<?xml version='1.0' encoding='windows-1252'?><feed xmlns='http://www.w3.org/2005/Atom' xmlns:openSearch='http://a9.com/-/spec/opensearchrss/1.0/'><id>tag:blogger.com,1999:blog-10950183</id><updated>2007-06-07T08:47:19.988-07:00</updated><title type='text'>Christina Fong</title><link rel='alternate' type='text/html' href='http://www.sequenza21.com/fong.html'></link><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/10950183/posts/default'></link><link rel='http://schemas.google.com/g/2005#feed' type='application/atom+xml' href='http://www.sequenza21.com/rss4.xml'></link><author><name>Jerry Bowles</name></author><generator version='7.00' uri='http://www.blogger.com'>Blogger</generator><openSearch:totalResults>14</openSearch:totalResults><openSearch:startIndex>1</openSearch:startIndex><openSearch:itemsPerPage>25</openSearch:itemsPerPage><entry><id>tag:blogger.com,1999:blog-10950183.post-1317826300943194586</id><published>2007-06-07T07:41:00.000-07:00</published><updated>2007-06-07T08:47:20.022-07:00</updated><title type='text'>MOZART IN THE JUNGLE</title><summary type='text'>I just finished reading Blair Tindall's book "Mozart in the Jungle: Sex, Drugs, and Classical Music." I remember when this "tell all" book came out the classical music world was abuzz. Everyday for months, it seemed, the orchestra-based internet lists were filled with comments about this book.

Most of the criticism surrounding Tindall's book seems to circulate around her revelations of sexual </summary><link rel='alternate' type='text/html' href='http://www.sequenza21.com/2007/06/mozart-in-jungle.html'></link><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/10950183/posts/default/1317826300943194586'></link><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/10950183/posts/default/1317826300943194586'></link><author><name>fong21</name></author></entry><entry><id>tag:blogger.com,1999:blog-10950183.post-3048888740379990863</id><published>2007-05-16T19:41:00.000-07:00</published><updated>2007-05-16T19:59:21.574-07:00</updated><title type='text'>MINIMAL LIKENESS</title><summary type='text'>
 

Some music works better live. Some music works better on recording.

Though nothing is ever completely tangible in terms of what is "better," I do have strong feelings and opinions about this. I am in no way suggesting certain types of music only be performed live while others only be recorded, for I believe recordings and performances are, in a strange way, mutually dependent on each other.
</summary><link rel='alternate' type='text/html' href='http://www.sequenza21.com/2007/05/minimal-likeness.html'></link><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/10950183/posts/default/3048888740379990863'></link><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/10950183/posts/default/3048888740379990863'></link><author><name>fong21</name></author></entry><entry><id>tag:blogger.com,1999:blog-10950183.post-116966901506774938</id><published>2007-01-24T11:48:00.000-08:00</published><updated>2007-01-24T12:14:05.756-08:00</updated><title type='text'>ARNOLD SCHOENBERG</title><summary type='text'>I have really been delinquent about my blog entries. There is really no good explanation as to why, other than I have nothing really interesting to say about music.

I recently completed post-production on a recording of 22 yet-to-be-recorded (until now) string works by Arnold Schoenberg and am currently working on 3 Alan Hovhaness concertos. The Schoenberg project is currently in duplication. I </summary><link rel='alternate' type='text/html' href='http://www.sequenza21.com/2007/01/arnold-schoenberg.html'></link><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/10950183/posts/default/116966901506774938'></link><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/10950183/posts/default/116966901506774938'></link><author><name>Christina Fong</name></author></entry><entry><id>tag:blogger.com,1999:blog-10950183.post-115815327202587224</id><published>2006-09-13T05:58:00.000-07:00</published><updated>2006-09-15T13:29:46.376-07:00</updated><title type='text'>GENIUS</title><summary type='text'>About 2 weeks ago I took a mini road trip: eight hours alone on the open road. Normally, I listen to NPR while driving alone because talk radio seems to keep me more alert than music. That day I decided to listen to Chopin. Even though part of my CD collection, Chopin is not normally something I gravitate towards. My taste and work lies closer to more current music. In this case, a few nights </summary><link rel='alternate' type='text/html' href='http://www.sequenza21.com/2006/09/genius.html'></link><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/10950183/posts/default/115815327202587224'></link><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/10950183/posts/default/115815327202587224'></link><author><name>Christina Fong</name></author></entry><entry><id>tag:blogger.com,1999:blog-10950183.post-115118319525011008</id><published>2006-06-24T14:03:00.000-07:00</published><updated>2006-06-25T10:35:17.480-07:00</updated><title type='text'>WORKING WITHIN THE SYSTEM</title><summary type='text'>Last month I had a contrary experience. I participated in everything I've blogged about, and against ... orchestras, new music, NPR, Clear Channel, pops concerts, stars and live performances ...

