Early Music America Fall 2012 - (Page 17)

more for the serious, traditional listener. “We play everything from early Haydn symphonies all the way to complete Mahler and Bruckner symphonies,” says Glasford. Both channels also program what he calls “the 400 most recognizable classical pieces of all time,” because their familiarity can draw in those who might not be regular classical music listeners. Both channels play mostly instrumental music, because they are also used by commercial and business clients, who might ﬁnd vocal music too distracting. “So as much as I would love to play a complete Bach cantata cycle on Sunday mornings,” Glasford says, “for business reasons I probably wouldn’t be doing that.” As the music plays, a box on the television screen displays the name of the composition, the artists, and the composer. Light Classical also has short facts that pop up about the composer, the work, and the artists performing it. Music comes to Glasford’s attention in several ways. He is sent the new release books of most record labels and distributors, and also does a lot of digging at classical music sites on the Internet. Some large distributors, such as Naxos, send him promotional copies of everything he asks for. Other distributors, particularly those who handle imports, don’t send out promotional copies. He does have a budget, and can buy CDs he wants to add. The actual programming is done in two steps. The ﬁrst step is generated by computer, based on a program Glasford has been tweaking for the past decade. Then, “We go through all the music with a ﬁne-tooth comb and put it together in a very strategic way to keep it interesting to our audience and also to have the opportunity to introduce our audience to new composers—or new old composers,” he says. “In all of our channels we think of it in terms of curating our play list.” He continues, “Nobody is talking between works, so we try to schedule it so things are somewhat sonically compatible when they are adjacent to each other, because you don’t have anything to break it up. On the other hand, I like to contrast, too. For example, If I’ve had a 20th-century big gut-buster orchestral 2012.2013 | CONCERT SEASON | NYC VIOL & VOICE parthenia THE FLAMING FIRE Royal Music from the Tudor and Stuart Courts with Ryland Angel, countertenor AS IT FELL ON A HOLIE EVE Music for an Elizabethan Christmas with Julianne Baird, soprano Twelfth Night Festival at Trinity Wall Street SONGS FOR A PARISIAN SPRING Sacred and secular works for viols and voices from Renaissance France with Blue Heron Scott Metcalfe, director and violin The Five Boroughs Music Festival PARTHENIA CDs AVAILABLE at: msrcd.com parthenia.org amazon.com parthenia.org PARTHENIA is represented by GEMS Live! Artist Management and records for MSR Classics. OUT NOW: SM78 - de Visee: Two Suites arr. for tenor viol and b.c., Vol. 1 [vol. 2 coming soon] SM77- Morley: 9 Fantasias for 2 viols, arr for tenor and bass viols SM76 - Buxtehude: 5 Chorale Preludes, Email Patrice Connelly: patrice@saraband.com.au arr for TrTTB viols and there are LOTS more for quick service with a smile where they came from! www.saraband.com.au Early Music America Fall 2012 17 http://www.msrcd.com http://www.parthenia.org http://www.amazon.com http://www.parthenia.org http://www.saraband.com.au

Table of Contents for the Digital Edition of Early Music America Fall 2012

Editor’s Note
EMA Competition
Sound Bytes
Musings: Listening Forward
Profile: A Classical Playlist on Your Cable Television
Recording Reviews
Reconstructing Spanish Songs from the Time of Cervantes
Janet See: Traversist on Two Continents
Musical Mosaic Explores “Perspectives of Interspersing Peoples”
Book Reviews
Ad Index
In Conclusion: Conducting Early Music

Early Music America Fall 2012