classical music in 2006

January 4, 2006 at 04:36 AM · well it is a new year, what do you guys think 2006 will be like for classical music?

Replies (99)

January 4, 2006 at 05:04 AM · Numerous virtuosi playing the same pieces that have been played for centuries. Few if any contributing new works of their own. Maybe Joshua Bell appears on Oprah.

January 4, 2006 at 08:15 AM · "Numerous virtuosi playing the same pieces that have been played for centuries. Few if any contributing new works of their own"


No one dares to record non commercial works since the recordsales would go too much minus.

Illegal filesharing is for sure a problem for classical music as well.

January 4, 2006 at 08:42 AM · Isn't 2006 the Mozart and Shostakovich year? More Mozart concerts perhaps?

January 4, 2006 at 08:46 AM · Numerous virtuosi playing the same pieces that have been played for centuries in their enlightning, refreshing way, less limited by technical problems because of better education and training.

New readings giving new generations of listeners the pleasure of enjoying the fantastic impact of classical music.

New technologies making classical music even more affordable than ever before, reaching wider audiences maybe?


January 4, 2006 at 12:20 PM · ...probably worse than 1756... ;-)

January 4, 2006 at 02:23 PM · Numerous virtuosi playing the same pieces that have been played for centuries. For those virtuosi and those of us musicians and music lovers who know these pieces in our sleep, it is all too overly familiar. But for those new to classical music and violin playing, it is the opening of a new, exciting world.

Zino Francescatti once said something to the effect that the challenge of playing the Mendelssohn Concerto for the thousanth time is to find something different in it. Good luck.

January 4, 2006 at 06:36 PM · There is a reason that this music has been played for centuries....

January 4, 2006 at 06:44 PM · fmf you seem to subscribe to my controversial theory of violin playing evolution.

January 4, 2006 at 07:00 PM · There's a reason some literature has been read for thousands of years. That doesn't mean it's all people want to read, nor does it mean nothing new should be written. I know tossing out concepts such as market economics, the need to innovate or accept a 'niche' future, etc do little more than start flame wars here and that is not my intent.

What I had in mind when I wrote the original comment was the lack of compositions coming from the ace players of the age. Where are the Chang etudes, where are the diabolical Bell Caprices, etc, etc. Who was the last virtuoso to write anything? Kreisler? Perhaps it is the difference between performer and musician?

Pardon me while I step into this asbestos suit before clicking submit...

January 4, 2006 at 07:29 PM · I'd like to know...Bell writes his own cadenzas so he's definitely capable of some type of composition...

January 4, 2006 at 07:44 PM · If his compositions are going to be anything like his Brahms cadenza, I would suggest that he keep them to himself :-)~

January 4, 2006 at 11:26 PM · Mozart, Mozart, Mozart because it is a Mozart year, but I like more the romantic era, so a bad year for the roses.

January 4, 2006 at 11:43 PM · That's right, I forgot. Also this weekend they reveal whether or not the famous skull is Mozart's, a conclusive DNA test supposedly confirmed by the U.S. Army.

January 4, 2006 at 11:54 PM · oh yea, because I'll trust anything the US Army does...

I think at least in Australia there's the Beginnings of a revolution. There are a number of programs aiming to put more music into Schools to ensure that Students will always be offered the chance to learn a musical instrument. That's always got to be a good thing.

You can also look forward to the Recital of Ben Clapton in November, something that hopefully shall be pretty good ;)

January 5, 2006 at 12:45 AM · Well, I'll admit they're not DNA 'R' Us.

January 5, 2006 at 12:56 AM · i agree with frank new technologies are being introduced that will make music including classical music even more acessable.

January 5, 2006 at 06:21 AM · And there will be the first 24h round the clock TV day dedicated to Mozart on his birthday January 27. On TV channel TW1 either:

europe-wide via Astra 1H digital Satellite with a digital receiver (e.g. set top box) Transponder 115, polarisation horizontal, Downlink frequency: 12,66275 GHz


directly in the internet via

The full programm listing you'll find here:〈=EN

Don't forget: the timetable is based on Central European Time.

Amongst other highlights you will be able to listen to live music on Mozarts very own violin and piano at his birthplace.