What did I do? I "appeared" (you know, Itzhak Perlman, Gidon Kremer, Vanessa Mae ... those types) with the Grand Rapids Symphony Orchestra (GRSO), on a pops concert! I took part in 3 live performances of</summary><link rel='alternate' type='text/html' href='http://www.sequenza21.com/2006/06/working-within-system.html'></link><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/10950183/posts/default/115118319525011008'></link><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/10950183/posts/default/115118319525011008'></link><author><name>Christina Fong</name></author></entry><entry><id>tag:blogger.com,1999:blog-10950183.post-114376107618117851</id><published>2006-03-30T15:22:00.000-08:00</published><updated>2006-03-31T09:16:07.523-08:00</updated><title type='text'>LOUISVILLE</title><summary type='text'>
The Louisville Orchestra is in a financial crisis. The board's solution was to convert some positions to part time and if the musicians did not agree then bankruptcy would be invoked (March 8th Courier-Journal).

With corporate culture overtaking arts organizations in America it is no surprise the board proposed downsizing as the only possible solution. After a highly contentious and public </summary><link rel='alternate' type='text/html' href='http://www.sequenza21.com/2006/03/louisville.html'></link><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/10950183/posts/default/114376107618117851'></link><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/10950183/posts/default/114376107618117851'></link><author><name>Christina Fong</name></author></entry><entry><id>tag:blogger.com,1999:blog-10950183.post-113873255745445002</id><published>2006-01-31T10:28:00.000-08:00</published><updated>2006-01-31T17:56:34.766-08:00</updated><title type='text'>NPR CLEAR CHANNEL</title><summary type='text'>










