Heute abend steigt mein erster Auftritt als Musikvermittler in Hamburg. Ich brenne darauf, dem Publikum der Laeiszhalle eine Konzerteinführung für ein Symphoniekonzert der Deutschen Kammerphilharmonie Bremen zu servieren. Solist und musikalischer Leiter des Abends ist der Geiger Christian Tetzlaff. So ihr Lust auf Violinkonzerte von Mozart und Beethoven sowie auf Schönbergs Verklärte Nacht verspürt: dies ist die Gelegenheit! Über eure Gesellschaft wäre ich hocherfreut. Einführung um 19 Uhr im Kleinen Saal, Konzert um 20 Uhr.
General
Neuer Metner-Newsletter
I have started a Metner newsletter. The idea is to send information and updates on events, publications, recent recordings, and other developments related to Nikolai Metner—to be issued from time to time, presumably 2–3 numbers per year. Let me know if you want to subscribe. I will also be grateful if you provided me with information to include in the following issues!
Die Grenzen des Gesangsrepertoires
This has been an issue to me ever since I started observing classical music: Singers tend to ignore a large portion of the repertoire composed for them. While common practice of vocalists seems to be limited to music from a period of some 250 years, most Renaissance, early Baroque, and 20th-century music is neglected. Read my full complaint on the Hello Stage blog.
Infobrief für Musiker:innen
To all Berlin-based musicians and music teachers: Please take notice of an extended article co-authored by Helge Harding and me, published on the website of the Tonkünstlerverband Berlin (DTKV). The essay is concerned with the current state of freelance musicianship and music education in Berlin, pleading for more professionalized activity and engagement. Feel free to read, share, and comment. We’d also appreciate you to get involved yourselves!
Einbahnstraße Musik
Classical music education in Germany is suffering from a severe prejudice. The notion that somebody with an instrumental or vocal major, focusing exclusively on his / her subject, is more appreciated than students and graduates of the pedagogical programmes (prospective teachers and music school staff) is widespread at universities and conservatories. Faculties, students, audiences and critiques are generally supportive of high-level performance while professional education is drastically underrated and underpaid. This is a fatal misdevelopment that discourages applicants to choose the profession of teaching music. We should promote Schulmusik and Instrumentalpädagogik because these fields are far more relevant for society and cultural welfare than the formation of an one-track artistic elite. Read more of my thoughts on the institutionalized misbalance between performing and teaching music at the Hello Stage Blog, and please share, comment, and object, if you feel like it.