Pretty Sharp podcast Ian Saunders

It is difficult to overstate how much COVID - 19 has impacted the world, and it is impossible to overemphasize how heinous George Floyd's death was at the hands of Derek Chauvin. People are discussing racial inequality and injustice, but are orchestra's listening? Companies and organizations have released statements, but too many are filled with affectations that leave communities questioning their sincerity. How can orchestras be genuine and sincere about their message? We explore this topic and more in today's episode. 

Live music is awesome. For my money, it’s the way classical music should be experienced. Recordings are nice when you don’t have the option, but experiencing the symphonic soundscape washing over me is second to none. However, there are a lot of things that can deter people before they even make it to their seats that classical musicians often take for granted. There is the jargon (concertos, opus, etc.), other languages to figure out, traditions, attire, and all sorts of rules that come along with this experience. Fortunately, many of those things are changing for the better. On this episode we discuss those changes and why some traditions are outdated, while others make complete sense.

What does it cost to participate in classical music? You have to rent or buy an instrument. Next, you find a great teacher. Then the summer camps, competitions, youth orchestras and auditions. These essentials are expensive, and success in the classical music world is like any other endeavor. You get what you pay for! But, what if you can’t pay at all? Does this become a barrier to entry? On this episode, Lavar and I review the subject based on trends we’ve noticed and our own experiences.

just finished playing Beethoven’s (insert number between 1-9) symphony. After the concert, I have a chance to discuss the work with members from the audience, and like clockwork someone chimes in with “You know Beethoven was black right?”I don’t think it’s a questions my colleagues get a lot, but how I look my have something to do with that experience. Nevertheless, this week’s topic is about the origins behind that statement.
Sources:
De Lerma, Dominique-René. “Beethoven as a Black Composer.” Black Music Research Journal, vol. 10, no. 1, 1990, pp. 118–122. JSTOR, www.jstor.org/stable/779545.
Rinehart, Nicholas T. “Black Beethoven and the Racial Politics of Music History.” Transition, no. 112, 2013, pp. 117–130. JSTOR, www.jstor.org/stable/10.2979/transition.112.117.
Solomon, Maynard. Beethoven. Omnibus Press, 2000.
WELLS, ELMER E. “BEETHOVEN—HIS NEGROID CHARACTERISTICS.” Negro History Bulletin, vol. 41, no. 6, 1978, pp. 903–905. JSTOR, www.jstor.org/stable/44213876.
 
 

Sometimes you can see it on their face. The look of panic as they try to find reasons to get out of the situation without hurting your feelings. So you ask again. "Would you like to come see me perform with the symphony downtown?" Finally, they relent from the pressure and eek out an "Okay...sure..." To which I say "Got 'em"
Of course this is an exaggeration (slightly), but over the years Lavar and I have learned how to address the main apprehension people have about classical music.
IT'S BORING!!!!
This week we'll state our case on why (and how) you should give it a chance. If you don't like it...well...maybe give another chance.