is OK, and we don’t need to rush in and obliterate every silence. Maybe true innovations in concert presentation—new ways of getting music and music lovers together—will be concerned not with questions of formal vs. informal, loose vs. uptight, but with what setting best allows music to work its magic.
Paul Dirmeikis attended Stockhausen’s funeral on December 13, and has a report.
The family is already starting to slowly walk away. Some of us stay around the tomb, scattered between the neighbour tombs. Near the larger alley going down to the chapel, all members of Stockhausen’s family gathered together in a circle, holding their hands. Simon reads something. It’s around 4 pm. That’s it. One of the greatest composers of these last 50 years has just been buried. It’s a freezing afternoon in a distant German village. Fermata.
recieved at the Canadian Eletroacoustic mail-list:
PRESS RELEASE The composer Karlheinz Stockhausen passed away on December 5th 2007 at his home in Kuerten-Kettenberg and will be buried in the Waldfriedhof (forest cemetery) in Kuerten.
He composed 362 individually performable works. The works which were composed until 1969 are published by Universal Edition in Vienna, and all works since then are published by the Stockhausen-Verlag. Numerous texts by Stockhausen and about his works have been published by the Stockhausen Foundation for Music.
Suzanne Stephens and Kathinka Pasveer, who have performed many of his works and, together with him, have taken care of the scores, compact discs, books, films, flowers, shrubs, and trees will continue to disseminate his work throughout the world, as prescribed in the statutes of the Stockhausen Foundation for Music, of which they are executive board members.
Stockhausen always said that GOD gave birth to him and calls him home.
****
for love is stronger than death.
IN FRIENDSHIP and gratitude for everything that he has given to us personally and to humanity through his love and his music, we bid FAREWELL to Karlheinz Stockhausen, who lived to bring celestial music to humans, and human music to the celestial beings, so that Man may listen to GOD and GOD may hear His children.
On December 5th he ascended with JOY through HEAVEN’S DOOR, in order to continue to compose in PARADISE with COSMIC PULSES in eternal HARMONY, as he had always hoped to do: You, who summon me to Heaven, Eva, Mikael and Maria, let me eternally compose music for Heaven’s Father-Mother, GOD creator of Cosmic Music.
May Saint Michael, together with Heaven’s musicians in ANGEL PROCESSIONS and INVISIBLE CHOIRS welcome him with a fitting musical GREETING.
On behalf of him and following his example, we will endeavor to continue to protect the music.
Suzanne Stephens and Kathinka Pasveer
in the name of the world-wide family of musicians who love him, together with everyone who loves his music.
****
On Thursday, December 13th 2007, from 10 a.m. to 1 p.m. it will be possible to personally say farewell to Karlheinz Stockhausen in the chapel of the Waldfriedhof in Kuerten (Kastanienstrasse).
A commemorative concert will take place soon at the Sülztalhalle in Kuerten. Programme, time and date will be specially announced.
……………………..
The Stockhausen foundation has already published a PDF memorial booklet, which you can download and print for free. And, thirty-five years ago:
Our regular listen to and look at living, breathing composers and performers that you may not know yet, but I know you should… And can, right here and now, with so much good listening online:
Obviously a picture from a warmer season… Northwestern has a killer location, right on Lake Michigan, just a bit north of downtown Chicago. I’ll be heading that way for a week in late January (tagging along for my wife’s special management class), and in honor of the visit I thought I’d share the site linked above, full of streaming audio and video of music from Northwestern.
Though it doesn’t give dates, I can deduce that the series was created in 2005, when somebody probably had some pocket change to spend on a promotional series: Jason Eckardt was on the faculty, not yet replaced by our S21-visitor Aaron Cassidy (himself since moved on to Huddersfield, UK); John Adams had the Nemmers Prize residency, since awarded to Oliver Knussen. The range of listening is great, with works by Berlioz, Mahler, Prokofiev, Hovhaness, Tallis, Handel, Bach, Brahms, Monteverdi, Mozart, Beethoven, Dello Joio, Debussy, Adamo, Bernstein, Hindemith, Zappa, Carter, Tower, Milhaud, Shostakovich, etc, etc…
Of special interest to our crowd though, is the Faculty Composers show, with pieces by Jay Alan Yim (a personal favorite), Augusta Read Thomas, Amy Williams, Stephen Syverud, and Jason Eckardt. And, since he was there then, we have an entire show on John Adams, with an interview, complete performance of Gnarly Buttons, and good chunk of Grand Pianola Music. The music files are .MOV files, which play fine on Macs and any PC with Quicktime installed.
All the ooh-ahh flutter over Golijov’s Ayre, or even the recent Dudamel & Co., and then you spot something like this:
Loredana: Marioara de la Gorj (2001)
Loredana is a Romanian Madonna pop-diva clone (here’s a more typical example from her new CD, where Roma kinda meets the Black Eyed Peas), but here shows that underneath her roots are second nature. All props to the Dude & kids, Ms. Upshaw, O.G. (and especially Gustavo Santaolalla, the real mastermind behind the sound of Ayre), but even this MTV-style context should show that the lessons of this kind of approach and energy are already all around.
I’d read about the dastardly act a while back, but Ethelbert Nevin over at La Folia has some amusing speculation in his “Top 12 Reasons Why Somebody Broke into a Warehouse and Stole Hundreds of Luigi Nono CDs“. You’ll have to go there to read them all, but I do like “Featured orchestral musicians afraid col legno will adopt Radiohead’s business model”, “col legno’s sets of Rihm string quartets were too heavy”, and “Joyce Hatto discovered playing trautonium on Isola 3“.
