Five Senses Tastings and Vinfluence present “American Mosaic” this Thursday, October 19th at 6:30 pm at 555Ten.
SUPPORT WILDFIRE RELIEF EFFORTS IN
SONOMA AND NAPA!!
Five Senses Tastings and Vinfluence present “American Mosaic” this Thursday, October 19th at 6:30 pm at 555Ten. Hear beautiful music by guitarist Dan Nadel and vocalist Shira Averbuch, taste wines from Vinfluence’s extensive portfolio, enjoy cheeses from Murray’s Cheese and chocolates from Honey Mama’s.
When I approach a review, I usually try to objectify it in some way, especially if it’s about familiar music, not only in recognition of the the fact that I’m writing for a public readership, but also in recognition of the discrete nature of a work of art as an entity created by an individual working under a specific set of historical circumstances, even if it dates from two months ago. Boulez’s Répons is very much rooted in such a situation in 1981, with its connection to the history of electronic music—then still fairly young—and the foundation of IRCAM, an event which gave electronic music formal institutional support in Europe. However, my personal response to hearing it at the Park Avenue Armory was especially strong, and in this review I will stay with that.
The Sixth Concert Series at Camphill Ghent is about to begin with a Recital by Pianist Gilbert Kalish
The Sixth Concert Series at Camphill Ghent, Gili Melamed-Lev, Director In my preview of last year’s concert series, I believe I may have used some culinary metaphor to characterize the general tendency of the programming. While you will hear some…
Writing here recently about last season at the Boston Symphony, I had recourse more than once to the phrase “just notes going by” in response to Andris-Nelsons-led performances that I did not like (I did praise a number of performances as well). I am happy to say that I think no one would say “just notes going by” about the recent, September 28th concert which opened the orchestra’s subscription series for 2017-2018. First, Nelsons and the orchestra and soloist Paul Lewis presented a definite view of the Beethoven Piano Concerto No. 4 in G-major, Opus 58; they had something to say with it. And the large Shostakovich Symphony No. 11 (“The Year 1905”) which followed, seemed to come into its own and express itself as fully as one could imagine.
Even the most independent of us can’t hear everything one might like to. In New York, choices must be made, usually based on what one thinks is most important, and often enough what is important has nothing to do with music. Family obligations kept me away from Rattle and the Berlin Philharmonic, although he was in his prime repertory for his final US appearances with the orchestra, and sheer surfeit diluted my enthusiasm for Gergiev. He is not the only friend of Vladimir Putin’s to be accused of spending too much time on the golf course, and it shows in his wayward performances. What I did manage to hear brought discovery in conductors of exceptional ability I hadn’t heard before and some new music, as well as measures of excitement, admiration, and boredom.
The word has been that Antonin Dvořák’s grand Opera, Dimitrij is a lost and rediscovered masterpiece. Whatever one thinks of it musically, dramatically, or politically, it is clear that the reasons for its neglect arise from its faulty transmission. Dvořák had great hopes for it. He thought it might be his ticket to international fame as an opera composer. Unfortunately—it turns out—the influential music critic, Eduard Hanslick attended the premiere in Prague…and liked it very much—both score and libretto—and wrote a highly positive, intelligent review. He made certain criticisms, however, which Dvořák took very seriously, especially because of Hanslick’s praise and his position as the most influential critic in Vienna, the Hauptstadt of the Austro-Hungarian Empire. For Dvořák Vienna was the first step to international recognition, and he desperately wanted a production there.
Back in the LP days, if a singer wanted to show some sophistication, s/he sometimes put out an album of songs by famous composers set to the poems of one poet: for example, Phyllis Curtin’s much-admired 1964 disc of Debussy and Fauré songs to poems by Verlaine, with pianist Ryan Edwards (available now as a CD from VAI).
Paavali Jumppanen, Pianist, Talks to Michael Miller before his Recital at the Frick Collection, Sunday, October 8, at 5 pm.
I’m very pleased to present this interview with Paavali Jumppanen, who will be playing a recital at the Frick Collection this coming Sunday, October 7, 2017, at 5 pm. He will play works by three composers he has studied in particular depth over many years: Beethoven, Debussy, and the William Duckworth (1943-2012).