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But Is It Art? Graphic Scores by John Cage, Cornelius Cardew and Others Are Worthy of the MoMA
EXCLUSIVE: Ólafur Arnalds on 'The Chopin Project' with Alice Sara Ott, "Reminiscence" Video and Why He's Not Reading This
Iceland's BAFTA-winning producer Ólafur Arnalds has always appreciated the intricacies and depth of Frédéric Chopin, even when he was pounding out blast beats from behind his throne in metalcore outfit Fighting Shit. But the stolid tradition of "classical recording," not surprisingly, that seemed especially flat for the Broadchurch composer. An iconoclast, perhaps, Arnalds (not to be confused with his singer-songwriter cousin, Ólöf Arnalds) wanted to put a finer point on Chopin's music here in his own digi-age. EXCLUSIVE: R.B. Schlather on Handel's 'Orlando,' the Problem with New York City Space, Philip Glass' 'Penal Colony' and the Politics of Open Rehearsal Space
For all the bogus boilerplate about how classical music is dead or even well-intentioned words regarding how she can stay breathing, precious few--performers, ensembles and institutions--are actually doing anything to change both conversation and prognosis. Moreover, when it comes to remounting baroque opera in our digi-epoch, fewer still have the informed perspective, due diligence and, well, cojones to really make a difference. Save for one R.B. Schlather, of course.
