- the cuts are made first to the younger and more innovative groups; they affect musicians with the least institutional pull first;
- working musicians -- ensemble players -- are greatly disadvantaged in comparison with the international class of name soloists and conductors;
- and when the cuts are announced, the last voices in protest to be heard, if at all, are far too often those from the most select class.
A displaced Californian composer writes about music made for the long while & the world around that music. ~ The avant-garde is flexibility of mind. — John Cage ~ ...composition is only a very small thing, taken as a part of music as a whole, and it really shouldn't be separated from music making in general. — Douglas Leedy ~ My God, what has sound got to do with music! — Charles Ives
Friday, February 01, 2008
Tim Rutherford-Johnson has a post on budget cuts by the Arts Council England. I am not familiar with the situation in England in any detail, but it is possible to recognize patterns that appear to be true across borders, and funding reductions for the arts are as global a phenomena as any:
Posted by Daniel Wolf at 1:52 PM
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Interesting angle, Daniel. That might also cover why relatively 'continuous' ensembles (like the City of London Sinfonia and the London Mozart Players) have been relatively quiet, but an umbrella organisation of musicians who live from one gig to the next, like the London Musicians' Collective, have been more vocal.
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