Music

Peter Serkin plays Schoenberg, Debussy, Kurtág, Wuorinen and Chopin at Carnegie Hall

Peter Serkin

Peter Serkin, Piano Carnegie Hall, Zankel Hall, December 10, 2009 Schoenberg – Three Piano Pieces, Op. 11 Debussy – 6 épigraphes antiques György Kurtág – Selections from Játékok –Pen Drawing, Valediction to Erzsébet Schaár –(…and round and round it goes…)…
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Sir Simon Rattle and the Berlin Philharmonic play Brahms and Schoenberg at Carnegie Hall

Sir Simon Rattle

Carnegie Hall, November 11-13, 2009 1. Berliner Philharmoniker Sir Simon Rattle, Music Director and Conductor Brahms-Schoenberg, Piano Quartet No. 1 in G Minor, Op. 25 Brahms, Symphony No. 1 2. Berliner Philharmoniker Sir Simon Rattle, Music Director and Conductor Evelyn Herlitzius, Soprano…
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Haydn’s Die Schöpfung, Sir John Eliot Gardiner and the Orchestre Révolutionnaire et Romantique at Carnegie Hall

Joseph Haydn, Die Schöpfung Orchestre Révolutionnaire et Romantique Sir John Eliot Gardiner, Artistic Director and Conductor Carnegie Hall, Saturday, October 17, 2009 The Monteverdi Choir Lucy Crowe, Soprano Sophie Karthäuser, Soprano James Gilchrist, Tenor Vuyani Mlinde, Bass Matthew Rose, Bass…
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Susan Graham Sings French Songs at Cadogan Hall

Matinee musicale. On a sunny day off Sloane Square, it was a perfect idea to skip lunch and listen instead to an hour of French songs. The singer was Susan Graham, the acclaimed Texas-born mezzo who has made a speciality of this repertoire, like Frederica von Stade before her. Ever since the Twenties, when young expatriates travelled to Paris to study with Nadia Boulanger, there’s been a preference in New York and Boston, now rather slim, for chansons over lieder. Graham has made a recording of songs by Ned Rorem, who duplicates the ephemeral delicacy and finely etched sophistication found in Ravel, Poulenc, and Debussy. The virtues of the French art song are either delectable or debatable, depending on your orientation. Paris or Vienna? I lean so far to the latter that I hesitated about going to hear Graham’s recital, but I knew her singing would be very accomplished, so I took my seat in the front row at Cadogan Hall.



Gergiev with the LSO in Prokofiev Symphonies and Concertos at Avery Fisher Hall

Lincoln Center Great Performers Presents Russian Dreams: The Music of Sergei Prokofiev Monday, March 23, 2009 at 8:00 Avery Fisher Hall (Broadway at 65th Street) London Symphony Orchestra Valery Gergiev, conductor Vladimir Feltsman, piano All-Prokofiev program Symphony No. 1 in…
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Paul Griffiths, The Substance of Things Heard – Writings about Music

Paul Griffiths

For most of its history music criticism has been almost as fleeting as music itself. If a person, for whatever odd reason, wanted to read a review of some past concert, it would have been necessary to consult a newspaper archive in a library, hardly a Herculean task, but an effort in comparison to the instantly-available databases we’ve become accustomed to in recent years. And, now that print journalism seems to be dying out, and publications like our own Berkshire Review for the Arts maintain permanent access to all published articles (and there is a readership for some of them long after the event they record) it is easier than ever.



Music of the Other Germany: American Symphony Orchestra

Leon Botstein attracted an impressive crowd to Avery Fisher Hall on the afternoon of Sunday, January 25, to hear him conduct the ASO in a program of extremely obscure music: orchestral works from “the other Germany,” that is the German Democratic Republic (1949-1990), or East Germany. It is most unjust that this music is as neglected as it is today, since every work on the program was soundly constructed and interesting, even astonishing at times. All were worth a second or a third hearing, or even more. Fortunately most of the works on the program are available on CD.



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