Dudamel backs Latinx music on Apple
UncategorizedAn Apple Classical release titled Fandango is to be the first in a Latin American series from the LA Phil, featuring composers that Dudamel has championed.
The first release today on the Platoon wing of Apple features Alberto Ginastera’s Estancia and Arturo Márquez’s new violin concerto Fandango, with violinist Anne Akiko Meyers.
This could be a paradigm shift in how new music is released.
There are already eight or nine recording of Estancia currently available – what’s the point of another?
And why is this a ‘paradigm sift’? Explain please, dear Norman.
There are hundreds of recordings of **Beethoven’s Fifth**? What’s the point of another? [replace “Beethoven’s Fifth” with any other more than mildly popular classical piece of your choice]
I believe this is the complete Estancia ballet. 31:30
Not too many recordings of that.
Readily available on Amazon Music…
℗&© L.A.Philharmonic, no mention of Apple Classical.
Correct, and it’s in Ultra HD and Dolby Atmos too.
You should be aware that surveys of persons from Latin America found that the majority do not accept the term “Latinx”. Another example of progressive woke white people destroying the English language
I don’t know about the ‘woke’ aspect of this, but the Hispanic folks I know dislike the made-up word ‘Latinix’ because it is an attempt at ‘dissing’ their Spanish heritage.
LA Phil seems to be catching up to others.
Despite recently launching their own label and issuing physical discs, the Cleveland Orchestra appears to have pivoted to streaming- and download-only releases. The San Francisco Symphony Orchestra appears to have ceased issuing physical discs while releasing many new recordings on streaming. One last example: the Concertgebouw is only sporadically releasing recordings on disc while they’re constantly cranking out new content for streaming.
It’s hard to imagine that there are many more years of physical discs left.
And no where is the work “Latinx” used.
“Paradigm sift” is a fascinating concept.
Love it!
It’s about time Latin American composers and musicians received their long overdue recognition as seriously respected “classical artists.” Hopefully, there will be many more of these albums in the future pipeline!
Isn’t this a conceit that ultimate recognition lies int eh hands of Western, probably American/Anglo/Germanic (European) audiences and institutions? Do these composers not enjoy fame, fortune and “recognition” in their homelands? Is that not sufficient? Or is home recognition secondary to that of the Gringos?
Is any one culture obligated to embrace the products of all others? Is that what makes the supposed recognition here “long overdue”? How much recognition can one person keep on conferring? Am I guilty of something for not conferring, in the proper measure, “long overdue recognition” on these poor Latin American artists? If they write music that appeals to the North Americans and Europeans, do they risk being viewed of sell-outs back home? Would they be? Would I then be recognizing something inauthentic that has been crafted to my tastes? What would there be to recognize in that case? Perhaps I would be guilty of some neo-colonialsim….
I don’t think that’s what you intended to imply, but your comment is curious. Kind of like see those “underrated” comments in Youtube. Underrated by whom? Or, in this case, ignored and disrespected by whom?
That neo-logism that will probably have a longer lifespan than “groovy” but not much longer.