To many classical music lovers, “crossover” is a dirty word. And who can blame them? The holiday season is especially rich in ill-advised CD releases by opera stars belting out operetta arias or crooning Christmas jingles in arrangements that do no favors to either the singers or the songs. For the full story, please see the New York Times.
The viola was the instrument of choice for Mozart, Haydn, Bach, Dvorák and Beethoven; Jimi Hendrix and John Cale both played it; violinists turn to it to improve technique. So why is the viola the butt of jokes? Tabea Zimmermann defends her instrument.
Read the complete story at the Guardian.
The Harry Partch Instrument Collection takes up residency at the University of Washington School of Music. Read more here.
Check out the Bizet Catalogue!
Compiled by Hugh Macdonald and managed by the Humanities Digital Workshop at Washington University, St Louis.
“This is primarily a list of Bizet’s works, providing essential information about the history and content of each one. It gives information on manuscript and printed sources, on documentary materials relating to the composition, performance and publication of each work, and is intended to provide a full historical documentation of Bizet’s work as composer and transcriber.”
“It was going pretty well until they all started gagging and crying.”
For the full story, please see Buzz Feed.
The Carl Nielsen Works Catalogue; an online thematic catalog of Nielsen’s works complete with details of original manuscript sources, performance history, and primary texts; has just been published http://www.kb.dk/dcm/cnw.html.
The catalog is the result of a multi-year project by the Danish Centre for Music Publication which is based at the Royal Library in Copenhagen. The library holds the majority of Nielsen’s surviving manuscripts.
Check out this freely available biographical resource of violin and bow makers (14,000 and counting). Most of the information is based from The Brompton’s Book of Violin and Bow Makers by John Dilworth.
“For Balazs Mikusi, a young Hungarian musicologist, it was the find of a lifetime. Leafing through folders of unidentified manuscripts at the National Szechenyi Library in Budapest recently, he came across four pages of what looked to him like Mozart’s handwriting. As he read through the music, he told Agence France-Presse, he realized that he had stumbled onto Mozart’s own score of the Piano Sonata in A, K.331 – one of the best-known Mozart sonatas because of its “Rondo alla Turca” finale.”
For the full story, please see the New York Times.
Claudio Arrau, Yehudi Menuhin, Arthur Rubinstein — the founder of our publishing house Dr. Günter Henle and his wife Anne Liese often invited the most distinguished musicians of the time to their home.
From 1942 to 1979 they kept a guest book. We have now digitalized and transcribed it. In addition we have also compiled several indexes, as well as biographies of the artists who were their guests.
Delve into this treasure trove with its insights into people, dates and relationships. You can view it in its entirety and free-of-charge online.
» to the guest book
“Digital music has made it easier to buy and share recordings. But try telling that to librarians.
In March 2011, the University of Washington’s library tried to get a copy of a new recording of the Los Angeles Philharmonic playing a piece by Gustavo Dudamel, a popular composer, that the library could lend to students. But the recording was available only as a digital download, and Amazon and iTunes forbid renting out digital files.”
For the full story, please see The Chronicle of Higher Education.