|Jason Weinberger (Photo credit: wcfsymphony)|
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In this episode:
We talk with creative commons conductor Jason Weinberger.
Here are Doug's notes from the interview.
https://www.flickr.com/photos/jasonweinberger (pictures under CC too!)
The first of a November of firsts!
Tell us about your work and tell us what’s new!
occasionally other stuff
As an ensemble they release
in the midst of changing things
Tom asks a lot of questions!
Luckily, Jason has answers
before 60-70 people get on board, you have to deal with publishers
If there’s a CBA, it can be even tougher
Administration and musicians
How are things changing?
not a 52-week orchestra...perform a few times a month
gets complex because classical music “doesn’t sell”
studio orchestras are a different deal
WCF Symphony’s primary activity is performing...recording is secondary
Rubin and Ed!
it’s a bizarre film...a comedy
Public Domain and CC?
most symphonies are essentially large cover bands!
trying to move in the direction of getting stuff out there...if it’s PD
trying to do it with as much as possible
What about when you have guest performers?
How do you convince a full band or band financial director to license under CC?
Jason is starting to get “oldish”
younger people have a different sense about an audience
there’s a recognition that people experience music differently
classical music is all about changes
classical music has been remixing itself for 400 years
each conductor does things differently
the recorded orchestras
How does the symphony pick your set list?
Do you need the conductor? ...the conducting is actually a small part
player experience is important
timelines: music might need to be marked
Bugs Bunny orchestra
Ever do experimental stuff?
John Zorn is great example. Pioneering spirit in ensemble music scene.
You can get Zorn in a symphony, but there are technical challenges.
a big responsibility for the future of symphonies
you might freak out the squares!
jazz and classical musicians sometimes like what they like
How much is geared regionally?
definitely try to find local connections.
should be local, organic thing wherever you are
one of the goals is to be a positive force for Iowa
Do the publishers give a license for the marking?
sometimes things were edited badly
Beethoven's symphonies were notoriously bad
West Side story example
often composers don’t want the first performances recorded
sometimes you have to rework things, but it happens less and less as versions get betters
never play Mahler the way as Bach, because of the history
Have you ever thought of doing stuff live on the Internet?
Stream now on occasion
Will be broadcast live on Iowa Public Radio
What drew you to Creative Commons?
cool services like vimeo and SoundCloud
So, what’s the deal with Tumblr?
170k followers...that’s a lot!
He was promoted by Tumblr
Tumblr has historically been pro-creator
Tumblr was and still is he thinks a good place for creatives
many young and international people following on Tumblr
INSANE symbol crash from Mahler
plot of Amadeus!
Who are some people you think we should try to get on the show (aka, who are the important people in Creative Commons music today)?
Radio Host at Public Media in Louisville: Daniel Gilliam...a composer
Conor Hanick from Iowa
Matt the Cellist was on NPR
Is there anything else you would like to say/tell us about?
Right now is a remarkable time.
More access to music than ever (Doug thinks this statement is pretty safe, despite Jason’s slight hedging)
CC is sometimes about exposure
mainstay still there...people still coming to shows.