As this is my last column of the semester, I would like to conclude with something for followers of classical music to think about: how the year 2009 marks the end of an era bound to reality and the beginning of a new one dominated by the enigmatic internet. Although the online world has been increasing in influence for many years now—with the advent of MySpace, Facebook, and the numerous applications that allow for quick cyber-socializing and networking—music, from distribution to music journalism, has also taken a dramatic turn. The question that remains to be seen is whether the quality of the music is preserved in the transition.
Last week it was announced that Patelson Music House will be closing its doors for good by the end of the month. This comes as no surprise to consumers of sheet music, as Patelson’s was overpriced and under-stocked, but it was simultaneously a symbol of the now-obsolete tradition of buying music at a store.
The legacy of famous customers included Isaac Stern, Aaron Copland and Van Cliburn, but that legacy will be disrupted by the inevitable conversion to online purchasing and downloading.
Newspapers have been shutting down as online publications begin to thrive. This has led many music critics and journalists to create blogs, which archive their published articles on the internet as well as serve as outlets for small newsworthy events or personal commentary and criticism. Alex Ross—music critic for the New Yorker—has a blog titled The Rest is Noise, a collection of columns, essays, and posts. One of his most recent post includes photos of Esa-Pekka Salonen’s departure from the Los Angeles Philharmonic, and the right side of the page is lined with useful links to concert listings and other music publications.
A new online development has allowed the public to essentially stalk various music connoisseurs and organizations: Twitter. The New York Philharmonic’s most recent Twitter update in light of Riccardo Muti conducting states: “On Facebook: ‘You make me so proud to be Italian! NYP is one of the best orchestras in the world;’ Muti’s Italian concerts are April 22-25.” Although the NY Phil’s Twitter is not as amusing with its one-line advertisements and concert recommendations as, say, pianist Lang Lang’s page (from April 19th: “These traditional pieces are really lovely and lang Langs mum lover them.”), they offer the public a more informal and down-to-earth tone usually not associated with cream-of-the-crop classical artists.
Why has the internet come to play such a significant part in the world of classical music in such a short time span? I think it comes down to the issue of practicality. Music can be cheaper. News can reach the public faster. Discussions and debates can occur at any hour of the day with virtually anyone.
Essentially, communication is becoming more effective. But one can argue that precious face-time is sacrificed when people spend hours at the computer rather than with each other. This is something that will have to play out in the years to come.
I wanted this column to be about classical music, and I was compelled to write about things I knew. I know about orchestras, musicians, and composers, but
I realized that a lot of what I know comes from and revolves around the internet. It may be a sad revelation, but it is nonetheless true. Being part of the generation growing up with the internet has led me to both appreciate it for its versatility and resent it for the isolation it incurs. The extent of its influence will hopefully reach a limit and force us to once again focus on what’s important: the music.
Catherine Rice is a Barnard College sophomore majoring in music. Breaking Down Classical runs alternate Wednesdays.
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