The Wall Street Journal chronicles a rash of tuba thefts. Yes, you read that correctly, lots of people have been having their tubas stolen. But as one thief discovered, it's not so easy, trying to unload a hot tuba:
The tuba, the biggest and lowest-pitched among the brass family, can run from around $2,000 for beginner band models to more than $20,000 for specialized professional versions, says Martin Erickson, a past president of the International Tuba Euphonium Association.People with “nefarious” intentions, he says, probably try to resell tubas or use them in other bands. “You don’t expect tubas to fall into that sort of thing.”Kenneth Amis, assistant professor of tuba at the Boston Conservatory at Berklee, imagines thieves assuming something so big would be valuable, not realizing how tough it is to unload one. “Few people are looking to buy tubas from a pawnshop.”
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The British Library has done us the favor of putting online Mozart's journal of his last seven years in which he records themes from new compositions. Most of us don't compose quite as many pieces so that we are in danger of forgetting them if we don't put them in a thematic catalogue. Mozart however...
The third item down is the beginning of his "Dissonance" Quartet, the last of the group of six string quartets dedicated to Haydn.
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Russian violinist Dmitry Rotkin must have fallen in with bad company--guitarists, to be specific--because where else would he have picked up the outrageous right hand techniques necessary to execute his "Mad Fingers Pizzicato"?
Hat tip to the Violin Channel.
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I should probably recuse myself from this topic, out of boredom if nothing else, but the intellectual sleights of hand are so egregious that I keep wanting to comment. Once again, The Guardian boldly goes where just about everyone else has in the search for the Great Unsung Woman Composer. The title of the article is Settling the score: celebrating the women erased from the musical canon. The article is celebrating International Women's Day, but the writer, Anastasia Belina, seems to be at odds with the headline writer--and logic, for that matter:
The music written by these forgotten composers shows integrity, gravitas and invention, and deserves to be heard on its own merit, with 21st-century ears, and without 19th- and 20th-century prejudices. We do not differentiate between female and male violinists, pianists, or other instrumentalists. Why do we still feel the need to point out that a conductor or composer is female? And, most importantly, does making a distinction between male or female composers prejudice our experience of their music?
So, all the while celebrating International Women's Day with special BBC Radio 3 broadcasts, we should be gender-blind? Or should we be seeking out women composers because they are women? I'm confused...
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I knew this was only a matter of time: COLLEGE BANS MEN-ONLY CONCERT PROGRAMMES
Trinity Laban Conservatoire of Music & Dance in east London has said it will ensure that at least half the music it performs in future will be by women composers, with a particular focus on ‘missing’ modern British women.
For a series of comments on the above, ranging from the sarcastic to the scathing, please follow the link.
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Here's something you don't see every day: Marcel Duchamp and John Cage playing chess. Since it was the 60s they had to turn it into a "happening" with each move triggering different electronic compositions.
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Now, if you will excuse me, I have to go commune with my emotional-support iguana. And here is our envoi for today, the "Dissonance" Quartet by Mozart.