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...insistence on holding them to a contract the Benedictines had signed 30 years ago with Hispavox Records, which EMI later bought out. That agreement entitled them to only a flat $1,500 per record, though a small royalty was added later. "The monks say they were paid legally," says musicologist Alejandro Masso, who produced their new album, "but they also say they could have been paid more elegantly." "Ridiculous," responds EMI executive Steve Murphy. He asserts that the monks have received "substantial" royalties in excess of $40,000, adding that Buruaga is not privy to details of the contract. "That...

Author: /time Magazine | Title: MUSIC: LEAVING LITTLE TO CHANTS | 5/22/1995 | See Source »

Solomon, a musicologist who wrote a splendid biography of Beethoven in 1977, relates these and a host of other incidents smoothly and seamlessly, providing us with just enough of the details of court protocol, carriage rides and commissions that make the late 18th century so exotic. Mozart and the members of his circle come vividly alive-not only his father and remote, tragic mother, but also Constanze, his flighty, second-choice wife who turned professional widow (and mythmaker) after his death; and his cousin Basle, with whom he not only exchanged famously scatological letters but also, Solomon suggests, enjoyed active...

Author: /time Magazine | Title: MYTH OF THE DIVINE CHILD | 3/6/1995 | See Source »

...Upshaw is driven, she doesn't show it. She lives with her husband Michael, a musicologist, and their two children (she gave birth to a boy this summer) in a comfortable house near New York City. Sitting in her living room she might be any suburban woman discussing what it's like to keep everything in balance. "I know I should be giving more thought to shaping my career," she says. "But every morning still feels like a fresh start. My four-year-old daughter Sadie has the same spirit. The first thing she says when she gets...

Author: /time Magazine | Title: Dawn Upshaw: The Diva Next Door | 9/5/1994 | See Source »

...task that confronted Wodehouse was to replicate as closely as possible the sound of Gershwin's own playing. "I spent thousands of hours listening to Gershwin's recordings," says Wodehouse, a Stanford-trained pianist and musicologist who got a grant from the National Endowment for the Humanities in 1989 to work on the project. Using a rare 1911 88-note Pianola, in conjunction with a new Yamaha Disklavier, a kind of super-player piano that converts a performance into computer information, she was able to realize the earlier rolls. Wodehouse personally operated the Pianola and painstakingly fiddled with the rolls...

Author: /time Magazine | Title: Gershwin, By George | 1/31/1994 | See Source »

Hogwood traces his interest in "historically informed" performance to his early activities and studies, and, above all, the influence of Cambridge musicologist Thurston Dart: "When I was at school and heard Thurston Dart talking on the radio, I really thought his stories of the detections of flaws and fakes and historical and musicological chain of investigation as he put it over was as exciting as an Agatha Christie, that all the more because I find Agatha Christie boring. So this was my sort of detective story...

Author: By John D. Shepherd, | Title: Deconstructing and Discovering Classical Music Through Historically Informed Performance: | 4/16/1992 | See Source »

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