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We get occasional inquiries from readers about whether we plan to launch a print edition of our arts journals. The answer is that we've given it some thought, and we're still thinking about it.
It is not only our older readers who object to reading them online. There are even some millennials who would rather read from paper. One of our readers got the simple idea of using the sites as sophisticated tables of contents. She prints out each article on three-hole paper and files them in a loose-leaf album. I've devoted a lot of time to finding the very best print and pdf facility there is. Just click on one of the icons at the top right of the article and print!
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Fisher Center, Bard Summerscape 2015
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Archive for the ‘Music’ Category

Music sub categories : Contemporary Music, Early Music, etc. and Recordings

Thumbnail : Michael Tilson Thomas conducts The London Symphony Orchestra in Colin Matthews, Gershwin (with Yuja Wang), and Shostakovich

Michael Tilson Thomas conducts The London Symphony Orchestra in Colin Matthews, Gershwin (with Yuja Wang), and Shostakovich

-+*If you feel pursued by good luck, do we call it paranoia? This is the question I must answer lately, since it seems the London Symphony has chased me down in San Francisco—to my great delight!

Just a month ago, I had the good fortune of hearing Sir Mark Elder lead the orchestra in a solid Pathétique at the Barbican. By the time my visit was over, I had experienced the Berlin Philharmonic, the BBC Symphony, the Philharmonia and the London Philharmonic, as well. What puzzled throughout all this listening was the difficulty of telling the orchestras apart in London’s Barbican and Festival Hall, clinical modern venues with limited reverberation and bass.

Thumbnail : Before Bach: Late Renaissance and Early Baroque Music at Carnegie Hall — a Month-Long Series in April and May

Before Bach: Late Renaissance and Early Baroque Music at Carnegie Hall — a Month-Long Series in April and May

-+*For years, New York City seemed to have missed out on the extraordinary efflorescence of research, study, and practice, which has made historically informed performance such an essential part of music-making in the late 20th and early 21st centuries. The early music scene was hardly non-existent, but it was thin in comparison to centers like Boston, London, Amsterdam, and Paris, patronized by a small band of enthusiasts who at one time actually looked the part, crowding into Manhattan’s less fashionable churches in colorful woolen tunics, knitted caps, and Earth Shoes. There don’t seem to be many of those people left around, and a much larger range of audiences, spanning all age groups, now hear historical performances in the major venues, especially Carnegie Hall

Thumbnail : Stephen Porter plays Debussy’s Preludes, Books I and II at SubCulture, New York

Stephen Porter plays Debussy’s Preludes, Books I and II at SubCulture, New York

-+*One can’t say that performances of both books of Debussy’s Preludes are absolutely unheard of, but they are sufficiently uncommon for Stephen Porter to deserve our admiration for his courage and enlightenment in offering them in the form he did. Not only did he perform both books in their entirety from memory, he prefaced each with a piece from Debussy’s earlier Images, in order to prepare the audience, and included engaging discussions of the composer and the works, not only providing us with background, but preparing us to listen, to enter Debussy’s particular world of sounds.

Thumbnail : Christian Baldini conducts the San Francisco Symphony in John Luther Adams’s The Light that Fills the World; Michael Tilson Thomas conducts Schumann and Brahms, with Anne-Sophie Mutter

Christian Baldini conducts the San Francisco Symphony in John Luther Adams’s The Light that Fills the World; Michael Tilson Thomas conducts Schumann and Brahms, with Anne-Sophie Mutter

-+*This week’s program at Davies Hall had a split personality. Young contemporary music specialist Christian Baldini was onstage to lead the opening work, The Light That Fills the World, by Alaska composer J. L. Adams.  Michael Tilson Thomas then conducted the San Francisco Symphony in the Brahms concerto and Schumann symphony.

Thumbnail : Rattle leads the Berlin Philharmonic through Sibelius’s symphonies at the Barbican

Rattle leads the Berlin Philharmonic through Sibelius’s symphonies at the Barbican

-+*The best part of a love affair, wrote Georges Clémenceau some hundred years ago, is the moment you are climbing the stairs. It was, one hopes, not a cynical remark but a commentary on the pleasures of anticipation. I thought of this last month as I negotiated stairs at London’s Barbican Centre. A visit by the Berlin Philharmonic is always, if not a love affair, then certainly a thrill. But the otherwise admirable and much used Barbican is a windowless maze, and climbing the various levels can make for the seeming triumph of cluelessness over romance.

Thumbnail : Yannick Nézet-Séguin conducts the Rotterdam Philharmonic Orchestra at Davies Hall, San Francisco

Yannick Nézet-Séguin conducts the Rotterdam Philharmonic Orchestra at Davies Hall, San Francisco

-+*In the first hundred years of our still budding love affair with Maurice Ravel, his orchestral works have come to us from many directions. But despite our familiarity, Ravel’s music remains enigmatic beneath its surface appeal. There is something “film-noir” about it. We are in a mystery. The lady has shown up at the detective agency wearing a veil….and one suspects it might take a Frenchman to lift it without getting his face slapped.

Thumbnail : Andris Nelsons in Boston…with Two Superb Concerts under the BSO’s New Assistant Conductor, Ken-David Masur, and an Appreciation of James Levine

Andris Nelsons in Boston…with Two Superb Concerts under the BSO’s New Assistant Conductor, Ken-David Masur, and an Appreciation of James Levine

-+*Andris Nelsons has garnered a lot of attention during his first season as Music Director of the Boston Symphony Orchestra—much coverage in the local and even national press; receptions for the public and an exhibition with a talking hologram at Symphony Hall; placards on buses around Boston and in the subway. He threw out a ball for the Boston Red Sox at Fenway Park. The BSO organization wants him talked about by the man and woman on the street—especially the younger set. It remains to be seen whether a new younger audience will be drawn to the BSO. Eventually, it’s the music that will matter, not publicity.

Thumbnail : Scriabin lives again at Carnegie Hall! With Mendelssohn, Debussy, Brahms, and Schumann. Riccardo Muti conducting the Chicago Symphony Orchestra, with Yefim Bronfman

Scriabin lives again at Carnegie Hall! With Mendelssohn, Debussy, Brahms, and Schumann. Riccardo Muti conducting the Chicago Symphony Orchestra, with Yefim Bronfman

-+*One can’t help feeling mildly shocked when one realizes that the Chicago Symphony is now alone among the great American orchestras in employing one of the great senior conductors as Music Director. Michael Tilson Thomas in San Francisco is close to him in age, but nowhere near him in authority. Franz Welser-Möst has something like authority, but not the age, and one might say that his conviction in following his own lights has not quite developed into the kind of authority conductors like Muti and Chailly command.

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A tip for our readers: How to get the most out of New York Arts and The Berkshire Review for the Arts.
What if I hate reading on computer screens, even tablets?
We get occasional inquiries from readers about whether we plan to launch a print edition of our arts journals. The answer is that we've given it some thought, and we're still thinking about it.
It is not only our older readers who object to reading them online. There are even some millennials who would rather read from paper. One of our readers got the simple idea of using the sites as sophisticated tables of contents. She prints out each article on three-hole paper and files them in a loose-leaf album. I've devoted a lot of time to finding the very best print and pdf facility there is. Just click on one of the icons at the top right of the article and print!
Click here to make your tax-deductible donation to The Arts Press, publisher of New York Arts and The Berkshire Review. Or click on the notice in the sidebar. The Arts Press is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the charitable purposes of The Arts Press must be made payable to“Fractured Atlas” only and are tax-deductible to the extent permitted by law.