Reader Antoine Leboyer writes to point out that the New York Philharmonic has made its programme archive available online and that the archive shows how past programmes were far more varied than those played today. Here are just some of the composers that Antoine highlights from past concerts by the orchestra: Siniaglia, Busoni, Bosi, Chadwick, Stanford, Loeffler, McDowell, Hadley, Goldmark, Pfitzner, Enesco, Vieuxtemps and Grétry. Antoine also remarks on how Webern's music has virtually disappeared from New York concerts in recent years. One of the many confidence tricks of the digital era is how a long tail of cultural riches was promised , but a short head immaculately coiffed by audience whoring celebrities was actually delivered. I suggest that one of the key search criteria for the New York Philharmonic's new music director should be a passion for giving audiences permission to like unfamiliar music . Graphic is grabbed from the New York Philarmonic archive lan
Comments
There are an awful lot of works that would fall apart if not for a traffic cop on the podium (excluding operatic works. They really need a benevolent dictator to keep things going!)
Most, however, were composed after 1890 and require humungous resources. That alone makes these performances costly. So, maybe, the clue to financial stability is for orchestras to pair-down, perform older (and newer!) works that don’t require so many musicians, and occasionally get someone to conduct the bigger works. The late 19th /early 20th century orchestra is truly a product of the end of the Industrial Age and the central focus of the Consumer Age. We are, I believe, in the post-ages for both. And small is good again.
Cheers
David Cavlovic
Whether or not they're overpaid is a different matter entirely (one could say the same thing about software program managers compared to the developers who actually build the darn things), but if a conductor "doesn't make a difference" to the music, then classical music, recording-wise, might as well be like rock music (or film scores), where only the first recording of a work is necessary or "valid".
Obviously it is not. The Guardian article speaks from a position of sheer ignorance and self-righteousness.