Quantcast

New York Arts is dedicated to bringing you the best critical writing about the arts, in-depth, and written by passionate, engaging writers.

 
Every page on the site is free, and so are subscriptions to our email updates.
 
New York Arts survives on your voluntary support.
 
Why?
 
A. Our writers are professionals and should be paid for their work, and so should the editors, who also carry out the everyday tasks of maintaining the site and business.
 
B. There are daily costs in maintaining the site, transportation, professional expenses, and so on...to a long list.
 
C. The editor currently takes on all the administrative work. We need a specialized assistant/administrator.
 
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.
 
If you enjoy what your read here, support New York Arts and keep serious criticism alive! You won't find it in your local newspaper anymore!
Fisher Center, Bard College, Fall Events 2014
Skip to Content

Posts Tagged ‘Anton Webern’

Thumbnail : “Vienna, City of Dreams” in New York: Four Orchestral Concerts by the Vienna Philharmonic at Carnegie Hall

“Vienna, City of Dreams” in New York: Four Orchestral Concerts by the Vienna Philharmonic at Carnegie Hall

Nowadays, visiting orchestras often play two or three concerts in New York, and, best of all, these are sometimes “curated” into themed series, like the VPO’s under Boulez and Barenboim a few years ago. This year, Carnegie Hall is presenting an exceptionally ambitious event, Vienna, City of Dreams, which goes beyond the Vienna Philharmonic’s unprecedented seven-concert series of symphonic and operatic works, and includes chamber music concerts, contemporary music, symposia, film screenings, and a few events including the visual arts, including Vienna Complex, a contemporary group exhibition at the Austrian Cultural Forum, which has organized most of the events outside Carnegie Hall itself, although no significant exhibitions of the art of the periods represented by the concerts at Carnegie Hall. (The other piece of Vienna in New York, the Neue Galerie, is offering nothing but limited free tours for ticket holders and discounts in their gift shop.) Theater and literature went virtually unrepresented. (A Viennese theater festival, including the Burgtheater, would have been welcome—magnificent, even.) A language barrier in our day of ubiquitous supertitles?

Thumbnail : The New York City Ballet Opens the New Ballet Season with an All-Balanchine Mixed Bill, and Some More Comic Programming

The New York City Ballet Opens the New Ballet Season with an All-Balanchine Mixed Bill, and Some More Comic Programming

When do you ever see a bill outside Carnegie Hall or Lincoln Center with no other names but “Hindemith,” “Webern” and “Stravinsky?” And at that with an extremely well played concert behind it with energy and seriousness and intelligence? Only at the ballet it seems.

Thumbnail : Tully Scope Festival Opening Night: International Contemporary Ensemble play Chance Encounters: For Morton Feldman, with Webern, Xenakis, and Cage…and a prelude by Nathan Davis

Tully Scope Festival Opening Night: International Contemporary Ensemble play Chance Encounters: For Morton Feldman, with Webern, Xenakis, and Cage…and a prelude by Nathan Davis

Tully Scope Festival Opening Night For Morton Feldman: Chance Encounters Tuesday, February 22 at 7:30 pm International Contemporary Ensemble Steven Schick, conductor and percussion Feldman: The King of Denmark, for solo percussion Webern: Concerto for nine instruments Xenakis: Jalons, for 15 instruments Cage: Imaginary Landscape No. 4, for 12 radios Feldman: For Samuel Beckett I’ve […]

Thumbnail : Music in a Time of Disaster…The Vienna Philharmonic conducted by Pierre Boulez, Carnegie Hall, January 16, 2010

Music in a Time of Disaster…The Vienna Philharmonic conducted by Pierre Boulez, Carnegie Hall, January 16, 2010

Vienna Philharmonic Orchestra Pierre Boulez, conductor Carnegie Hall, January 16, 2010 Schoenberg, Chamber Symphony No. 2, Op. 38 Schoenberg, Piano Concerto, Op. 42 (Daniel Barenboim, soloist) Webern, Six Pieces for Orchestra, Op. 6 Mahler, Adagio from Symphony no. 10 in F-sharp Major To hear a program of music by Mahler and the members of the Second […]

