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Posts Tagged ‘Tully Scope Festival’

Thumbnail : Les Percussions de Strasbourg play Xenakis and Grisey at Tully Scope.

Les Percussions de Strasbourg play Xenakis and Grisey at Tully Scope.

Friday, March 4 at 7:30 pm Les Percussions de Strasbourg Jean-Paul Bernard, artistic director Grisey – Le noir de l’étoile (New York premiere) Post-performance discussion with Jean-Paul Bernard, Olaf Tzschoppe, and Jean-Pierre Luminet Présentation 1er mouvement Pulsar Vela 2e mouvement Pulsar 0329+54 3e mouvement Saturday, March 5 at 7:30 pm Les Percussions de Strasbourg Jean-Paul […]

Thumbnail : Emanuel Ax plays Schubert, Mostly Late, at Tully Scope

Emanuel Ax plays Schubert, Mostly Late, at Tully Scope

The first evening of Tully Scope devoted to the classical music of the past was no less adventurous than the first two concerts, which revolved around the work of Morton Feldman, who was one of the great musical adventurers of his generation. Emanuel Ax, a fastidious piano virtuoso who combines impeccable taste and restraint with a deep respect for the classics, is fairly new to late Schubert, as I understand. The late piano sonatas in particular, works of grand scope, rich harmony, and deep feeling, offer little in the way of purely pianistic attractions to show off Mr. Ax’s fluent technique. I almost feared that his mastery of the keyboard might even get in the way of Schubert’s music. These moving performances, on the contrary, went beyond mere elegance and delved deeply into the heart of Schubert’s writing. Emanuel Ax did indeed approach the music as a pianist, but, as always for him, the music came first, and that led him in new directions, which he navigated in a way entirely his own.

Thumbnail : Axiom, Juilliard’s Contemporary Music Group, play Feldman and Kurtág at Tully Scope

Axiom, Juilliard’s Contemporary Music Group, play Feldman and Kurtág at Tully Scope

The second concert in Lincoln Center’s wonderful Tully Scope Festival, like the opening night, revolved around the music of Morton Feldman, and, although it was entitled “For Morton Feldman,” it was actually dedicated to quite a different composer, György Kurtág, who is still very much alive and celebrated his eighty-fifth birthday on February 19th, only a month younger than Feldman would have been if he had not died prematurely in 1987 at the age of sixty-one. The program consists entirely of some of their best-known works, played by Axiom, the contemporary music group of the Juilliard School, under the direction of Jeffrey Milarsky, and the Clarion Choir under music director Steven Fox. The instrumentalists and the soprano soloist were all students or recent graduates of Juilliard, who acquitted themselves most impressively.

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 […]

  • A Singer’s Notes 101: Except ye become as children …
    My weekend has been dominated by children, their thoughts, and my thoughts about them. Charles Dickens, a passionate admirer of little ones, finds his most searing location for them in his beloved A Christmas Carol. Even the death of Little Dorrit lacks the resonance that this short novella has shown. The attachment with Christmas is […]
    Keith Kibler
  • The BEMF Chamber Operas 2014: Pergolesi’s La serva padrona and Livietta e Tracollo
    Pergolesi’s comic operas sound remarkably modern—which is to say, like Mozart. Recognizably human characters go through recognizable experiences, singing out their feelings very directly, which the music embodies in fluidly changing tempos and moods, stretching of harmony, changes of key and orchestral color. Much is accomplished through musically creative recitative—a half-spoken way of proceeding—as well […]
    Charles Warren
  • What is and what might have been: More Nelsons at the BSO, Chailly and the Leipzig Gewandhaus Orchestra
    I couldn’t have been more eager to hear Riccardo Chailly and the Leipzig Gewandhaus Orchestra on their return visit to Boston, part of an American tour celebrating the 25th anniversary of the “Peaceful Revolution” that began in Leipzig in October 1989 and a month later led to the fall of the Berlin wall. Chailly continues […]
    Lloyd Schwartz
  • A Singer’s Notes 100: Shakespeare and Company’s Fall Festival
    A good while ago now, I stepped into an ancient school bus, left a tiny hamlet in the foothills of the Adirondacks, and traveled to the glittering metropolis of Johnstown, New York. There, The Tempest was being played by a traveling troupe, and somehow our country school got us there. The play was The Tempest. […]
    Keith Kibler

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!