Let's sleep well ahead then :-)


January 5, 2006 at 05:53 AM · Maybe, just maybe, we'll break out of the 12 tone system. Western music still hasn't explored very much outside of that system. I've played Shnikette pieces with quarter tones, but the real indicator is that we've not developed a special type of keyboard for music outside of the 12 tone system. I mean, music all over the world OTHER than western music can use quarter tones...why can't we?

It'd be nice to see some new tonal music too, it's not like we've written all the tonal music that there is to write ~_~.

Other than that...I'm pessemistic about a major development. Probably what will happen is more cuts will be made to the music in the schools in the United States and the next Bach or Beethoven or something will drift through our system without ever listening to classical music (you know, ipod with rap blaring in the ears from dawn till dusk) and will fail to succeed in academic subjects as well and work at McDonalds.

The next great violin maker like Del Gesu or Stradiveri will not recieve education in woodworking because our schools don't awcknoledge vocational education as valuable. Instead of apprenticing himself/herself to a wood-worker and later a violin maker he shall go to college, from which he shall drop out and he shall end up working at McDonalds...and never move up from "front line worker" or whatever they call it.

~_~, ok, that was a little too pessimistic. I expect a LOT of Mozart going on. I mean...the youth orchestra I'm playing in is playing Symphony no. 41...There's a "Mozart Competition" for youth musicians this year...hmm, strange. I'm playing Shubert and Mendelssohn string quartets and the Bartok divertimentto for strings. I wonder why those aren't Mozart? Actually, it's nice to know that it won't all be Mozart this year. I kinda like Romantic and Baroque music too ^^

As for violin-composers, Kreisler is pretty much considered the very last of the great violinist composers, but I understand Heifetz wrote a dirty song? And Milstein kinda put together Paganninia. I wonder why violinist-composers faded away...At the very least I WOULD like to see some sort of etude book written now. Technique has changed even in recent times hasn't it? I mean, if we had stopped writing etudes long enough ago we'd still all be aspiring to perfect those dang Locatelli etudes.

January 5, 2006 at 12:44 PM · I think we will see and hear more carbon fiber used in instruments and bows. Of course there will be new strings to play (and talk about).

I also think that film music will become more recognised as "classical" music and I think we will be hearing more and better music for major films.

January 5, 2006 at 02:18 PM · Hi,

I personally forsee very little change in classical music for the next year. Why? Because the factors that make it what it is now are already in place. Technologies make music more accessible on some levels, less on others.

However, the cultural change needed in places like the North America for classcial music to flourish are unlikely to happen. Societal trends are at the source of many things and those come slowly.

As for your comment Joseph, microtonality in classical music has been explored by many composers, the most famous of which is Ligeti. Listen to his music. American composers like Henry Cowell, John Cage, George Crumb, and countless others have done more experiments than you can imagine. But in the 80's, actually the late 70's, classical music on traditional instruments came back to its roots which worked better with the mediums and the public, where as the avenue of expoloring new sounds, and non-twelve-tone stuff branched off into the electro-acoustic field, which became a discipline in its own.


January 5, 2006 at 07:09 PM · what do you guys think 2006 will be like for pop strings players like Vanessa Mae, Bond and Miri Ben Ari and also the classical crossover genre

January 5, 2006 at 11:36 PM · I know many may not think that the film music is classical, but as a teacher many of my students have been turned onto music through the use of these films: some of their favorites are from films like Gladiator, Braveheart, Lord of the Rings and Pirates...there a many beautiful pieces to be found on these recordings. My fifth and sixth graders love the new Phantom of the Opera and many of them asked for this CD and Pirates for Christmas. Some who caught my passion for the violin have started taking violin lessons and recommited themselves to other instruments as well. I too hope to see other movies take the orchestral pieces more seriously and compose away...these will sell even to the younger children if my class is any indication.

January 6, 2006 at 07:19 AM · Classical music is my one true love, and it is very hard for me to say this- classical music, with each passing year, becomes less and less creative. Even what most classical musicians consider creative is really nothing more than what the conservatory studies taught them to think is innovation. 2006 I fear will be no exception.

How many times must we hear the tchaikovsky violin concerto before it loses all meaning? Or has it lost all meaning already?

