Certain musicians or pieces of music, for one reason or another, will always carry unsavoury associations. Wagner, whose music was co-opted by the Nazi party, is the obvious example.
France is a favorite European venue for summer music festivals, attracting international artists and audiences from throughout the world. Somehow, despite the often-predicted dropoff in classical concert attendance, the festivals all seem to thrive.
For the past few years I have focused my critical sense mainly on piano music and my artwork on the performers who struggle to play it. The faces of some pianists mirror the creative process and thereby inspire my approach to their portraits.
Mozart’s “The Magic Flute” sounded better than ever in Portland Opera’s opening night performance (May 6th) because of the sets that were designed by Maurice Sendak, the beloved children’s book illustrator and author who created “Where the Wild Things Are.” Sendak’s whimsical scenery elicited nu
Many young pianists, increasingly desperate to draw attention to themselves, are resorting to new levels of flamboyance at the keyboard – sometimes in their interpretations, more often in excessive showboating antics. It would seem that everyone wants to be a Lang Lang.
“Alexander Nevsky”, the cantata version of Sergei Prokofiev’s film score from 1938, captivated a full house at the Bordeaux Auditorium last night (Thursday, April 28) with a degree of fire and heart that other orchestras often lack.
Tanglewood chief piano technician Barbara Renner once won a $50 bet by proving to a male tuner that she could manipulate the nine-foot Steinway Model D as well as any man. And she has gone on to thrive in this man’s world of piano tuning, never looking back.
In an adventurous programming gambit Friday night (April 1) the Cantata Singers and Ensemble under David Hoose matched up two opposites – Johann Sebastian Bach and Anton Webern – and concluded with the monumental Brahms Requiem, all impeccably rendered.
Kent Nagano made a triumphal return to Boston Wednesday evening (March 16) with his Orchestre Symphonique de Montreal, conducting there for the first time in many years before a wildly enthusiastic audience.
Pianist Georges Cziffra couldn’t believe his eyes when a young soldier delivered an upright piano to him on a military base in Hungary in 1942. The soldier called it “that little cupboard you tap on to make music – sorry, I don’t know the word for it.”
"[......] music-lovers watched the obituary columns to guess when new subscription seats might become available."
It’s a crowded field, but to my mind there are never too many variations of Franz Schubert’s late masterpiece, the Winterreise (Winter Journey) song cycle.
Pianist Alexander Paley’s new CD of Medtner and Rachmaninov couples the works of two great friends whose lives evolved in similar ways. Both enjoyed early success but Rachmaninov’s sense of melody won larger acclaim from the international public.
Pianist Alexander Paley brings together some rarely heard and nicely coherent pieces by Sergei Rachmaninov and Nikolai Medtner, close friends from their Moscow student days, in a new CD (La Musica LMU005).
One of the great innovators of new music, composer Julius Eastman, was born unlucky – both black and gay.
The perfumed prose of music criticism can sometimes be as annoying as it is unhelpful. For a lesson in turning music into words, however, there is better, as I have found in reading analyses and opinions on Johann Sebastian Bach’s Well-Tempered Clavier.
French-Armenian pianist Varduhi Yeritsyan has attracted international accolades from major critics for her vigorous interpretations of the ten Scriabin piano sonatas, a corpus that continues to intrigue pianophiles a hundred years after his death.
Alexander Scriabin’s ten piano sonatas serve as a guide to his journey from Romantic to atonal composition, 20 years in the making. His innovations took him into obscure, abstract territory but rescued him from being labeled a mere Chopin copycat, his starting point.