Thumbnail : Alan Gilbert conducts the New York Philharmonic in Webern, Mozart, and Schumann

Alan Gilbert conducts the New York Philharmonic in Webern, Mozart, and Schumann

New York Philharmonic Avery Fisher Hall Tuesday, December 29, 2009, 7:30 P.M. Wednesday, December 30, 2009, 7:30 P.M. Saturday, January 2, 2010, 8:00 P.M. Alan Gilbert, Conductor Leif Ove Andsnes, Piano Webern, Im Sommerwind Mozart, Piano Concerto No. 23 in A, K. 488 Webern, Symphony, Op. 21 Schumann, Symphony No. 2 in C Major, Op. […]

Thumbnail : Alfred Brendel, Deborah Voigt, James Levine, Metropolitan Opera Orchestra: Mozart, Webern, Berg, Strauss, Salome

Alfred Brendel, Deborah Voigt, James Levine, Metropolitan Opera Orchestra: Mozart, Webern, Berg, Strauss, Salome

The Metropolitan Opera Orchestra James Levine, Music Director and Conductor Deborah Voigt, Soprano Alfred Brendel, Piano Webern, Six Pieces for Orchestra Mozart, Piano Concerto No. 24 in C Minor, K. 491 Berg, Three Pieces for Orchestra, Op. 6 R. Strauss, Final Scene from Salome It comes as particularly sad news that Alfred Brendel will retire from public recitals […]

  • Richard Goode Plays Beethoven’s Last Three Sonatas and Bagatelles, Op. 119 at Jordan Hall, Boston
    This was a great recital—almost. Richard Goode played the last three Beethoven piano Sonatas and a set of late Bagatelles, and was quite convincing, even revelatory, with all the material except the final Sonata, the forbidding Opus 111. This last came off well, it felt meant—and all those difficult notes were well articulated—but the full emotional […]
    Charles Warren
  • The Bard Music Festival at 25: Franz Schubert and his World
    My leading thought goes against much of what the Bard Music Festival and my own values, for that matter, stand for. And just read Keith Francis' provocative series, The Great Composers?, the latest installment of which has just been published. I've missed only one Bard Festival since 2006, and I've heard great music by Elgar, […]
    Michael Miller
  • A Singer’s Notes 98: No Amontillado, just Ale
    The much-maligned poetry of Edgar Allan Poe still bristles with excitement when one hears it. High and mighty Emerson called it a bunch of "jingles." The musical reference is appropriate. A poem like "Annabelle Lee" is basically a sound event. The sonic Poe I have in my imagination was revered by the French, Baudelaire in […]
    Keith Kibler
  • A Treasurable Account of Poe’s Last Hours from the Berkshire Theatre Group, with David Adkins and Kate Maguire, Closing 10/26
    You can't really blame the Berkshire Theatre Group for billing Eric Hill's splendid entertainment, POE, as a Hallowe'en show. As the holiday approaches, Poe's chilling stories and poems are rolled out in all the many forms they have assumed since their assimilation into two great cultural phenomena, American Literature and American Pop Culture, over the […]
    Michael Miller

New York Arts is dedicated to bringing you the best critical writing about the arts, in-depth, and written by passionate, engaging writers.

 
Every page on the site is free, and so are subscriptions to our email updates.
 
New York Arts survives on your voluntary support.
 
Why?
 
A. Our writers are professionals and should be paid for their work, and so should the editors, who also carry out the everyday tasks of maintaining the site and business.
 
B. There are daily costs in maintaining the site, transportation, professional expenses, and so on...to a long list.
 
C. The editor currently takes on all the administrative work. We need a specialized assistant/administrator.
 
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.
 
If you enjoy what your read here, support New York Arts and keep serious criticism alive! You won't find it in your local newspaper anymore!