January 6, 2006 at 12:37 PM · There is no such a thing as bad publicity (except in politics). I thought that was common knowledge:)


January 6, 2006 at 02:34 PM · but what about pop strings players and the classical crossover genre in 2006

January 6, 2006 at 03:29 PM · Who said that repeating a performance countless times has to mean that the piece loses meaning? I would argue that the Tchaikovsky violin concerto strikes a chord in many different kinds of people, no matter what generation and no matter who has heard it before. The challenge is in getting the message out - not playing it differently. The average person doesn't care if Oistrakh played differently between concerts. He or she is concerned with being moved - nothing more, nothing less.

January 6, 2006 at 04:31 PM · Isn't it one of the differentiating features of classical music to be composed for players and audiences to come? Versus the use-and-discard "music", gigantic marketing machineries try to stuff into our souls and heads in order to stuff their pockets? Like the fundamental difference between making money to be able to compose or to perform versus making money to give a return to stockholders who would otherwise invest into cigarette or weapons industries?


January 6, 2006 at 04:53 PM · Wasn't the bulk of the older stuff composed for royalty? You know, give the prince some entertainment in between fighting wars and opressing the population?

January 6, 2006 at 04:56 PM · The bulk? Like e.g. Bach's works or Verdi's operas? Bartok or Vivaldi? Schumann or Berlioz? Copland or Sibelius? The "suppressing" music theory sounds like a late New Years Eve joke to me. But it might shed some light on stone age rythms and songs which obviously were used for suppressing mammoths, killing and eating these poor animals.


January 6, 2006 at 05:37 PM · Well when I said 'older' and started referring to royalty that should have given some indication of what period I was thinking about. At any rate, I made no mention of music being used to suppress anything. Bach changed patrons a number of times for purely financial reasons as I recall. Vivaldi wrote concertos for 'the orphanage' because it was steady income. The point being that financial circumstances were as big a motivator then as they are now and that paying the bills was probably more important to composers than leaving a library full of works for the coming centuries. Royalty paid and paid well, but beyond that most of them were reprehensible people - the sort to invest in tobacco and weaponry with little regard to the morality of these things (to use your examples) so long as they were made richer by doing so.

Who can say though. my time machine is currently in the shop.

January 6, 2006 at 05:38 PM · Exactly, they had to support themselves, these composers and musicians, but not investors who wanted to make money out of a "sound" industry. Neither the protestant church and city of Leipzig (talking Bach) nor the church owned Venice girls' orphanage (talking Vivaldi) had anything to do with creating music for warlords or supressors. About Vivaldi we know meanwhile he just loved having young girls around, actually toured with two underage sisters through Europe for quite a while, got into trouble and was forced out off priesthood.


January 6, 2006 at 05:41 PM · I don't believe Beethoven, Mozart etc were motivated to compose the music they did for money. Of course they had to eat, but if their primary motivation was money, they could have choosen an easier more lucrative profession, I'm sure. Many composers died poor, Beethoven and Mozart included. The quality of their works demonstrate an investment that shows real love for music and innovation. Bach, I believe, claimed to compose for God. Of course, any composer has to make practical arrangements that enable them to continue to do what they love, sometimes that includes compromise.


January 6, 2006 at 08:23 PM · Beethoven, Mozart, Haydn, Vivaldi, Bach, and all the rest of those great musicians were crafstspeople (dare I say craftsmen?) as well as serious creative artists. It is clear that they wrote some things because of commissions and the opportunity to make money, and some things just because of their inner artistic vision. But to write something on commission (or for the money) and to write it to express one's own inner artistic vision are not necessarily mutually exclusive, are they?

January 6, 2006 at 11:23 PM · but what about pop strings players and the classical crossover genre in 2006

January 7, 2006 at 04:21 AM · Toni

I will respond, since you are being totally ignored.I do not think a great deal will happen with the crossover outfits, I am aware of, already in existence.i.e Duel,Vanessa Mae,Bond, some more I cannot remember right now. I think we will see more of them, but I do not really see enthusiasm for the current ones taking off.

