Monthly Archives: August 2017

Launch of the Dover edition

This month (August 2017) the 2nd edition of ‘The Classical Tradition’ will be launched by Dover NY.

For the American market:

www.amazon.com/Classical-Revolution-John-Borstlap/dp/0486814483

For the British market:

www.amazon.co.uk/Classical-Revolution-John-Borstlap/dp/0486814483

And for the German-speaking lands:

www.amazon.de/Classical-Revolution-John-Borstlap/dp/0486814483

Revised and extened edition, with quite a lot of new composers at the back – and never enough – and at a very reasonable price.

Contemporary music risks

There hangs around classical music, and especially around its subspecies: contemporary music, an atmosphere of initiation: the listener has to know something about it to experience it to the full. Therefore people with knowledge of classical music, and especially contemporary music, are often considered ‘special’ or / and ‘elitist’, invoking feelings of inferiority with people who never go to classical music concerts, let alone new music concerts, but who do go to the new films, know about the new fiction that is reviewed in their newspaper and occasionally visit the museums of modern art. In contrast with contemporary visual art, of which we only see in the big museums the concept art variety and not the contemporary figurative painting, contemporary art music operates in the margins of the margins of the central performance culture. Its audiences are remarkably small when compared to the visitors of concept art exhibitions. Also, the money which is going around in the ‘contemporary art market’ is astonishing, and devastatingly different from the money which is spent on contemporary music – with the exception of the Netherlands where millions of euros are spent by the government on concept music which has practically no audience at all.

Museums of modern art draw thousands of visitors, in spite of the mostly unbearable nonsense on show there. Why this abyssmal difference?