Gustav takes you through a very recent story relating the challenges of distributing his music for streaming services.

Currently, there is a struggle with genre: What is ‘Classical Music’?

When a composer uploads music into the world of streaming, it is quite confusing where the composer fits in this process. 

• How does the process of uploading music for a classical music composer differ from Folk and popular music?

As you will hear, some classical music has words, some do not. Some is more focused on the harmonies rather than the rhythms. Is this why it is challenging? Maybe "classical music" is too broad a category.

• Snippets:

• Mars, the Bringer of War from Holst’s The Planets

Can a classical composer make money on their music with streaming?  Or are live shows the only way for a composer to make a living? 

• To make minimum wage selling albums:

• 1.65 albums/hr : 3300 album sales

• amazon 1172 / hr : 2.3M streams to make minimum wage for a year

If you would like to share your thoughts about this episode, please email Gustav at [email protected]

Gustav is streaming on:

Spotify

Apple

CD Baby (for purchase)

Google Play (for purchase)

Let's go on a special treasure hunt together through The Gilded Age!  We'll zoom in on some favorite moments from the album, but it's up to you to match the "buried treasure" with the right track. 

The first person to match the buried treasure with the nine tracks wins a free download of the Gilded Age.  Good luck!

To play:

1. Visit The Gilded Age album page & scroll down to the Buried Treasure Contest.

2. Listen to this Podcast episode, "Buried Treasure" & compare with the full tracks on the album: Spotify

3. Match the buried treasure with each of the nine tracks.

4. Be the first to submit the correct answers and win a free download of the album!

Buried treasure clues from the episode:

1. 3:29 Musical Oddments 

Links for this episode: 

• The Gilded Age Album + Buried Treasure Contest

Pianist Benjamin Harding stops by the Anachronism Podcast to share his experiences of talking with his audiences. He shares with us what audiences really want during a classical music concert and how we can educate people about the music. The answers for tearing down the barriers are more simple than we think. In the end, it may be about educating ourselves as classical musicians to be more human with our audiences. 

Links for this episode:

• https://www.benjaminhardingmusic.com/

Composer to composer: relating the love of classical music through composition.

Another fabulous composer to composer conversation about the tools of their craft. How do the personalities of the instruments feature in a composition? For a tuba concerto, are there different challenges than writing for a violin? A bigger conversation about how classical music differs from other genres unfolds, and ultimately answers the ongoing questions: why classical music and how can we get more people listening and enjoying? 

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Elena's Website 

Today's episode features two of my works and explores the vocal, linguistic roots of lyricism in music.  You will participate in a guided listening on my piece Snowfall on a Midwinters Eve, which is the third movement of my 1st string serenade: Vignettes from an American Life. It opens with two string techniques: pizzicato and col legno.

This is from the recording From Darkness Into Light

On Amazon:

https://www.amazon.com/Darkness-Into-Light-Gustav-Hoyer/dp/B0015EJX44

On Spotify:

https://open.spotify.com/album/1LnCsVAKzoGhYbNPRfTeBj

On YouTube:

https://www.youtube.com/watch?v=tRR5vj0tnQY

The second piece is from the incidental music for the stage play: Acts, the 3-Man Show.

It is a choral work for the text Miserere which is a Latin translation of Psalm 51.  This performance is by the Grace Community Church Choir conducted by William Brandenstein. 

On YouTube:

https://www.youtube.com/watch?v=NUrx5aJSSRQ 

Grab a cup of coffee or tea and actively listen with me. 

We welcome Scott Harrison, an arts administrator hailed as a leader with "imagination and ambition" by the LA Times for his tenure as executive director of Los Angeles Chamber Orchestra. Scott has many adventures to tell through his considerable experience in the classical music world. 

After getting to know Scott Harrison, several contemplative topics were discussed.

Do musical instruments have personalities? What leads someone to become an arts administrator? How can we break the barrier of that worrisome wall between the audience and the musicians? And, why are we still calling it “classical” music?

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Can a piece of music be pictorial? If you have not experienced programmatic music, this episode will open your ears to a new experience.

Today, Gustav takes you through his piece The Charge of the Light Brigade, inspired by the poem of the same name by Alfred Lord Tennyson.

We will listen to this piece in fragments to dissect the journey, and then we will hear the piece in totality. In the end, you can decide if the musical gestures alone give you the full story.

___

About Tennyson's poem:

https://en.wikipedia.org/wiki/The_Charge_of_the_Light_Brigade_(poem)

The historical account and photos

https://en.wikipedia.org/wiki/Charge_of_the_Light_Brigade

YouTube of the piece with text and photos:

https://www.youtube.com/watch?v=e-1uYWo2ZJ4

About the 1812 overture:

https://en.wikipedia.org/wiki/1812_Overture

Why is classical music worth nurturing today? Why does it matter? How does one connect this music with a diverse audience? What's more valuable...recorded or live music?

Amanda Cook, editor-in-chief of I CARE IF YOU LISTEN, joins Gustav to answer these questions.  A spirited discussion continues throughout and they discuss several topics related to contemporary Classical music, from the experience of attending a first concert to the political engagement of the arts and how the music can frame causes relevant to modern life. Amanda also shares her specific path to becoming a classical music fan, which includes  “getting her face blown off” by Mahler’s 1st symphony.  

Bonus: A mini history lesson on Contemporary Classical Music!

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Amanda's website:

Amanda Cook on Twitter:

I Care if You Listen:

Join Gustav as he walks you through Rush, the 2nd movement of Jeffrey Nytch's wonderful Symphony No. 1 (Formations). With an attention to detail that only another composer could offer, you will learn what a symphony is, all about the layers of colors of the music which are created by the different instruments, and how the storyline is created through the character of each sound clip. In the end, the entire movement is presented to hear all the pieces of Rush come together for your enjoyment.

Here's a short video Jeff prepared to discuss this work: 

Composer Jeffrey Nytch stops by the Anachronism Podcast. What unfolds is a conversation among two trail blazing composers discussing the humanity of classical music. How can we make the music relatable to today's listeners?  Would telling stories help connect people to the music? What new production concepts will invite people to participate again and become insiders of classical music? Examples of creative projects to highlight the importance of the audiences' role in classical music are included.

• Costa Concordia