Of course they will enjoy some financial/commercial success, but in my humble opinion, there is a fundamental problem with the groups already in existence. Call me a cynic, but I sense something very superficial about them, manufactured if you like. I'm talking about the music, not the image creation and marketing involved. I find the music that they produce safe and bland. I'm all for crossover. I was quite excited when I heard about Miri Ben-Ari coming out with a cd title 'Hip-hop violinist', but I was not really impressed by that effort.

What I would like to see is someone totally outrageous, who is not really interested in being safe and polite, but who pushes the boundries. This is the whole point about rock n roll. If Hendrix or a member of 'Immortal technique', played the violin, how would they do it. Vasko Vassilev and Maxim Rysanov had a go some years back with the electric violin and viola respectively. I found this, still too safe.

The best efforts I have witnessed on the electric violin have been from Vengerov and Kennedy. It makes a hell of a difference when someone has some technique and integrity to back up the hype. Vassilev, Rysanov, even Mae could do it, they have technique, but the music they have produced is not what I would even call good quality pop/rock.

There are great rock/pop/rap/dance/etc outfits out there, doing really interesting stuff. Crossover classical musicians need to make more of an effort to emulate these guys, not the bland and safe manufactured process. I think the Kronos Quartet have made a major contribution in this department.


January 7, 2006 at 06:56 AM · true, but you have to agree with me vanessa mae and miri ben ari are pretty kick ass.

January 7, 2006 at 07:21 AM · I don't disagree.


January 8, 2006 at 12:42 AM · sorry

January 8, 2006 at 12:44 AM · i understand what you mean david you whould like to see someone comparible too paganinni only playing an electric violin, i would also like too see that, hopefully it will happen in the not so distant future.

January 8, 2006 at 04:26 AM · I must reflect back at 2005 for a minute and note that I have just heard Joshua Bells recording of the Mendelssohn Concerto and was appalled! Is it safe to say that this guy has never won any competitions? It sounds like any college level violinists!? Anyone else? Am I losing my hearing? I'll be back when I give the Beethoven a listen that just happens to be on the disc. For now I'm unhappy...from what some of you were saying in other threads I was expecting magic...

Nevermind...this is ancient history...2002

January 8, 2006 at 04:14 AM · Toni

What are you sorry about?

It's not only a question of technique, but they also have to have the right mental attitude too, for me to be totally satisfied. They need to have attitude period. Something of the rebel about them, but with a strong sense of musical integrity and talent. I'm thinking more, 'Rage Against The Machine', 'Public Enemy', Bob Dylan etc than 'The Pussycat Dolls', although some of the girls in that band are pretty kickass too.


January 8, 2006 at 05:43 AM · do you think a strings musician is capable of that

January 8, 2006 at 07:09 AM · Whatever turns and trends happens around the globe the immortal classical compositions of Bach , Mozart , Beethoven and so on will never fail to strike a chord with human hearts and will never lag behind to stir human souls with irresistable unknown pleasures .

I would like to add the same with the great other music traditions of the world like Arab music , Indian music etc .

January 8, 2006 at 07:32 AM · Toni

Absolutely. I don't see why not. I saw Vengerov playing electric violin on tv, and he ripped the thing apart. I have seen Kennedy live do similar things. Check out the Kronos Quartet playing George Crumbs 'Black Angels'. Although it is still in a classical form, the crazy violent sounds that piece requires demonstrate the potential stringed instruments have beyond beauty of sound. What these guys all have in common is a certain level of aggression they can draw on when required. In classical violin training, the emphasis is on cleanliness of execution and beauty of sound. That's great if you are playing Mendelssohn, but not so relevant for rock/rap/folk/punk etc. So a classical guy or gal would probably have to unlearn some of the things they spent a life time developing or acquire additional techniques, to sound anyway near convincing in some of these other areas.

It's interesting that Jonathan brought up Joshua Bell. There is an example of a classical violinist who wants to see the lyrical in everything. Hahn is the same, albeit with stronger technique. I'm glad they exist, it's nice to have different, varied violinists out there, but sometimes I feel they sound less convincing in repetoire that requires more grit. Compare Vengerov and Hahn's Shostakovich, there is no comparison. Vengerov is easily the superior in capturing the pain, depression and bite intended in that piece. Vengerov's recording is really very good, as is the Prokofiev. Hahn has a beautiful sound, but she makes no attempt to alter it from the Mendelssohn on the same disc. She sounds the same. I think Josefowicz has the necessary aggression to make a good rock musician, and technique to boot.

