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July 12, 2020 A Crop of Recordings XXXI: Piston, Gould, Hanson, Roussel, Dukas, Strauss, Liszt. Beethoven…and Knecht!
June 16, 2020 “Transfiguration” goes to London! To be part of United Solo’s First London Festival in September.
March 27, 2020 Our Time, a Collage of Records from Williams, a 90th Birthday Tribute to Stephen Sondheim (’50) at Williams College – a Review
March 27, 2020 Our Time, a Collage of Records from Williams, a 90th Birthday Tribute to Stephen Sondheim (’50) at Williams College – a Review
March 22, 2020 Happy Birthday, Stephen Sondheim! …from his alma mater, Williams College

Provincetown: Selections from the Julie Heller Gallery at the Elisabeth Ivers Gallery, NYC, April 15 – June 4, 2011

April 22, 2011The Editor

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Karl Knaths (1891-1971), Provincetown Houses and Weirs, 1930, Watercolor and chalk on paper, 12 3/4 x 17 1/4 inches.

Karl Knaths (1891-1971), Provincetown Houses and Weirs, 1930, Watercolor and chalk on paper, 12 3/4 x 17 1/4 inches.

Provincetown: Selections from the Julie Heller Gallery
April 15 – June 4, 2011
Opening Reception: Thursday, April 14, 6-8pm
ELISABETH IVERS GALLERY 508 West 26th Street, Suite 6D New York, New York 10001

Milton Avery, Fritz Bultman, Oliver Chaffee, Carole Ann Danner
Nanno de Groot, Joseph De Martini, Miguel Deveze, Edwin Dickinson
Joseph Garlock, Ada Gilmore, V. Hansen, Hans Hofmann
Jones 1879, Karl Knaths, Betty Lane, Blanche Lazzell, Myron Lechay
Lucy L’Engle, Clare Leighton, Charles Logasa, Philip Malicoat, Leo Manso
Irving Marantz, Mudheads, Mary Mullineux, Ray Nolin, Heinrich Pfeiffer
Flora Schoenfeld, Ferol Sibley Warthen, Agnes Weinrich
Sol Wilson, Marguerite Zorach, William Zorach

Curated by Lydia Vivante

Image: Karl Knaths (1891-1971), Provincetown Houses and Weirs, 1930

Watercolor and chalk on paper, 12 3/4 x 17 1/4 inches

ELISABETH IVERS GALLERY 508 West 26th Street, Suite 6D New York, New York 10001

T: 212-206-7027 E: lis@elisabethivers.com

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Tagged WithBlanche Lazzell Edwin Dickinson Hans Hofmann Julie Heller Gallery Karl Knaths Marguerite Zorach Milton Avery William Zorach

About the author

The Editor

Michael Miller, Editor and Publisher of New York Arts, an International Journal for the Arts and The Berkshire Review, was trained as a classicist and art historian at Harvard and Oxford, worked in the art world for many years as a curator and dealer, and contributed reviews and articles to Bostonia, Master Drawings, Drawing, Threshold, and North American Opera Journal, as well as numerous articles for scholarly and popular periodicals. He has taught courses in classics, the English language, and art history at Oberlin, Rutgers, New York University, the New School, and Williams. Currently, when he is not at work on New York Arts, he writes fiction, pursues photography, and publishes scholarly work. In 2011 he contributed an introductory essay to Leonard Freed: The Italians / exh. cat. Io Amo L’Italia, exhibition at Le Stelline, Milan, and wrote the revised the section on American opera houses in The Grove Dictionary of American Music. He is currently at work on a libretto for a new opera by Lewis Spratlan, Midi, an adaptation of Euripides’ Medea set in the French West Indies, ca. 1930.

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A Crop of Recordings XXXI: Piston, Gould, Hanson, Roussel, Dukas, Strauss, Liszt. Beethoven…and Knecht!

From my own perspective as a lover of Howard Hanson’s music, the best here comes last. His Fourth Symphony (1943) is subtitled “The Requiem” and was composed as a memorial to Hanson’s father. Its four movements correspond to sections of the traditional Latin mass. It was Hanson’s favorite among his symphonies, and while the melodies may not be as immediately committed to memory as those of the “Nordic” and “Romantic,” the glowing consecrational quality of the work, its beautiful flow and reverential beauty, full of life and never morose, is hard to surpass in American music. The piece fades away in lovely nostalgia. Clearly Hanson knew the Vaughan Williams Fifth Symphony. Like Vaughan Williams, Hanson’s music has the ability to make sadness cozy and comforting. To his credit, Kalmar turns out here a performance finer than Gerard Schwarz’s heavy-handed take with the Seattle Symphony. It’s as good as the composer’s own, and in far better sound. I vote this release a prize of my own!

