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	<title>Musical America Blogs</title>
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		<title>Distinguished Artists Are Extraordinary Artists!</title>
		<link>http://www.musicalamerica.com/mablogs/?p=9185</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=9185#comments</comments>
		<pubDate>Wed, 16 Jan 2013 06:19:15 +0000</pubDate>
		<dc:creator>ggartslaw</dc:creator>
				<category><![CDATA[Artist Management]]></category>
		<category><![CDATA[Arts Management]]></category>
		<category><![CDATA[Law and Disorder: Performing Arts Division]]></category>
		<category><![CDATA[Touring]]></category>
		<category><![CDATA[Visas]]></category>
		<category><![CDATA[Brian Taylor]]></category>
		<category><![CDATA[Goldstein]]></category>
		<category><![CDATA[Tour]]></category>
		<category><![CDATA[uscis]]></category>
		<category><![CDATA[visa petition]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=9185</guid>
		<description><![CDATA[By Brian Taylor Goldstein, Esq. Hi Musical America, I am a Danish citizen and I plan to go to the Unites States on a promo tour in spring. I know that it is necessary to apply for an O-1B visa being a solo artist. I have a native US promoter who will petition for me. [...]]]></description>
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		<title>New Year&#8217;s Resolutions</title>
		<link>http://www.musicalamerica.com/mablogs/?p=9166</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=9166#comments</comments>
		<pubDate>Sat, 12 Jan 2013 21:11:36 +0000</pubDate>
		<dc:creator>Frankster</dc:creator>
				<category><![CDATA[An American in Paris]]></category>
		<category><![CDATA[Annette Dasch]]></category>
		<category><![CDATA[Jose Cura]]></category>
		<category><![CDATA[Marek Janowski]]></category>
		<category><![CDATA[mikko franck]]></category>
		<category><![CDATA[Paolo Arrivabeni]]></category>
		<category><![CDATA[Stephen Gould]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=9166</guid>
		<description><![CDATA[By:  Frank Cadenhead It was just the second day of the new year that good news arrived. A new scientific study indicates that being a few pounds overweight has little or no effect on your general health. That was Resolution No. 1. I did not read the entire report, not exactly wanting to hear the [...]]]></description>
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		<title>An Italian, and possibly a Swiss, Symphony at the Philharmonie</title>
		<link>http://www.musicalamerica.com/mablogs/?p=9149</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=9149#comments</comments>
		<pubDate>Fri, 11 Jan 2013 16:00:13 +0000</pubDate>
		<dc:creator>rschmid</dc:creator>
				<category><![CDATA[Berlin Times]]></category>
		<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[Andreas Ottensamer]]></category>
		<category><![CDATA[Berlin Philharmonic]]></category>
		<category><![CDATA[bruckner]]></category>
		<category><![CDATA[Daishin Kashimoto]]></category>
		<category><![CDATA[Dvorak]]></category>
		<category><![CDATA[Gauguin]]></category>
		<category><![CDATA[Mendelssohn]]></category>
		<category><![CDATA[musical america]]></category>
		<category><![CDATA[Philharmonie]]></category>
		<category><![CDATA[Rebecca Schmid]]></category>
		<category><![CDATA[Riccardo Chailly]]></category>
		<category><![CDATA[Switzerland]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=9149</guid>
		<description><![CDATA[By Rebecca Schmid Journeys have provided powerful inspiration to writers, painters and composers alike, opening eyes to new ways of seeing the world. The broadening of artists’ palettes has sometimes allowed them to capture a landscape more vividly than the natives could themselves. One only has to think of Dvorak’s New World Symphony, Gauguin’s portraits [...]]]></description>
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		<title>Szell’s Sublime Walküre</title>
		<link>http://www.musicalamerica.com/mablogs/?p=9140</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=9140#comments</comments>
		<pubDate>Fri, 11 Jan 2013 03:19:21 +0000</pubDate>
		<dc:creator>sedgwickclark@aol.com</dc:creator>
				<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[Why I Left Muncie]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=9140</guid>
		<description><![CDATA[by Sedgwick Clark We were driving bumper to bumper out to the country last Friday and checked out the Met Opera station on Sirius XM. It was about 20 minutes into Wagner’s Die Walküre, and Hunding had just come home from a hard day at the office to discover his lovely wife, Sieglinde, with a [...]]]></description>