Incidentally, Jonathan, I think there is a reason why Bell can sometimes sound a bit shoddy in his performances. Procrastination. I saw a documentary some time back, in which his girlfriend at the time, a member of the Baltimore Symphony, said that he leaves practicing for a concert to the very last moment. So much so, in fact, that she envies his ability to do this and gets nervous for him with it. Clearly, signs of inadequate practice do not escape the discerning listener. Musically he has probably developed, but in many ways he sounded more impressive as a kid.


January 10, 2006 at 09:35 PM · NEWS FLASH i just recieved an email from Joshua bell when i wrote him asking will he ever do a pop/rock or jazz album or do an album where he plays an electric violin (like Kennedy,Vengerov,Mae) his personal assistant said that he never thought about doing a pop/rock jazz album (i wonder why with all of the success that Kennedy,Vengerov and Mae have playing electric violins) his PA also said that he plans to do interesting projects in the future ( I wonder what that means war horses or crossover projects) please tell me your opinion.

January 10, 2006 at 11:09 PM · Joshua Bell is working on a solo violin sonata. But he says he only chips away at it when he has time, and anyone who's seen his tour schedule knows that time is the last thing he has. So I wouldn't expect to see it anytime soon.

As for his cadenzas, personally I love his Mendelssohn---no, it doesn't fit as well as the original, but it's fun and different without being too weird. Back when I was in the MIT Symphony Orchestra, we did the Beethoven with John Harbison's cadenza (his wife was the soloist) and it was awful, like suddenly being whisked off to the 20th century and tossed back. Then again, I don't like Joshua's Beethoven cadenza either, so maybe I'm just a purist when it comes to that concerto. But did anyone hear the short cadenza he composed for the Polish Dance on the "Ladies In Lavender" soundtrack? Zowie!!

January 12, 2006 at 02:36 AM · i wonder why JB won't do a non classical album if he does he will knock Britney Spears into oblivion

January 13, 2006 at 05:43 AM · I think it is fairly obvious why Bell has not done a non-classical album yet. He clearly is not feeling it. No point in doing something that your heart is not in. There is nothing more uncool and embarrassing than people trying to be what they think cool is. Look at Mae, Vassilev & co. Invariably they get it wrong, because it is not naturally who they are, but faked. The coolest thing a person can do, is to be themselves. I would rather listen to someone who makes conservative musical choices and is genuine, than someone who takes more risks, but is faking the whole time. The difference between art where love has been invested in developing it and art that has been motivated by more egotistical and mercenary considerations is unmistakable. The former is always of a much higher quality.


January 14, 2006 at 06:16 AM · you think Mae is fake?

January 14, 2006 at 06:21 AM · by the way what is Vassilev & co

January 14, 2006 at 09:37 AM · With some musicians, I am confident that there is a great deal of integrity and sincerity behind the music they create. What I mean by integrity, is that none other than musical considerations have determined what has gone into a piece of music. It appears to me to be obvious, simply based on the quality and ideas inherent in the work. Vanessa-Mae does not inspire such confidence in me. I get the impression that at some point a business decision was made, on her part, that consisted in a desire for more fame/attention and money/commercial success. Whatever the main motivating factors behind her output, I do not get the impression that they were musical. I allow for the fact that I could be completely wrong, after all, I am not telepathic, but the circumstantial evidence does not look good. If I am wrong, then the only other explanations I can think of for the poor quality of her compositions, are negligence and/or an absence of compositional talent. Anyway, it does not really matter to me. There is enough great music out there, to be enjoyed, from past, present and hopefully future. Naturally, not every working musician is going to be producing great work. I'm quite happy for Vanessa-Mae and the 'Pussycat Dolls' of this world, to make careers out of music, provided I don't have to listen to their stuff. A 'Clockwork Orange' scenario would be amongst my worst nightmares. I love music, but I do not think it is so sacred that it would be unethical to use it as a business tool. People can do what they want, but for my part, I'm drawn more towards artists and music where it is evident the music itself is the primary consideration or where it is, at least, motivated by higher ideals than money and fame.

