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
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I wonder if you are familiar with MacDonald's theory of "midcult." I question the idea that all music is or should be made accessible to everyone. At the risk of repeating Babbitt's "Who Cares if You Listen?" mistake, I rather feel that certain music can only be appreciated by those who put in the effort to do so with their full attention. Yes, future generations might be more visually attuned than aurally, but that does not mean we should give up on helping them to cultivate their ears and practice listening; the brain is amazingly plastic, after all.
I can name plenty of songs that, while musically perhaps not so exciting, became popular because of an entertaining dance or video attached to them. I don't look forward to the day when a composer's success is measured by how much they can spend hiring artists and CGI editors to mask their mediocre music.