from Sunday, September11th of the year2011.
I’m really excited to see that my previous post has generated some interesting conversation in the comments threads. Scroll down or click here to read the original post and check out the comments, some of which I have replied to. The one point I wanted to re-iterate here is that I don’t think composers should put music on their website without getting permission. My primary concern here is for educational purposes. The other stuff – putting it online, promotions, etc., — all of that is a totally different issue.
And now, I want to talk about that issue just for a hot second. Real talk: the internet has made contemporary classical music in live performance exciting. People get excited for a new Adès or Reich piece; the orchestras are all up on twitter and facebook bigging it up, sometimes the composers are there too. This is, I think, a good thing. However, what it has done is call into question the amount of time between a premiere and when a recording is available. I’m thinking, specifically, about Adès’s Tevot and Reich’s Double Sextet. Carnegie was all excited about all these things, we all went to them live, and it would have been nice, I would argue, to have been able to get a recording of those pieces at that time.
Real talk: it’s bootleg recordings of these pieces. Real talk: I still bought the commercial recording. However, I was more excited about the bootleg DubSex because I was still buzzing from the performance I heard. That’s the thing: all the social media is great for orchestras to get people in the hall; I think we’re seeing that working very well. If the recording biz could get involved earlier, we’d be in really good shape.
I am also pleased that my post from a few days ago has, in fact, caused the Sequenza21 spam to stop. It’s really for their own good: if your twitter feed is caught in a feedback loop, you lose followers and people find it harder to separate content from noise.