Our regular listen to and look at living, breathing musicians that you may not know yet, but I know you should… And can, right here and now, since they’re nice enough to offer so much good listening online:
The talk is always “Oh that Schoenberg, making this artificial system that nobody really gets or feels!”… Except there are a few people like Julie:
When I was 7 or 8, I found a miniature violin in my father’s closet, because he played violin when he was a kid. I also found a book called A Tune a Day, and I taught myself from the book to play a little violin, so it was clear that I was musical. But I ended up playing the tuba, but it was never really my instrument. It was really weird, loving music and being accomplished at it, but not playing an instrument that was mine. I ended up very depressed and confused, and when I was 18, after a year of college, I hitchhiked to Montreal with a friend. I was alone a lot, and one time when I was walking alone on a huge hill in the back of McGill University, I had this thought that at the time felt like it was coming from outside of me, that said I should compose. I took that and I said, “OK, that’s it.” It was my lifeline. After that, I went to Berklee College of Music in Boston, and then I finally got to Manhattan School of Music. […] But musically, Schoenberg is my big influence – his music and also his writings. Schoenberg’s also a person who’s very much concerned with integrity. It’s an inner journey when you compose, so you write the music that you feel is right, which means there’s kind of this morality to it, in a sense. You search for yourself, for what’s honest, and what’s truthful, and that’s what you write in music. Schoenberg’s such a key person for that, as well as Beethoven. Mahler’s great, too.
Maybe Julie’s music is “old school”; but if it is, I can happily go back there to study a little. It’s never a question of style so much as the voice, and Julie’s is a wonderfully distinct voice. At her site linked above, you can hear a number of her pieces; I’d particularly recommend the Trio for flute, cello and piano, and hoc est corpus meum for solo violin.
Samuel posts around these parts, though infrequently enough that I feel OK about plugging him here. We’ve been bumping into each other for years on the USENET classical newsgroups, a happy breeze of true contemporary thinking amid all the John Williams wannabees and folk who haven’t gotten past Holst or even Yanni. From the rather complicated and involved pieces of his time in University, he’s been progressively paring back both his scores and materials; still finding the complicated and involved, but arising out of seemingly simple and clear actions and reactions. He’s also great Euro-advocate of our own expat composer, Tom Johnson, who pioneered many of these same concerns. Samuel also performs, and has helped produce a number of great exploratory concerts in Amsterdam over the years. His site linked above has plenty of listening, both to his own work and others equally interesting (Johnson included). If you’re ever headed to Amsterdam, he’s your hook-up, go-to guy.
Recent postings here notwithstanding, I swear I’m not on a complete György Ligeti kick; but it just so happens that the German-news-in-English website Sign and Sight has printed the translation of a speech György Kurtág gave in remembrance of his great friend, fellow Hungarian and fellow composer. (The occasion was Kurtág’s receiving the Ordre Pour le Merite in Berlin.)
The German version was originally published in August this year, in the Neue Zürcher Zeitung.As a bonus, this article includes all the extra stuff that Kurtág never got to say during the ceremony.
Our regular listen to and look at living, breathing musicians that you may not know yet, but I know you should… And can, right here and now, since they’re nice enough to offer so much good listening online:
Strange and intimate places via Myspace
Rather than go in-depth on one or two musicians, we’re going to play epicurean. The back-stories and other works of each of these musicians may (or sometimes, may not) be found easily enough with a few clicks around; I’ll leave that up to you. Right now, it doesn’t matter; I only want to lead you to a specific track on their individual Myspace pages, tracks that keep echoing around in my mind long after the first encounter.
None of these are truly “classical”; yet none are quite pop, jazz, etc. etc… they all inhabit the cracks in between, with no apologies or justifications other than that they exist. They’re also each one “intimate”. By that I mean we feel a kind of “beside-ness” with the artist, drawn into their space rather than simply presented to. Simple or complex, across all cultures, that drawing-in is one of the greatest achievments of any art. So simply find the suggested title on the flash player on each page, click and listen, and see where each leads you.
10-D PJ (UK) “My tears are for you” — Exquisite mix, match & mash of completely different Asian-and-otherwise recordings, creating some entirely new place in the world.
Charles Reix (Montréal) “Contemplation” — Brilliantly dark, serpentine duo for shakuhachi and ‘cello.
Thomas Leer (Scotland) “Blood of a Poet” — The voice of Charles Bukowski, placed just so into the perfect “frame”.
Sylvain Chauveau and Felicia Atkinson (France) “How the Light” — The simplest of songs: a few chords and figures, no sung melody. Yet a completely absorbing emotional “space”.
Olivia De Prato (Wien-Venezia-NYC) “Ageha Tokyo” — Over and over, a nervously unstable play of string and electronics suddenly refracts into hopefully radiant textures.
[Update: Due to the flaky options Myspace offers for putting anything other than pop songs on the site, I passed over the tiny bit that tells me that “Ageha Tokyo” is actually a piece by the composer Samson Young (Hong Kong, but currently finishing his study at Princeton). A wonderful piece nonetheless, and Olivia’s is a fine performance. Samson’s own website, with much more information and listening is at http://www.samsonyoung.com/.]
Maxim Moston (Moscow-NYC) “Myrtle Blue” — A solo guitar, with just a few chords, out-Harold-Budds even Harold Budd.