September 1, 2009
With â€œBEASTSâ€, the newest movement recently posted, Iâ€™ve been musing on a particular side-note to this summer â€˜experimentâ€™ . http://www.youtube.com/watch?v=Nr6XFT6z1Fo
We started the series because I was annoyed to see some recordings/performances of selected pieces of mine get co-opted for YouTube presentations I considered to be lame, or — in one case â€“ a copyright infringement as regards the art work.
Because I cannot endorse composing originally for a royalty-free medium, my projectâ€™s premise is to use only single movements from larger works, and only music from already-issued LP/CDs, with consent obtained ahead of time from the conductors and publishers.
The response from many (around the world) has been to correspond privately with me about the music â€“ music which they are first encountering via the videos, years after the recordings were issued: Source recordings for these videos appeared first in 1979, 1995, 1998, and 2007. And three of the four movements have been available on the Internet — for free — for at least 2 years
We consider the series is successful on its own terms â€“ for example, Texas Public Radioâ€™s Classical Blog has linked to two of the movements . This suggests the timeliness for a discussion now on the reach, and clout, of this type of communications channel.
Composers should look to develop professional guidelines for projects like these that can serve as targeted conduits to a different, broader audience.