Humans have always had the desire to live forever. Even today there are those wealthy enough to have their bodies frozen in a cryogenic state and others who fervently believe that the wizards of Silicon Valley will preserve them digitally.
Virtually all writing, talking and thinking about American experimental music in the 20th century turns eventually to the defining genius of the era, John Cage.
We have come a long way since the day when female composers suffered denigration for their supposed inability to compose anything of substance. That battle is over, and the women have won. There is no longer any such thing as “women’s music,” if there ever was.
The new production of Mozart and Lorenzo da Ponte’s classic opera Così Fan Tutte has attracted no shortage of controversy.
A new sound in the realm of electronic music is evolving from the mind of a transplanted Moldavan avant-garde composer now struggling to make his way in New York. He has based his recent work on “lounge electronica” but, he adds, “with a classical twist”.
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.