Learn more at Musical America.
Anthony Tommasini writes about a recently published score which meticulously transcribes every detail of Glenn Gould’s famed 1981 recording of Bach’s “Goldberg” Variations. Read the article at the New York Times.
The Toronto Symphony Orchestra’s ‘listening guides’ make use of symbols and Morse code-like notation to aid the experience of a live performance. Read the story at Creative Review.
The Music Library has a new subscription database! MusicalTheaterSongs.com’s easy-to-use interface lets you enter up to 20-plus parameters (voice type, character age, range, ease for accompanist, descriptive characteristics, etc.) to generate a list of songs tailored to needs from an ever-growing database.
“An ancient song repertory will be heard for the first time in 1,000 years this week after being ‘reconstructed’ by a Cambridge researcher and a world-class performer of medieval music”
“Music training early in life (before the age of seven) can have a wide range of benefits beyond musical ability.
For instance, school-age children (six to eight years old) who participated in two years of musical classes four hours each week showed better brain responses to consonants compared with their peers who started one year later. This suggests that music experience helped children hear speech sounds.”
For the full story, see The Conversation.
When Aaron Copland composed the ballet Appalachian Spring for Martha Graham’s eponymous company which was to be premiered at the Library of Congress in Washington, D.C., he wrote the work for a 13-piece chamber orchestra. The orchestra pit in the library’s auditorium couldn’t accommodate a larger group of musicians. Read about a new full-orchestral version here.
In The Strad, Brian Hodges and Diana Allan answer student questions on coping with stage fright. Read the article here.
Music of every genre, every culture and every period employs repeated phrases for effect. Why do we love to listen to the same things again and again? Read the article at the Guardian.
This week, a score composed 200 years ago by a Prague pharmacist is finally being played for an audience — and the pharmacist’s descendants, local musicians, made it happen.