Our Time, a Collage of Records from Williams, a 90th Birthday Tribute to Stephen Sondheim (’50) at Williams College – a Review

In considering how to approach this review of Our Time, a Collage of Records from Williams, directed by Omar Sangare, Professor of Theatre, I came to the conclusion that it was imperative to concentrate not only on the title of the production, which seems neutral enough at first glance, but how it was described in the official announcement. As a co-production of the Williams Theatre Department and “Sondheim@90@Williams,” to honor the 90th birthday of Stephen Sondheim as an illustrious member of Williams Class of 1950[1. for which the Williams Music Department also organized a day-and-a-half symposium about the composer and his work], Our Time was presented “in celebration” of this birthday. That final phrase might lead us to expect a revue of Mr. Sondheim’s most-loved tunes with a new, student-generated book encasing them, but Our Time was nothing of the sort.

Happy Birthday, Stephen Sondheim! …from his alma mater, Williams College

Stephen Sondheim turns 90 today. His alma mater, Williams College, chose to honor her renowned alumnus with a musical production entitled Our Time, a Collage of Records from Williams, which brings life at the college between 1946-1950 (when Sondheim was a student there) back to life. This compilation of stories, devised Ilya Khodosh, ’08, and Omar Sangare, has been chosen by current students; who, by research, selected stories to share from the stage. At the end of the show, there is also a story delivered by a video message by Stephen Sondheim, himself.

Only two of the five scheduled performances took place before the spread of the Corona virus necessitated the cancellation of further performances. Happily, they were recorded on video, and Williams can now honor its son and audiences can enjoy this musical reminiscence.

Florent Schmitt’s “Légende” and “Oriane et le Prince d’Amour” with Debussy and Rachmaninoff—the Buffalo Philharmonic under JoAnn Falletta

There’s something about Buffalo that is forever and wonderfully 1940. The city admittedly went through a difficult patch in the last decades of the century, before emerging today prosperous and half the size it was. From an artistic perspective, though, this may not be all bad. Buffalo escaped most of the Pizza Hut architecture and cereal box skyscrapers which typically afflict American cities. Today, great colonnaded turn-of-the-century hotels, banks and office buildings still reflect iconic dignity and Dreiserian business energy upon a downtown more formal and stylistically unified than most. When it comes to its resident orchestra, the Buffalo Philharmonic similarly avoided an onslaught of concrete, continuing to perform in Kleinhans Music Hall, designed by the Saarinens (father Eliel and son Eero) in 1940 and declared a national landmark in 1989.

Evening all Afternoon: A Chilly Season Warmed by Capital Region Classical at Union College

With the dreariest seasons of late fall and winter fading away, those days Wallace Stevens described as being “evening all afternoon,” a few Union offerings I attended were enough to nourish the soul to spring in which a Beethoven’s Semiquincentennial will be celebrated.

Fabien Gabel conducts the San Francisco Symphony in Dukas, Zigman, and Saint-Saëns, with Jean-Yves Thibaudet, Piano, and Jonathan Dimmock, Organ

Last weekend the San Francisco Symphony, surely unbeknownst, gave me a Valentine’s Day card masquerading as a pair of tickets! I don’t honestly recall a concert in recent years I’ve enjoyed more than this one. I’ve known and loved Paul Dukas’ ballet score La Peri for more than fifty years without ever hearing it live, and as a dedicated Francophile in music, I am always delighted to hear again Camille Saint-Saëns’ iconic and fascinatingly structured Organ Symphony. Add to this the fact that I grew up in the wilds of Latin America and learned to tango just about when couples abandoned cutting a rug with each other on the dance floor in favor of wriggling in place, and you can imagine how a piano concerto based on Tango would evoke a special warmth and affection in someone like me. So I am writing more as a fan than as a critic this time.

Richard Wagner, I maestri cantori di Norimberga (or, rather Die Meistersinger von Nürnberg), Sung in Italian, Beautifully

Ever wanted to hear a Wagner opera performed with smooth singing: little or no barking, effortful huffing, or slow wobbling? Sure, there have been individual singers who have managed the trick, such as Plácido Domingo in Giuseppe Sinopoli’s famous Tannhäuser recording. But I mean the whole cast, from the biggest roles right down to the smallest. Well, here’s your chance: a complete Die Meistersinger von Nürnberg that is a near-constant pleasure to the ears. The only problem is that it’s sung in Italian: hence I maestri cantori di Norimbega. But don’t let that you put you off. Opera houses in many countries have developed their own national traditions of Wagner singing in the vernacular. Opera enthusiasts cherish certain recorded Wagner excerpts sung magnificently in French by soprano Germaine Lubin or tenor Georges Thill.

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