Vassilev & co is an abbreviation of Vassilev & company. Meaning him and all those who follow in Vanessa-Mae's footsteps. Incidently, I think he is an excellent violinist, was, just, not a big fan of the pop stuff he did.


January 14, 2006 at 11:40 PM · cool. Whitch instrument sounds better in pop music and in music in general violin or piano.

January 14, 2006 at 11:45 PM · Which color looks better, blue or red.

January 14, 2006 at 11:53 PM · green

January 15, 2006 at 12:03 AM · were talking about instruments here not colors.

January 15, 2006 at 12:48 AM · Hello? isn't anyone going to answer my question

January 15, 2006 at 01:48 AM · I'm too busy chopping apples and oranges.

January 15, 2006 at 02:00 AM · aw come on can't anyone answer my question

January 15, 2006 at 02:43 AM · Helloooooooooooooooooooooooo

January 15, 2006 at 02:47 AM · The piano would be easier to accept Toni

January 15, 2006 at 05:03 PM · Why? the violin is more lyrical and like the human vioce than the piano.

January 15, 2006 at 07:03 PM · aw come on don't you agree with me that the violin sounds better in pop music thant the piano.

January 15, 2006 at 07:23 PM · No, I'd still go with blue.

January 16, 2006 at 12:21 AM · i guess that this question is to utterly stupid for anyone to answer huh.

January 16, 2006 at 01:35 AM · come on people this question isn't that stupid.

January 16, 2006 at 04:20 AM · Pleeeeeeeeeeeeeeeeeeeeeeeeeeeeease answer my question!!!!!!!!!

January 16, 2006 at 05:21 AM · No, I refuse.

January 16, 2006 at 02:29 PM · come on. Ok please just tell me why this question is stupid.

January 16, 2006 at 02:30 PM · come on. Ok please just tell me why this question is stupid.

January 16, 2006 at 02:32 PM · Geeez Toni...I suppose because you have the Stevie Wonders, Ray Charles' (RIP), John Tesh (gag), Yanni's (gag again), Alicia Keys (I like her)...and then there is Venessa Mae. The piano is a POP instrument (popular), globally speaking of course...the violin is certainly the most popular instrument here :-)~

January 16, 2006 at 04:11 PM · but wich instrumnt sounds better in pop music

January 16, 2006 at 04:12 PM · but do you think the violin is a POP instrument

January 16, 2006 at 04:29 PM · Guitar is so far ahead of piano and violin in pop music, why bother asking the hypothetical question? And, historically, piano is unquestionably used more than violin in pop music.

What does any of this have to do with the classical music developments in 2006?

Why not start a thread on classical instruments in pop music or electric violin or whatever?

I've seen threads hijacked and I've seen them wander off course, but this could be a record.

January 16, 2006 at 04:34 PM · oh sorry

January 16, 2006 at 04:38 PM · Piano is the pop instrument. I hear piano much more often in pop than the violin.

January 16, 2006 at 04:41 PM · what about vanessa mae miri ben ari and jean luc ponty there are so many non classical violinists out there. Becides the violin is more adept to pop music especialy as a solo instrument because it is closest to the human vioce than ay other instrument not to mention that the electronic capapilities of the violin are endless.

January 16, 2006 at 05:04 PM · I love what Jean-Luc Ponty did in the seventies--I saw him with John Mclaughlin, with Frank Zappa and with his own band. It certainly wasn't classical crossover, it was jazz/rock fusion, as it was called. I have to confess I didn't follow him or Jerry Goodman into their new age phases.

But, once again, Toni, I don't think any crossover stuff is going to be the important thing in classical music for this year...I doubt there will be any important new trends or developments. I hope I'm wrong and some player or composer comes out of nowhere with something truly wonderful.

January 16, 2006 at 05:11 PM · Since when is pop music about the human voice?

January 16, 2006 at 07:06 PM · arent most pop musicians singers

January 16, 2006 at 07:07 PM · arent most pop musicians singers?

January 16, 2006 at 07:08 PM · anyone who thinks that the violin rules in pop say so now.

