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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While it is not a Cathedral proper, this evening the Library of Congress is acting the role of a center of civilization by hosting a chamber choral ensemble -- San Francisco-based Chanticleer -- in an all American choral program by living composers -- the East Coast premiere of Ezequiel Viñao's The Wanderer, a setting of an ancient Anglo-Saxon poem, and works by Paul Schoenfeld, Carlos Sánchez Gutiérrez, Arthur Jarvinen, and Steven Stucky.
Here is an insightful review by Richard Scheinin of the San Jose Mercury of the program (or a similar one) performed at Mission Santa Clara, in Northern California, last month.
http://www.mercurynews.com/mld/mercurynews/news/columnists/15610504.htm