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Baltimore Symphony Orchestra

Twitter Digest: Hand-picked recent microcontent

by Andrew Hazlett on September 29, 2009

in Books,Twitter Digest

Some lightly edited “best of” bits from recent tweets.  I’ve sorted these items into categories with a special bonus at the very end.  For more along these lines, just follow @TheOccasional.

Ideas, Culture, & Society

Media & Digital Culture

  • 500 billion hours of video online in five years, playable anywhere on 12 billion devices. Is this the future of TV/video/film? If so, we will need critics, filters, and trusted connoisseurs more than ever.
  • In one week, all the national NPR shows covered these books and authors.  It is an impressive list, but one smart, energetic podcaster (working mostly alone) competes respectably. There are many, many book-related podcasts, but they remain obscure to many.  Is there a way to make podcasts more “discoverable” for your average Joe Browser?
  • Derek Jacobi introduces the sublime delights of English language poetry across the ages in digital audio. [via @NaxosAudiobooks]
  • Perfect insomnia cure: “Permanent Bedtime” — recordings of the BBC Radio weather forecast for shipping [via @ettagirl]

Books

Art

Architecture

Film

Science & Nature

Music

History

And, finally…

  • Separated at birth? Or is newspaper magnate and Tribune Company owner Sam Zell moonlighting as a model?  It would appear so from this screengrab of a Network Solutions ad: http://twitpic.com/itmm6.

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The Baltimore Symphony Orchestra opened its 2009-2010 season with an eclectic mix of Brahms (Hungarian Dances), a new concerto composed by Jennifer Higdon for the hybrid classical-country-jazz trio Time for Three, and a big, sweeping Tchaikovsky (Symphony No. 4).  The evening’s music was a powerful reminder of the diversity and power of classical music.

In an era when many listeners, even fans such as this writer, lack a thorough background knowledge of classical music, it is extremely helpful to have something like this video, in which BSO music director Marin Alsop talks about the ideas, composers, musicians, and works featured in the orchestra’s opening concerts this year:

The young men of “Time for Three” are clearly and abundantly talented.  They embraced the spotlight afforded by Higdon’s composition and threw themselves into the experience.  I was a little put-off by their showy performance style–the grasping, swaying, and nodding seemed a little gimicky and overdramatic.  Their best moment was an encore–their exuberant version of “Orange Blossom Special” which brought smiles and applause even from the seated members of the orchestra and a big ovation from the audience.

The variety and unpredictability of the first half of the evening set the stage very well for the passionate, big, romantic, and very Russian 4th symphony of Tchaikovsy.  It was a transcendant experience.

Overall, spending two hours immersed in live classical music (for the first time since my daughter was born) was meditative, stimulating, and broadening all at once.  I could almost feel underused neurons waking and stretching.  I came away more convinced than ever that our hyperactive micro-pixelated daily information overload requires us to step back occasionally and take in a broader view.

Before the performance, the BSO welcomed local and regional bloggers with a reception and panel discussion with the Baltimore Sun’s Tim Smith, the Washington Post’s Anne Midgette, and Charles Downey of Ionarts. The BSO is making a concerted effort [unintentional pun] to involve professional and amateur voices from new media to enlarge the conversation about live performances of classical music.

One theme that emerged from the discussion is how trained critics are also educators.  Reading the informed opinion of a well-schooled listener can enhance the experiences of impassioned amateurs (and the traditional critics can gain a lot from the communities that gather round their writing and blogging).

Cases in point are the reviews and comments already posted by the critics and bloggers who attended the opening night festivities:

These are just a few examples of how “new media” are sustaining conversation about “old” but enduring forms of art and expression.  It’s heartening to see that Baltimore Symphony Orchestra is doing so much to deepen and expand that discussion.

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