In a typically thoughtful contribution to my post Why not play the premier league composers more often? Richard Bratby - who is professionally involved in classical music - mused "speaking solely from my own experience - there is a very noticeable falling-off in ticket sales when a symphony orchestra programmes pre-Beethoven repertoire, irrespective of the quality of the performance or the music, or the energy with which it is marketed. But why?" Now Kea has answered Richard's question with the following comment: Wagner, Mahler, Shostakovich, etc, all sound more or less like film music (or -- more accurately -- film music sounds more or less like recycled bits of Wagner, Mahler, Shostakovich, etc) and therefore don't require any intellectual involvement or serious effort to listen to. Understanding the music of Bach, Mozart or Haydn, etc (or for that matter Schumann, Brahms, Webern, Cage, etc) actually requires people to listen actively rather than being pulled alo...
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Like you, I too can't find it online. It is a photo feature so they may not make it available on the web because of bandwidth considerations.
It is a fairly shallow 'toys for boys' feature they run each week. If you are a Terry Pratchett fan you haven't missed much by not reading it. There is little in it apart from the rather neat Tallis quote.
For me the highlight was The Sixteen's late night Prom, see this post which was quite outstanding.
One problem of course with Spem is the forces required. Which is why Antony Pitts' new work XL is so interesting, see this post.
Although the Tallis and Tippett anniversaries have justifiably grabbed attention this year it has meant that Obrecht has been overlooked in his anniversary year, something I hope to rectify shortly.
And talking of Tallis do you know Antoine Brumel's Missa "Et ecce terraemotus" (Earthquake Mass). If you like Spem you'll love it. And the great news is that it is on a stunning super budget release from Brilliant Classics, see this post.