Well, I finally did it. Acting on the advice of an internationally recognized plagiarism expert, I have added a page to this website. It was not something I was particularly anxious to do.

​It has now been a month since I discovered the article which very extensively uses material from my book. But as no proper apology has been forthcoming from the wayward professor who accomplished that task, it was deemed necessary to expose the problem in a more public way, simply as a tool of intellectual protection. Read about it here. A short discussion in an online forum with some encouraging voices of support can be found here.

Happily, the Dean of Fine Arts at Ovidius University in Constanta, Romania, acknowledged the problem a couple of weeks ago and promised to submit the case to higher academic authorities for investigation. No word on how long that will take. 

I guess we'll see what happens...

The orchestral scene in Winnipeg is currently abuzz with Mahlerfest, which has on the agenda performances of no less than three symphonies, including a rare performance of the Tenth. The composer never lived to finish this symphony except for the long and magnificent Adagio first movement. The work has seen a number of performing versions over the last few decades but will be heard at Mahlerfest in its first ever completion, which was prepared by the great Mahler scholar Deryck Cooke back in the 1960s, and is still the standard version. 

As part of the festival, Winnipeg will also have the honour of hosting the well-known writer, critic, scholar, lexicographer, and Mahler expert Norman Lebrecht. It is no exaggeration to say that Lebrecht is one of the most recognizable names in the classical music world today. He has written many books, among them The Maestro Myth, a useful, perceptive, and somewhat controversial study of how the power of conductors has grown over the centuries. In general, he does not hesitate to tackle head on some of the graver institutional and financial problems besetting the classical world today, which has made him something of a Cassandra figure among commentators. In terms of Mahler, Lebrecht has published Mahler Remembered, a very important compilation of observations written by people who knew the composer.There is also his book Why Mahler?, which will also be the title of a lecture he will be giving while here in Winnipeg.

Today, Lebrecht continues to occupy a central position in the classical music world through his prolific blog Slippedisc, which has a readership, unequaled in his field, of well over a million, and which offers an incredible variety of newsworthy items, many of which stimulate vigorous discussion. Due to his vast network of connections in the music world - connections which he has built up over his long career - he seems to have regular access to an almost infinite supply of behind-the-scenes information (along with a little gossip here and there, perhaps) which makes his blog essential reading for anyone in the business whether or not one agrees with his standpoints (and many do take issue with him from time to time).

Although, Lebrecht may sometimes be criticized for his strong opinions, he cannot easily be dismissed. Because of his strong and forceful journalistic presence, it is sometimes forgotten that his musical background also includes formidable scholarly depth. And it does not hurt that the man writes with dazzling flair and elegance, which alone places him head and shoulders above most of his colleagues, including those in the academic world. I for one will be looking forward to his visit.