I am a big fan of NPR talk shows. Every time I get in the car I turn   
on the radio and head straight to Michigan Public Radio. I was also   
thrilled when they decided to start airing BBC World Service. In pre- 
internet days I was one of those geeks who had a shortwave radio,   
mainly for the purpose of listening to the BBC. I also enjoy other   
NPR-syndicated programs such as "</summary><link rel='alternate' type='text/html' href='http://www.sequenza21.com/2006/01/npr-clear-channel_31.html'></link><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/10950183/posts/default/113873255745445002'></link><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/10950183/posts/default/113873255745445002'></link><author><name>Christina Fong</name></author></entry><entry><id>tag:blogger.com,1999:blog-10950183.post-111508789608992913</id><published>2005-05-02T19:29:00.000-07:00</published><updated>2006-01-03T17:56:29.940-08:00</updated><title type='text'>THE SCHIAVO SYNDROME AND THE USA ORCHESTRA CIRCUS</title><summary type='text'>
Several weeks ago, a small but vocal minority of right wing radicals in the "pro-life" movement bullied their way into getting constant press coverage which led to our government holding an "emergency session" for Terry Schiavo. In the name of "life" they rallied around a shell of a human -- a brain-dead vegetable. This same group ignored and in some cases condoned the deaths of tens of </summary><link rel='alternate' type='text/html' href='http://www.sequenza21.com/2005/05/schiavo-syndrome-and-usa-orchestra.html'></link><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/10950183/posts/default/111508789608992913'></link><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/10950183/posts/default/111508789608992913'></link><author><name>Christina Fong</name></author></entry><entry><id>tag:blogger.com,1999:blog-10950183.post-111897960476921409</id><published>2005-06-16T20:30:00.000-07:00</published><updated>2006-01-03T17:46:18.496-08:00</updated><title type='text'>VULTURE MUSICIANS AND THE CORPORATE TAKEOVER OF ORCHESTRAS</title><summary type='text'>
Two years ago, the Florida Philharmonic Orchestra (FPO) filed for bankruptcy and ceased operations, leaving 80 full-time musicians unemployed. The FPO had served Dade, Broward and Palm Beach counties; a population of over 5 million. South Florida now has the dubious distinction of being the largest major metropolitan area in the US without a professional symphony orchestra. To dismiss the demise</summary><link rel='alternate' type='text/html' href='http://www.sequenza21.com/2005/06/vulture-musicians-and-corporate.html'></link><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/10950183/posts/default/111897960476921409'></link><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/10950183/posts/default/111897960476921409'></link><author><name>Christina Fong</name></author></entry><entry><id>tag:blogger.com,1999:blog-10950183.post-113617784621481733</id><published>2006-01-01T20:55:00.000-08:00</published><updated>2006-01-03T17:24:56.333-08:00</updated><title type='text'>FELDMAN, DECEMBER AND MORE VULTURES</title><summary type='text'>
I admit I've been a slug blogging recently. First reason; I have been in the final stages of post production on my new release, Morton Feldman: Complete Violin|Viola and Piano Works. It is due out on January 12th 2006 (Feldman's 80th Birthday). I find Morton Feldman to be a lot like Anton Bruckner: all-consuming on every level; spiritual, emotional, cerebral, technical and mechanical. Needless </summary><link rel='alternate' type='text/html' href='http://www.sequenza21.com/2006/01/feldman-december-and-more-vultures.html'></link><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/10950183/posts/default/113617784621481733'></link><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/10950183/posts/default/113617784621481733'></link><author><name>Christina Fong</name></author></entry><entry><id>tag:blogger.com,1999:blog-10950183.post-111015819566012764</id><published>2005-03-06T21:01:00.000-08:00</published><updated>2005-11-15T11:47:20.306-08:00</updated><title type='text'>RIP VAN ORCHESTRA</title><summary type='text'>
Back when I was in music school in the mid 80s, there was a myth that audiences hated new music. Although history and CD sales prove this to be completely false, people in academia still push this agenda and many in the orchestra world still believe it. Many orchestra managements and music directors (the people responsible for most of the programming) are also perpetrators of this academic </summary><link rel='alternate' type='text/html' href='http://www.sequenza21.com/2005/03/rip-van-orchestra.html'></link><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/10950183/posts/default/111015819566012764'></link><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/10950183/posts/default/111015819566012764'></link><author><name>Christina Fong</name></author></entry><entry><id>tag:blogger.com,1999:blog-10950183.post-113113212601826256</id><published>2005-11-04T11:17:00.000-08:00</published><updated>2005-11-05T11:41:48.440-08:00</updated><title type='text'>ALSOP: DEPTH OR SEX?</title><summary type='text'>
Anyone who keeps up with orchestra news has no doubt heard about the controversy surrounding the appointment of Marin Alsop as music director to the Baltimore Symphony Orchestra (BSO). Alsop was appointed by the board, against the will of approximately 90% of the musicians. The reason most often reported was that many musicians felt Ms. Alsop showed a lack of musical depth in her interpretation </summary><link rel='alternate' type='text/html' href='http://www.sequenza21.com/2005/11/alsop-depth-or-sex.html'></link><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/10950183/posts/default/113113212601826256'></link><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/10950183/posts/default/113113212601826256'></link><author><name>Christina Fong</name></author></entry><entry><id>tag:blogger.com,1999:blog-10950183.post-112662400335233421</id><published>2005-09-13T08:01:00.000-07:00</published><updated>2005-09-13T08:41:36.693-07:00</updated><title type='text'>ON GLENN GOULD AND THE DEATH OF PERFORMANCE</title><summary type='text'>

I've been asked many times why I don't do more live performances. In the early 90s, I performed a lot of solo concerts. Now, almost none. 

About 15 years ago, the art world, arts organizations and the media, were much different than today. Smaller, more cutting edge arts organizations were often shabby, but functional venues. They were staffed by one person with a small office and often had a </summary><link rel='alternate' type='text/html' href='http://www.sequenza21.com/2005/09/on-glenn-gould-and-death-of.html'></link><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/10950183/posts/default/112662400335233421'></link><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/10950183/posts/default/112662400335233421'></link><author><name>Christina Fong</name></author></entry><entry><id>tag:blogger.com,1999:blog-10950183.post-111057134838589751</id><published>2005-03-11T12:01:00.000-08:00</published><updated>2005-03-23T06:21:56.513-08:00</updated><title type='text'>RIP VAN ORCHESTRA (Part II)</title><summary type='text'>(posted in response to Greg Stepanich's reply to RIP VAN ORCHESTRA)

The music I have chosen to record and perform is music I think has artistic value. Whether it is popular or not is of no concern to me. The music I was referring to in RIP VAN ORCHESTRA is music that is both new and popular, but still neglected by North American orchestras. This includes music of Philip Glass, Michael Nyman, </summary><link rel='alternate' type='text/html' href='http://www.sequenza21.com/2005/03/rip-van-orchestra-part-ii.html'></link><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/10950183/posts/default/111057134838589751'></link><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/10950183/posts/default/111057134838589751'></link><author><name>Christina Fong</name></author></entry></feed>