Archive | Editorials

ARTISTS YOU CAN TRUST: 2017

TEN “ARTISTS YOU CAN TRUST” 2017 EDITION It’s common for review publications, newspapers, and radio stations to come out with “best of” year-end selections, but the big problem with these is that there are always too many recordings to even begin to do justice to the range of options available. Also, we don’t want to […]

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Fine Whine From Stormin’ Norman Redux

Originally posted at the beginning of 2004, this seems like a good time, nearly fourteen years later, to revisit Norman Lebrecht’s “rock solid” prediction that the year 2004 would be “the last for the classical record industry.” I provide my entire original article below. In his latest effort to sound the death knell for the […]

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Conference Report: Music Criticism 1950-2000 (Day 3)

Barcelona: October 11, 2017 Conference Organized By:  Centro Studi Opera Omnia Luigi Boccherini, Lucca and the Societat Catalana de Musicologia, Barcelona Sitting with friends in a tapas bar in the center of Barcelona Tuesday night, we saw Catalonian President Carles Puigdemont (pr. Poojdemon) make an endless speech in which he declared independence, then suspended the declaration indefinitely, […]

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Music Criticism: 1950-2000 (Day 2)

Barcelona: October 10, 2017 Conference Organized By:  Centro Studi Opera Omnia Luigi Boccherini, Lucca and the Societat Catalana de Musicologia, Barcelona Day Two of the conference on Music Criticism: 1950-2000 opened with a morning-long session devoted to Music Criticism and Italian Film Music. Now, I love film music, and the Italian variety is a particularly rewarding field […]

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CONFERENCE REPORT: MUSIC CRITICISM 1950-2000

Barcelona: October 9, 2017 Conference Organized By:  Centro Studi Opera Omnia Luigi Boccherini, Lucca,  and the Societat Catalana de Musicologia, Barcelona This is the final conference is a series that encompasses studies on music criticism from the nineteenth century to the present day. It has brought together an impressive range of scholars from around the world, presenting […]

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The Plain Truth About Urtext, Part 3

What is Urtext? Questions to Michael Stegemann The term “Urtext”, what does it mean to you? Stegemann: An “Urtext” edition represents absolute reliability – particularly for musicians who play from one of these editions, but also for scholars and research. As well as this, anyone who wants to track the philological genesis of such an […]

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The Plain Truth About Urtext, Part 2

What is Urtext? Questions to Hendrik Schulze The term “Urtext”, what does it mean to you? Schulze: For me, Urtext means very carefully created editions based on the latest scholarly discoveries, editions which can serve as the perfect basis for marvellous performances of works. It is the link between scholarship and practice which is always […]

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The Plain Truth About Urtext, Part 1

What is Urtext? Questions to Jonathan Del Mar  Why do we need an urtext edition? Del Mar: Well, you do want to play the notes the composer wrote, don’t you, and not some random wrong notes that just slipped in by mistake ? So is that all an Urtext Edition is, simply “the notes the […]

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INTERNATIONAL CONFERENCE REPORT: MUSIC CRITICISM 1900-1950 (II)

Music Criticism 1900-1950 Organized by: Centro Studi Opera Omnia Luigi Boccherini, Lucca and the Societat Catalana de Musicologia, Barcelona The second day of discussions concerning Music Criticism from 1900 to 1950 featured still more stimulating papers on a wide range of topics. These included Music Criticism under Italian Fascism, and a particularly intriguing trio of presentations on […]

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INTERNATIONAL CONFERENCE REPORT: MUSIC CRITICISM 1900-1950

Barcelona: October 18, 2016 Conference Organized By: Centro Studi Opera Omnia Luigi Boccherini, Lucca and the Societat Catalana de Musicologia, Barcelona Greetings from Barcelona! This is CT.com Executive Editor David Hurwitz reporting as a participant in the above conference, part of a series devoted to the history of music criticism in the 19th and 20th centuries. This is, […]

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