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		<title>Reaching Out to Past and Potential Supporters</title>
		<link>http://www.musicalamerica.com/mablogs/?p=9114</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=9114#comments</comments>
		<pubDate>Thu, 10 Jan 2013 04:15:54 +0000</pubDate>
		<dc:creator>Edna Landau</dc:creator>
				<category><![CDATA[Ask Edna]]></category>
		<category><![CDATA[Career Etiquette]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=9114</guid>
		<description><![CDATA[By: Edna Landau To ask a question, please write Ask Edna. The end of 2012 has brought a deluge of e-mails into my Inbox. Some were holiday greetings, coupled with updates on an artist’s current activities. Others were invitations to a showcase or to visit with an artist at the conferences which take place in New [...]]]></description>
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		<title>Ask, and Ye &#8220;May&#8221; Receive&#8230;or Not</title>
		<link>http://www.musicalamerica.com/mablogs/?p=9109</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=9109#comments</comments>
		<pubDate>Wed, 09 Jan 2013 06:25:20 +0000</pubDate>
		<dc:creator>ggartslaw</dc:creator>
				<category><![CDATA[Arts Management]]></category>
		<category><![CDATA[Copyrights]]></category>
		<category><![CDATA[Law and Disorder: Performing Arts Division]]></category>
		<category><![CDATA[Licensing]]></category>
		<category><![CDATA[Music Rights]]></category>
		<category><![CDATA[Non-Profits]]></category>
		<category><![CDATA[Presenters]]></category>
		<category><![CDATA[Publishing]]></category>
		<category><![CDATA[Recordings]]></category>
		<category><![CDATA[ascap]]></category>
		<category><![CDATA[bmi]]></category>
		<category><![CDATA[Brian Taylor]]></category>
		<category><![CDATA[composer]]></category>
		<category><![CDATA[copyright]]></category>
		<category><![CDATA[Education]]></category>
		<category><![CDATA[Goldstein]]></category>
		<category><![CDATA[license]]></category>
		<category><![CDATA[live performance]]></category>
		<category><![CDATA[live performances]]></category>
		<category><![CDATA[music]]></category>
		<category><![CDATA[performer]]></category>
		<category><![CDATA[permission]]></category>
		<category><![CDATA[recitals]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=9109</guid>
		<description><![CDATA[By Brian Taylor Goldstein, Esq. Dear Law and Disorder, I am a music professor at a medium-sized state college. We have two questions with regard to live streaming some of our concerts and recitals. We, of course, have paid the ASCAP and BMI licenses/fees to cover the rights for live performances.  I believe the licensing agencies base [...]]]></description>
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		<title>Muti Taps the Liturgy</title>
		<link>http://www.musicalamerica.com/mablogs/?p=9102</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=9102#comments</comments>
		<pubDate>Tue, 08 Jan 2013 16:46:49 +0000</pubDate>
		<dc:creator>Andrew Powell</dc:creator>
				<category><![CDATA[Munich Times]]></category>
		<category><![CDATA[Alisa Kolosova]]></category>
		<category><![CDATA[Arturo Toscanini]]></category>
		<category><![CDATA[Bavarian Radio Symphony Orchestra]]></category>
		<category><![CDATA[BR Chor]]></category>
		<category><![CDATA[Chicago Symphony Orchestra]]></category>
		<category><![CDATA[Claudio Abbado]]></category>
		<category><![CDATA[Herbert von Karajan]]></category>
		<category><![CDATA[Karajan Centrum]]></category>
		<category><![CDATA[Michele Pertusi]]></category>
		<category><![CDATA[Molfetta]]></category>
		<category><![CDATA[Munich]]></category>
		<category><![CDATA[Orchestra Cherubini]]></category>
		<category><![CDATA[Ravenna]]></category>
		<category><![CDATA[Riccardo Muti]]></category>
		<category><![CDATA[Rizzoli]]></category>
		<category><![CDATA[Ruth Ziesak]]></category>
		<category><![CDATA[Saimir Pirgu]]></category>
		<category><![CDATA[Salzburger Festspiele]]></category>
		<category><![CDATA[Teatro alla Scala]]></category>
		<category><![CDATA[Teatro dell’Opera di Roma]]></category>
		<category><![CDATA[Vienna Philharmonic]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=9102</guid>
		<description><![CDATA[By ANDREW POWELL Published: January 8, 2013 RAVENNA — Sacred music has lent gravitas to Riccardo Muti’s career since the 1960s. Settings of the Ordinary and the burial service by Bach, Mozart, Cherubini, Schubert, Berlioz, Brahms and Verdi have drawn his attention and received, more often than not, a disciplined performance. No, this is not [...]]]></description>
