Norman Pellegrini, long-time program director for WFMT radio, passed away early this morning.

Norm helped to launch the Chicago Chamber Musicians at the inception of the organization in the mid-1980s, recognizing immediately the quality of the founding artists, their unique vision and the potential for such an organization in Chicago.  He started by putting the artists on the air at WFMT on a monthly basis, and his fierce intelligence and keen passion were fodder for the seminal discussions and work that helped to build CCM in the early years.  Since that time, he has been an Honorary Director for CCM. 

Today's review is from Chicago Tribune writer, Michael Cameron.

Given the sterling reputation he’s earned in music education circles, it’s no wonder Midwest Young Artist’s director Allan Dennis occasionally submits evidence of the value of his program and methodology through the accomplishments of former students.  Saturday night at Pick-Staiger Concert Hall he presented exhibit A: his daughter and violist extraordinaire, Carrie Dennis.

After the performing musicians, the next most important person in a performance is...the pianist's page turner!  Who knew?!  Do you even notice the page turner at a concert?  (You shouldn't notice the good ones.)  Yet, the page turner is critical to a successful performance.  Practically every musician has page turner stories.  It most definitely takes a certain personality...see Tuesday's Wall Street Journal piece:  http://online.wsj.com/article/SB123905872759294777.html
 
For a different kind of page-turner drama, check out "La Tourneuse de Pages," http://movies.nytimes.com/movie/350358/The-Page-Turner/overview, which shows what a killer of a job page turning can be.
 

Depending on where you live it has probably happened to just about every one of us, I know for me it is almost a daily occurrence living in the city. Maybe you’ve had a quiet afternoon walk or a private conversation (in your home nonetheless!) interrupted by loud music blaring from inside a passing car, that unmistakable thump thump of a sub-woofer in a trunk, just rattling to get out.

In an article put out by the AP, Andrew Vactor was cited by police for playing his rap music too loud and was given the opportunity to reduce his $150 fine down to just $35 if he spent 20 hours listening to classical music. The article mentioned greats such as Bach, Chopin, and Beethoven as Vactor’s “hard time.” He lasted only 15 minutes before having to scoot off to practice for his University’s basketball team. Vactor claimed it wasn’t the music just the time conflict. Perhaps this unconventional punishment could have future success… barring any extra-curricular activities of course.

I remember a long discussion I had in college about the creation of the album cover for The Beatles’ 1967 release Sgt. Pepper’s Lonely Hearts Club Band. It was a seemingly endless list of pop-culture inclusions and references to their evolving careers created by cardboard cut outs and props. At the time and even today it is a shining example of unique album-cover artistry. I began to think about album cover artwork in general and about what others think on its offering to the “music experience” as a whole. Does it lend to the excitement of opening up a new album by seeing the cover and hearing the music for the first time, or is it a distraction?

A couple images came to mind in the classical genre: the striking image of a woman in a yellow dress standing in an ornately hand drawn room on the cover Anne-Sophie Mutter’s Mozart: The Violin Sonatas, or the mural-esque angel of Piers Lane’s Scriabin: The Complete Etudes. Classical music has never been known for its unique and artistic album covers, yet genres such as rock ’n’ roll and hip-hop sometimes go over the top and find themselves facing censorship and taking artistic expression to the level of risqué. Do you think album artwork is or should be considered a part of the overall “music experience?” And why do you think its emphasis varies between genres?