Friday Miscellanea

Bob Dylan Takes the Boeing: Way back in the early days of blogging when it was hoped that some bloggers at least would become rich, the phrase arose "he took the Boeing" meaning that some very lucky blogger was bought out by some internet behemoth to the extent that he now had his own private Boeing. Ah, those hazy days of yore! Well, it worked out for Bob Dylan at least. This week comes the story Bob Dylan Sells Entire Songwriting Catalog to Universal Music.

The 79-year-old legendary pioneer of modern rock music, and the only songwriter to win a Nobel Prize for Literature, has sold his entire publishing catalog—more than 600 copyrights spanning 60 years—to Universal Music Publishing Group, according to the company.

While terms of the deal weren’t disclosed, the catalog is likely worth hundreds of millions of dollars—rivaled in value and influence only by the Beatles.

I'm not sure what I think of this exactly. I have a profound respect for Bob Dylan, formed over decades of enjoying his music--not least for its non-commercial aesthetic. I love that he wrote a twelve minute epic song "Sad-Eyed Lady of the Lowlands," that never had any hope of commercial success. I've always been puzzled at the commercial success of "Rainy Day Women #12 & 35," surely one of his worst songs. "Desolation Row" is a transcendent marvel of a song and "All Along the Watchtower" is pretty good. Over the years his catalog is amazingly various and inspired. And now it is "worth" a few hundred million dollars. I'm just not sure what the words "worth" or "value" mean in relationship to music any more?

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This doesn't surprise me: Music education in UK schools devastated by pandemic, survey finds

Extracurricular musical activities have been discontinued in nearly three-quarters (72%) of UK primaries and two-thirds (66%) of secondaries. Schools in Scotland, Wales and Northern Ireland have been hit harder than those in England.

In addition, more than half (53%) of primaries and almost two-thirds (63%) of secondaries that normally hold a festive concert at the end of the first term of the academic year will not do so this year.

“We cannot sing, and the children are hugely disappointed when they ask to sing and we tell them no,” one primary teacher told the ISM. Another said: “Due to staggered breaks/lunch and the need to constantly wash hands, the amount of time spent on music has been reduced.”

A secondary teacher said: “Honestly, it’s impossible to state how devastating this will be in the long run for music as a subject. There is no provision at all for instrumental lessons, ensemble projects, bigger inclusive performances or even classroom ensemble work. This will, of course, harm students emotionally and academically.”

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Over at Slipped Disc, Ivor Bolton relates how he has been able to keep the Teatro Real in Madrid open and giving opera performances.

The Spanish National Government and above all the Government of Madrid have supported us in this. Our safety concept for Teatro Real, including twice weekly testing of all performers, temperature testing of performers and audience and well-controlled entry/exit corridors for the public has cost over one million euros so far, and thankfully some of this cost has been met by the Government. We have just finished 10 performances (and a TV recorded DVD to follow, of Christof Loy’s brilliant new production of Dvorak’s masterwork ’Rusalka’. Seven weeks of intensive rehearsals and two weeks of performances have had their dramas! All 80 people involved in the actual production (soloists, directorial team, conductor, assistants and musical team, dressers, make-up artists, stage-management and technical staff) were tested for CoVid twice weekly.

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SALZBURG FESTIVAL ISSUES 70,000 INVITATIONS

Good news in challenging times: Our new programme is currently being printed. 70,000 copies should be delivered to you, our faithful customers all over the world before the holidays and the New Year.

And starting on 10 December, you will find the 2021 programme online at www.salzburgfestival.at.

As promised, this coming summer we will present important productions in the opera, drama and concert departments which were postponed from the summer of 2020, extending the centenary celebrations of the Salzburg Festival into the autumn of 2021…

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Christopher Russell is about to perform the scarcely-heard fifth symphony by the intriguing Leningrad hermit, Galina Ustvolskaya

Ustvolskaya wrote five symphonies ranging from about eight to 25 minutes. They can all be heard in about 75 minutes. All five have some sort of spoken or sung text with Nos. 2-5 based on religious themes. Ustvolskaya’s music often explored Christianity and she talked about its importance in her life although, by her own admission, she pretty much never set foot inside of a church.

She once said “There is no link whatsoever between my music and that of any other composer whatsoever, living or dead”. At first, I thought this was a fairly arrogant thing to say but the more I explored her music, the more I came to realize that this was an accurate statement. Her unique instrumental combinations, strange harmonies, and repeated blocks of sound make for a unique listening experience. It quickly drew me in.

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Musicians often have to struggle to find a good place to practice, away from distracting noises and other music. But organists have special problems in that they need an actual, designated building to put their instrument in--often called a "church." Traditionally the problem has been solved by getting a job as the church organist, but this performer has found a different solution: World-renowned organist buys a Nova Scotia church, pumps out Bach in his pyjamas.

"In my childhood, it was quite difficult to go practice in some churches in Europe because we always have to [get] dressed up to go to the church, ask for the key from the priest or the minister, or we have to argue with some old Catholic nuns who were responsible for the church. They always said, 'Oh you play the organ so loud, we can't live here.'

"So now I'm alone and I can play as loud as I like.... Sometimes I play in pyjamas, of course. But there isn't any rule that we have to play only in tuxedos. So, fortunately, I can be dressed like that."

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 How could we not give a listen to the Symphony No. 5 by Galina Ustvolskaya: