“Like love, there can never be too much ‘good music’”

Seiji_Ozawa_MurakamiI have been enjoying reading two books of late at opposite ends of the literary pendulum.

One, by the wonderful author, Haruki Murakami, is like an old friend with whom you want to find a quiet corner and revisit past memories; the other, a book by Shelly Peiken (more on this below) of comparable interest – although entirely disparate subject-wise – that makes you want to throw-up and denounce the commercial music industry for the absurd inanities and money-grubbing tactics of the major record labels and streaming services. (hint:  Plea to the U.S. Congress – change the outmoded laws on music copyright to protect songwriters!!!!)

Murakami’s ‘Absolutely On Music’ – conversations with Seiji Ozawa, is a sheer delight.  For aspiring conductors, you will be confronted with seemingly simple ideas from Maestro Ozawa, the real implications of which are so deep that they belie the ease through which Haruki’s wonderful writing captures Ozawa’s fleeting thoughts.

This is a book to cherish. Read it and listen to the recordings the two men discuss (preferably with a score in-hand)..

Shelly_ConfessionsThe second book is Shelly’s ‘Confessions of A Serial Songwriter’.

So, I found this book by accident in a hotel room that someone had left behind.  Clearly, they didn’t think it was worth keeping.  Fool.

This is perhaps the best book on the business of songwriting I’ve read (the best book on non-theatrical songwriting craft is still Jimmy Webb’s).  It paints a picture of the current record industry and production process for contemporary popular music exactly for what it is – a cess.pool of narcissism, ignorance and insidious self-serving decisions by A&R reps. and so-called ‘producers’ (I do love Ms. Peiken’s requirement of placing charlatans in this category always within inverted commas) in the ‘circus’ that is now the Music Industry.

Is Shelly well-placed to write this book?  You bet.  Do I love all the songs she has written or co-written?  No, but she has a craft that is fully cognisant of the Art-of-Songwriting and respects the beast that this is in terms of trying to tame it on any given day.

Much respect for this book.  Beware, though, it reads like a personal diary (which it is in many ways) but do follow it through from beginning to end so that you capture the arc of the narrative that is built up over the duration of the story being told.

More soon,


It’s All About The Musicians & The Music

ToscaSo the ADO and I finished up with Tosca yesterday.  We had three quite extraordinary Australian opera singers  join us who were superb (tell me again why we are importing non-Australian overseas opera singers to perform Opera in Australia with the major companies?) and the orchestra handled the material on just two calls quite magnificently.

All to the good.  But, this morning, bemoaning the soreness I now get after long days rehearsing and concertising as a consequence of my spinal surgery back in 2014 (sic.), I was aimlessly trawling through Orchestra Twitter feeds I follow whilst consuming the days’ first ‘heart-starter’ coffee, only to be lurched into mental activity by some appalling orchestra conducting video snippets.

These (always soundless) video bites of various ‘profile’ conductors doing their thing (it’s BBC Proms season right now, so there a lot of these to view) seem to inadvertently capture the unwary (or uninformed) conductor looking like a performing seal.

These ‘social media’ marketing activities – no doubt put together by millenial-age assistant producers or even more lowly artistic adminstrative assistants with minimal artistic judgement – working with whichever orchestra or Arts organisation, are a blight.

Nobody outside of the syncophantic echelons of orchestra management cares what conductors do – it’s only the quality of the music they assist orchestra players in making in which they have a role.  I quite realise that the aforementioned video snippets are nothing more than (mostly inane) marketing exercises, but surely it must eventually dawn on the administrative gurus of orchestras that it is the rank and file musicians whom audiences are fascinated by; not in imagining their personal lives and narratives therein, per se, but in observing the sound that emanates from their respective instruments; individually and, within an ensemble setting. Continue Reading →

The End of Season Opera Company Projections of Doom

Metropolitan_OperaI read an interesting approach to the annual “Let’s predict the death of Opera” reviews we get about this time each year.  This is a good piece of journalism by Weston Williams from The Christian Science Monitor.  You can read it here.

However, when you read visual sound-bytes contained therein from Peter Gelb, the Met’s general manager such as, “The struggle for opera has to do with the transition from an aging audience to a new one” (you think?) or, my absolute favourite, “This is a public art form … and as long as we have the public, the art form will survive and thrive,” (hmm?) says Gelb, you need to wonder whether there is any critical risk assessment going on inside that man’s head?

Notwithstanding, both he and Douglas Clayton, general director of Chicago Opera Theater (COT) concur that “… what is essential for any opera company, whether it’s small, medium, or large, is to find cultural relevance … and connections in the community to inspire audiences to want to participate.”

So the very simple question arises: why doesn’t the Met do exactly that? Continue Reading →