As you’d expect, the season opens on a high note, with Itzak Perlman, and is still there for family fun, The Tenors and ABBA.
As you may have heard, next year we celebrate the 70th anniversary of the WSO. For 70 years, you have been our partners. Thank you!
The journey started in 1948 when Walter Kaufmann launched the first regular season of the WSO at the Winnipeg Auditorium. The years that followed were filled with one high note after another. Two tours to Carnegie Hall, international guests including Pierre Monteux, John Barbirolli, Leon Fleisher and Jacqueline du Pré, the move to the Manitoba Centennial Concert Hall, and the launch of the Winnipeg New Music Festival. Continue reading WSO marks a splendor-filled 70 years→
An older generation of Winnipeggers is re-discovering how music can affect and enrich our inner lives
By Katherina Dueck
Remember childhood music lessons or playing an instrument in school? Or listening to a song that stirred something deep inside you? While many of us share a life-long love of music, the passion may have dampened over the years due to time constraints and adult responsibilities. Continue reading Adult music studies thrive on U of W campus→
With youth leading the way, our sense of genre in the music world is breaking down.
Whither classical music? This is a question I’m often asked. Is classical music on life support? Are symphonies doomed to shrivel and die in the coming decade? Are the classical performing arts simply a vestige of a simpler, pre-Internet time? Is there any hope?
In 1890, Toscanini complained about the death of classical music as he saw orchestras going bankrupt. In the 1950s, many of today’s leading orchestras didn’t even have full-year seasons. In Beethoven’s time there were no concert series. Private concerts were presented irregularly, and they were benefit concerts that only the wealthy and noble could attend!
Simply put, this question has always been asked. But why?
Funding has always been tight for the performing arts. It used to be because the arts depended primarily on the patronage of philanthropists, a model that still exists in the United States. After the Second World War, many European countries shifted support from the private to public realm, creating arts councils designed to make culture a public good. In Canada we have a mix of these two models. We have public funding for the arts (though at a fraction of what many European countries invest) and a growing pool of arts supporters.
Available to everyone
In fact, today we live in an altogether different classical music environment from even a few decades ago. The Winnipeg Symphony performs for 38 weeks of the year to thousands of audience members. You no longer need to be a wealthy arts patron to afford tickets – you can get a season pass for less than $30 a concert. Compare that to an MTS stadium show or an NHL game. I believe that is pretty affordable!
At the same time, the way we take in classical music is changing rapidly. We now have access to nearly any recording ever produced by simply going online. The Naxos catalogue – which acts as a kind of encyclopedia of classical music – contains over 10,000 titles! And classical music accounts for 12 per cent of sales on Apple’s iTunes platform.
A major revolution that the Internet has brought on is the way youth today view their relationship with music. In this YouTube generation, everyone can become an artist, and many do, creating videos of their performances and sharing them online. This creates an equalization between consumer and producer. It also means they come to the concert hall in a different way. Kids who are listening to classical music are also listening to pop, R&B and rap music. In fact, their sense of these genres is breaking down as musicians trained in one tradition take on the music of another. Think of those cello guys. Google it if you haven’t heard of them!
Music’s power lives on
So what does this mean? What we will go toward in the near future is that it’s just music, not classical or pop. What I’ve personally learned from some of the composers we’ve worked with from Iceland, where there is less of a tradition of different genres, is that they just compose. But the music, its power, its impact always survives. And the place, I believe, where you have the most intense and visceral experience of that power is in a live concert performance.
Alexander Mickelthwate is music director of the Winnipeg Symphony Orchestra
The tuning stops. A hush falls over the Concert Hall. Alexander Mickelthwate strides onto the stage and takes his place on the podium to enthusiastic applause, warmed by fondness.
It has been 10 years, but Winnipeg audiences still love to see their maestro rising to the balls of his feet, his arms raised to signal the music to begin. They relate to his warmth, his honesty and his sincere humour. What you see is what you get, and they recognize it. There is no pretention to this man, no hint of the phony or the stuffed shirt. He is just Alexander, embracing the music and sharing it with you in the same spirit of generosity that he does everything. Continue reading Alexander Mickelthwate celebrates his 10th year at the helm of the WSO→