Iron Tongue of Midnight
Iron Tongue of Midnight is a English-speaking blog specialized in the field of classical music and opera. As such, Iron Tongue of Midnight is a qualified source of soclassiq, like La Scena Musicale or NY Times and many others. The oldest article indexed by soclassiq is dated 2012-01-01. Since then, a total of 2761 articles have been written and published by Iron Tongue of Midnight.
Iron Tongue of Midnight blog activity
With 67 articles published in the last 90 days, Iron Tongue of Midnight is currently a quite active news source. "Quite active" does not mean that Iron Tongue of Midnight is less interesting than another more prolific source or more interesting than a less dynamic source. Each blog follows a specific editorial line, publishing according to its own rhythm.
This editorial activity is increasing compared to the previous period.
The last article in Iron Tongue of Midnight, "Palm Beach Symphony 47th Season", is dated 2020-12-03. By 2019, this source had published 244 articles (281 since the beginning of 2020). Over the past 12 months, Iron Tongue of Midnight has published an average of 25 articles per month.
Iron Tongue of Midnight in the last 36 months
Iron Tongue of Midnight has been selected by soclassiq to be among its qualified sources because we believe that its articles fully contribute to the knowledge of classical music and opera. Because it is up to everyone to make their own opinion, to love Iron Tongue of Midnight or to prefer other writings, all our visitors and members are invited to discover Iron Tongue of Midnight. If you like it, feel free to add it to your browser bookmarks or soclassiq bookmarks (for its members, with the button below). This will allow you to come back to it easily and regularly.
The latest articles from Iron Tongue of Midnight
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I've got an optimistic announcement from the Palm Beach Symphony about their anticipated "triumphant return to performing." They will have a televised holiday program, followed by this: The four Masterworks Series concerts are currently scheduled to be performed at the Kravis Center for the Performing Arts in accordance with health and safety guidelines following CDC recommendations and guidance from local and state officials. At this time, it is anticipated that the first Masterwork concert in January will be livestreamed without an audience in the hall. The Symphony hopes to perform the remainder of the season as a mix of livestream and select seating. The press release has the level of boosterism you would expect about the orchestra and its music director/conductor Gerard Schwarz. Weirdly, despite the programming, the press release omits what I would consider his most important activity as a conductor: his ongoing commitment to performing and recording […]
The latest in The NY Times's series of "Five Minutes That Will Make You Fall in Love with [something]" arrived today, and it's dedicated to the obvious big boy of the year, Ludwig van Beethoven. As I remarked the other day on social media, I love most of his music; I just don't need him taking up 10% or more of concert time year after year after year. Also, if you want a fully-rounded view of his music, you need to take a look at the works without opus numbers: the large-scale (read: important) works have opus numbers, but there's a long list of pieces that didn't receive one; in fact, it's longer than the works with opus numbers. They are separately catalogued and include dance music for various combinations of instruments, miscellaneous pieces for combinations like mandolin and harpsichord, songs, folk song settings, random piano music, etc. You can see […]
Well, not exactly: Anthony Tommasini has an article in the Times called "Why Do Pianists Know So Little About Pianos?" The URL for the article might be somewhat revealing: ici Of course, it's not just about piano tuning; it's about the variability of pianos and the mechanical complexity of the instrument. I would have amplified this: Not only can violinists, clarinetists, harpists or flutists tune their instruments, and even bend pitches in performance, they also, by and large, know much more about how their instruments work. If I were writing this article, I would explain how you tune different instruments. On violins (and other orchestral bowed string instruments), you turn the tuning pegs that that are at one end of the instrument, at the top of the neck. On wind instruments, including the flute, you can generally make small adjustments to how the head joint connects […]
Fuck the Supreme Court's 5-4 decision to define religious freedom as permitting large gatherings during a pandemic; that is, it's fine that your right to freely practice your religion might spread a disease that can kill you or severely damage your health. There are literally centuries of history of the government taking action to protect people during epidemics and pandemics. It's nothing new and people haven't been getting away with these garbage arguments about religious freedom. I'd say that there is something wrong with clergy who think it's more important to have large gatherings than to protect their congregations from COVID-19. If there's a god, or if there are gods, I doubt that he, she, or they want their followers to die from the act of worship. If you think that your god only hears your prayers if you say them in a room with many people.....I must ask, why […]
Lincoln Center Fountain Photo by Lisa Hirsch You might have heard the sentiment in the title from me before. This time, the reason for the table-pounding and eye-rolling is pretty simple: the Met, which furloughed about a thousand people in March, including the orchestra and chorus, and hasn't paid them since, is now looking for substantial pay cuts from those employees, in exchange for paying them "up to $1,500 a week." In other words, they're trying to break the unions. And today the organization had the goddamn nerve to send this: In this most unusual of holiday seasons, we are reminded of the importance of family, togetherness, and the arts, all of which have been so terribly disrupted this year. As a special Thanksgiving greeting, we would like to share with you the below video featuring students from across the country, assembled virtually by the […]
Something I posted on Twitter the other day: For the record, I am not moving my blog to Substack; I am not starting a newsletter on any platform; I am not going to charge you to read anything I write. (Note: this doesn't apply to, say, a magazine that you need to buy to read an article or review of mine.) As I noted later, if you're going to charge people to read your newsletter, in my view, you are committing to writing good-quality newsletters on some kind of regular basis. Maybe it's weekly, maybe twice a month, maybe, if you're wildly prolific, daily. (I am acquainted with a now-former columnist who wrote 800 words five days a week for his column for more than 30 years. It's possible to do this, but it's very, very difficult.) I had a couple of years when I wrote a post more […]
Well, it's around six weeks to January, meaning that season announcement season is almost upon us. Santa Fe Opera, which usually announces its year+1 season during maybe May or June of year got the word about 2021 out in October this year. Generally a couple of smaller organizations announce toward the end of the calendar year, with Seattle Opera and San Francisco Opera coming sometime in January for the year-year+1 season. I'm certainly curious about whether the announcements will be at the usual times, what they will look like, and how much hedging there will be. If I were San Francisco Opera, I'd hold that announcement as long as I could, based on existing contracts with singers and arrangements with other companies, say, to rent sets belonging to other organizations. I'd also hedge like crazy about contingencies, such as the availability of vaccines, medical advice. Nobody knows now and few […]