January 16, 2006 at 07:19 PM · come on dose'nt anyone think that the violin sonds kickass in pop music or am i the only one

January 16, 2006 at 07:19 PM · come on dose'nt anyone think that the violin sounds kickass in pop music or am i the only one.

January 16, 2006 at 08:20 PM · oh COME ON!!!!!

January 16, 2006 at 08:46 PM · So if you get the answer you want, then you'll quit hounding people? This thread has a 100 post limit you know... :)

January 17, 2006 at 04:47 AM · yes i will

January 17, 2006 at 04:48 AM · yes i will

January 17, 2006 at 05:01 AM · I hear the violin used as a background in some pop music (to help secure the chords and such), but otherwise not at all. Oh yes...I have heard the violin as a solo instrument in pop music before. In any case I'm not a very big fan of most popular music. we have moderators here? people who might delete double posts...or pointless blank or one word posts?

January 17, 2006 at 05:30 AM · Toni, Start a NEW thread with your question. You may get an answer. You began this thread with a classical question. Pop violinist probably aren't reading it.

January 17, 2006 at 08:44 AM · Toni

You are absolutely cracking me up. If you are for real, then you are too funny. Otherwise I suspect this might be a wind-up, in which case, you had me. The only other thing I can think of is that you have set yourself the goal of getting 100 posts into a thread to satisfy some obsessive compulsive challenge you have set for yourself, so consider this entry a present toward the cause.


January 17, 2006 at 07:58 PM · Joshua Bell did an album with Edgar Meyer, Sam Bush and Mike Marshall, "Short Road Home" 1999 Sony. Compositions by Edgar Meyer. It was classified as Classical but it's really a fusion of classical/bluegrass. Sam Bush & Mike Marshall are at the top of the game in bluegrass/newgrass. Listen to Death by Triple Fiddle. JB, Sam Bush & Mike Marshall all pull out the fiddles and go at it with Meyers providing solid rhythm.

January 17, 2006 at 08:30 PM · classical music in 2006 will continue to pat itself on the back for being the greatest thing ever. a new crop of young performers will do their best to play the music they enjoy most only to be ignored by the critics because 'the players were just better back in the good old days.' dwindling audiences of diehards will turn out to hear the same piece for the 129 084 710 349 578 204 835 620 897 520th time. the biggest innovations in the genre will be people playing 500 year old instruments or writing tuneless 'modern' music that drives audiences away in disgust. some composer or other's birth, death, or another important date will be celebrated by super expensive 100-disc box sets nobody will buy. meanwhile the rest of the world will continue not to care that classical exists.

January 18, 2006 at 07:48 PM ·

January 18, 2006 at 07:46 PM · ok back to classical music in 2006

January 18, 2006 at 09:37 PM · I am against the pop world and pop culture so I would not want to see the beautiful violin with it's beautiful music be perverted into pop or hip hop. Then again I think it has to do with how much taste it is done with. I think Miri ben Ari is pretty good because it's not completely over the top and I think it works. Then again as much as I dislike hip hop, I like it better than pop. Violin would be good in other genres though. I am planning to learn flamenco on the violin and I think it would work great. Everyone better not steal my idea.

January 19, 2006 at 06:21 AM · I believe indeed that is a pretty good idea , I had listened to the renowned flamenco guitarist Pedro recently . I wonder how the solemn violin will match with the guitarish presentations of flamenco style.

January 19, 2006 at 07:34 AM · Who's Pedro? Do mean Paco?

January 19, 2006 at 08:06 AM · Okay, Toni. In 2006, I see a new Yanni cd release, which uses both piano and violin in an incredibly rad mix, and a concert tour, somewhere like stonehenge, with a bunch of dancing midgets dressed as leprechans. You watch, I'm right about this one. Yanni. The people have spoken.

January 19, 2006 at 08:40 AM · Unknown Spinal Tap manuscripts will be discovered at an obscure seminary in the Northeast.

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Discover the best of in these collections of editor Laurie Niles' exclusive interviews. Interviews Volume 1 Interviews Volume 1, with introduction by Hilary Hahn Interviews Volume 2 Interviews Volume 2, with introduction by Rachel Barton Pine