Powered by Google Translate.
Support New York Arts. All donations are now tax deductible through Fractured Atlas.
We can't bring you the reviews, articles, and interviews the arts deserve or our new program of interdisciplinary concerts, performances and exhibitions without your support. Please donate generously. The Arts Press (parent organization of New York Arts) 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. Please send contributions other than those made online, i.e. by check, to Michael Miller, Publisher, The Arts Press, 127 East 91st Street, New York New York, 10128. Checks should be made payable to Fractured Atlas, with The Arts Press in the memo line.
Coming Up & Of Note
November 14, 2014I have just recently learned about a different kind of music festival, pianoSonoma, which convenes annually in late July and early August at the Green Music Center at Sonoma State University, under the benevolent guidance of Co-Founders and Co-Directors Michael and Jessica Chow Shinn, both faculty members at the Juilliard School. People attend music festivals for different reasons, most of which are passive, unless they happen to be Tanglewood Music Center Fellows or "young professionals" at Marlboro. They go as members of the audience to hear star musicians they would not normally find in their area, or they like to continue their experiences at Carnegie or Davies Hall in some pleasant rural setting suitable for a summer holiday. Their active participation is usually limited to laying out a picnic, consuming it, a listless read of tedious program notes, uncritical applause, and coping with post-concert congestion in the parking lots, especially after a manifestation of Lang Lang or Yo-Yo Ma.
March 1, 2014It's not our custom to review performances we post, but I will say a few words about this concert. Brahms's Third Symphony is notoriously difficult to perform successfully. I have heard great conductors fail in it. The Toscanini story is famous. None of his NBC Symphony performances quite gel, and there was always much discussion about why this particular symphony, which seemed so well-suited to his temperament evaded him, until his splendid performance with the Philharmonia Orchestra became generally available as a recording many years after his last visit to London at the very end of his career. The puzzlement about Nelsons' recent performance with the BSO is another case in point. Tonu Kalam has no such problem here. By adopting a gentle, lyrical approach to the work, Kalam achieves a performance that is musically and emotionally coherent—one of the finest I've heard.