Gregg Lehrman is a composer and entrepreneur who has helped score music for a number of big TV shows and films.
The Bach suites for solo cello can leave you suffused, body and soul, with their plangent resonances if you allow them to. These six intimate pieces seem conceived to exploit the sensual nature of the cello.
When British music lecturer Julia Winterson offered composer John Cage a cup of coffee, he just looked at her. Ms. Winterson, recalling the 1989 encounter, said she thought maybe he hadn’t heard her or didn’t understand her Yorkshire accent.
A new CD from Ivan Ilic, the Serbian-American pianist based in France, offers a most refreshing change of pace from the current crop of young keyboard speedsters and clavier hammerers.
Frederic Rzewski's The People United Will Never be Defeated is one of those pieces that seems to have popped or plopped out whole and near perfect.
With a selection of three rarely recorded piano pieces, the great neglected American composer Frederic Rzewski surges back into view this spring on a new CD from the Naxos “American Classics” series. Where has he been these past few years?
Robert Beaser is one of our very strongest composers.
John Adams is one of the most frequently performed of American composers and justly so.
Of the perhaps inappropriately named New York School, I find Earle Brown's the most musically rich and articulate. Sign Sounds is for a small chamber orchestra.
My friend Stephen Albert once said that he couldn't imagine writing a string quartet after those of Bartok.
The $10,000 Music Pulitzer Prize went this year to Alaskan composer John Luther Adams, launching a heated debate in the music world over who was – or wasn’t – most deserving of this perpetually controversial award.
Contrary to many keyboard artists, pianist William Grant Naboré seems perfectly at home with Beethoven’s daunting Diabelli Variations.
His timeline stretches
Every few years, music lovers should try to attend a live performance of Olivier Messiaen’s Turangalila Symphonie. Not just to clean one’s pipes but to be reminded what a composer’s volcanic imagination can do with an orchestra.
Pierre Boulez’s brainchild from 1976, the renowned Ensemble Intercontemporain, is on the road again with a combination program of standards and some striking new sounds from the world of new music. Audiences are responding with rapture.
You would have to be quite a sure-footed composer to believe you could improve on something as perfect as the harpsichord sonatas of Domenico Scarlatti.
Nothing clears the mind of overplayed Christmas season tunes – popularly known as earworms -- like an hour in the company of Keeril Makan’s music. His new CD, Afterglow, is as refreshing as a glass of cold Chablis.
Dame Evelyn Glennie works wonders with her mallets, hammers and her bare hands in a new CD of John Corigliano’s percussion concerto – a piece that he initially hesitated to undertake for fear that it couldn’t be done. At least not to his exacting standards.