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		<title>Leading lady</title>
		<link>http://www.musicalamerica.com/mablogs/?p=9071</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=9071#comments</comments>
		<pubDate>Mon, 07 Jan 2013 21:17:01 +0000</pubDate>
		<dc:creator>James Jorden</dc:creator>
				<category><![CDATA[Rough and Regie]]></category>
		<category><![CDATA[act of god]]></category>
		<category><![CDATA[audience members]]></category>
		<category><![CDATA[bel canto]]></category>
		<category><![CDATA[Black and Blue]]></category>
		<category><![CDATA[david mcvicar]]></category>
		<category><![CDATA[donizetti]]></category>
		<category><![CDATA[Joyce DiDonato]]></category>
		<category><![CDATA[the met]]></category>
		<category><![CDATA[wigs]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=9071</guid>
		<description><![CDATA[By James Jorden One thing you can’t call David McVicar is inept. His productions always work with precision, every movement landing everyone in the right place at the right time, every “still” moment photo-ready. Reportedly he brings shows in on budget and on time, and there’s never a last-minute scramble to improvise some kind of [...]]]></description>
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		<title>A Masterwork by Israel Galván</title>
		<link>http://www.musicalamerica.com/mablogs/?p=9050</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=9050#comments</comments>
		<pubDate>Fri, 04 Jan 2013 16:18:04 +0000</pubDate>
		<dc:creator>rachel.straus@earthlink.net</dc:creator>
				<category><![CDATA[The Torn Tutu]]></category>
		<category><![CDATA[Belén Maya]]></category>
		<category><![CDATA[Bobote]]></category>
		<category><![CDATA[Caracafé]]></category>
		<category><![CDATA[Chicuelo]]></category>
		<category><![CDATA[David Lagos and Tomás de Perrate]]></category>
		<category><![CDATA[Eloísa Cantón]]></category>
		<category><![CDATA[Flamenco]]></category>
		<category><![CDATA[Isabel Bayón]]></category>
		<category><![CDATA[Israel Galván]]></category>
		<category><![CDATA[Jacques Lacan]]></category>
		<category><![CDATA[Leni Riefenstahl]]></category>
		<category><![CDATA[Lo Real/Le Réel/The Real]]></category>
		<category><![CDATA[Pedro G. Romero]]></category>
		<category><![CDATA[Rachel Straus]]></category>
		<category><![CDATA[Roman]]></category>
		<category><![CDATA[Saville]]></category>
		<category><![CDATA[Sinti]]></category>
		<category><![CDATA[Txiki Berraondom]]></category>
		<category><![CDATA[Uchi]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=9050</guid>
		<description><![CDATA[Consider this scene. Galván hammers an old upright piano apart with his sputtering footwork. In doing so, he destroys the harmonic integrity of the instrument. When he forces the piano apart, we hear its strings shrieking as they stretch. We see Galván in a deep lunge with his muscular arms working to push the battered object to its breaking point. But the piano doesn’t dissemble. Instead its strings, like Galván’s wiry body, produce a shrill, taut dissonance, one that is awe-inspiring in its intensity. At this moment, the image of the persecuted gypsy becomes real: Galván, stripped of his shirt, dances while caught in a barbed wire fence. His angular, contorted gestures and his sharp, hard footwork eviscerate him as they reveal the unique quality of his dancing, which bends the tradition of the Seville school of flamenco beyond recognition.]]></description>
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		<title>Charles Rosen’s “Revelatory”Artistry</title>
		<link>http://www.musicalamerica.com/mablogs/?p=9036</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=9036#comments</comments>
		<pubDate>Fri, 04 Jan 2013 15:01:43 +0000</pubDate>
		<dc:creator>sedgwickclark@aol.com</dc:creator>
				<category><![CDATA[Why I Left Muncie]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=9036</guid>
		<description><![CDATA[by Sedgwick Clark My favorite solo piano music is Debussy’s – iridescent, sensual, and, after all these years, mysterious. My first recording of his music was by Charles Rosen performing Images, Books I and II, Estampes, L’Isle joyeuse, and other short pieces on an Epic LP.  It had been praised by David Hamilton as “indispensable” [...]]]></description>
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