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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 Korngold Festival! Two from the Bard Music Festival, 2019, as well as Two New Recordings

Not everyone agreed about the merits of Erich Wolfgang Korngold’s music, but he was the occasion of one of the most provocative Bard Music Festivals ever. Four of us have deliberated on either that or important new recordings, which add to our understanding of this sympathetic composer.

Bard Music Festival 2019: Korngold and his World

As I return to the Bard Music Festival year after year, I notice that the spaces of Olin Hall and the Fisher Center, become more crowded and sold-out notices appear ever more frequently. I also notice that I’ve seen a good many of the attendees before. There is certainly a minority who are passionately interested in one composer or his historical and cultural context and not in the others, but I am confident in saying that the core of the Bard audience consists of recidivists. Lately the choice of focal composers has shifted from the undisputed pantheon to composers who are interesting because of their cultural position in their own time. Saint-Saëns, Chávez, and Rimsky Korsakov fall into this category. The audience keeps on growing. It’s obvious that we share a broad interest in western art music, but the way in which the individual composers are presented is exploratory, and, given the presence of musicians and musicologists, bound to take a controversial course. I always leave not only knowing something I didn’t know before, but with a profound new insight, and, most important of all, questions to mull over during the months that separate us from the next Bard Festival.

A Fine New Recording of Korngold’s Masterpiece, Das Wunder der Heliane

Lovers of opera, decadence, and general excess, had reason this year to rejoice. This past summer, Bard Summerscape staged, as its centerpiece, complementary to the Bard Music Festival, Das Wunder der Heliane (The Miracle of Heliane), which is possibly the single most important work by Erich Wolfgang Korngold (1897-1957). And the work has now appeared in a sumptuous new recording (reviewed here) as well as in a much-praised DVD version from the renowned Deutsche Opera (Berlin), which indeed looks wonderful in this trailer.

A Crop of Recordings XXIX: Magnard, Bruckner, Korngold, and Vaughan Williams

Delving into the music of Alberic Magnard is to reach deep into the heart of French culture. Magnard was a subtle, aristocratic composer, trading in understatement. If you enjoy the delicate chromaticism of Gabriel Fauré, or Albert Roussel’s early works, such as his First Symphony, Poème de la forêt, you will love Magnard. If you are looking for the more obvious charms of Berlioz, Dukas, Franck or Saint-Saëns, you may be disappointed. Magnard is like Franck, but turned inward and away from Franck’s saccharine religiosity. Despite all the forte moments one could want, this is music best heard with the lights low and a log in the fireplace.

The Bard Music Festival—Erich Wolfgang Korngold’s Trajectory: the Symphony in F#, Music for Hollywood, Chamber Music

After attending the fully staged performance of Korngold’s opera Das Wunder des Heliane and the concerts of the second weekend of the Bard Korngold Festival, I arrived a distinct sense of the shape of the composer’s career trajectory and of the development of his unique musical sensibility, one which I suspect the festival programmers might not have hoped to suggest. To the extent that Korngold’s name is familiar, it is owing to his powerful, compelling, and influential Hollywood film scores. The unique, invaluable Bard Music Festivals usually aim to take us beyond and behind the headlines associated with its central figures and to give us a means to re-evaluate them in a more nuanced way, in the context of their less familiar works as well as those of their contemporaries. In the case of my encounter with Korngold, however, the result was a strengthening of the general view that this composer was born to compose film scores.Up to now, Korngold’s non-film music has not been completely neglected.

A Crop of Recordings XXIX: Magnard, Bruckner, Korngold, Vaughan Williams

Korngold did not live to see his symphony achieve popularity, as many know. It premiered in serial-minded Vienna in 1954, poorly rehearsed, and immediately sank into oblivion as a holdover from the past. Korngold himself died just a few years later of heart disease. Nearly twenty years then passed before Rudolf Kempe discovered orchestral parts in the Munich Philharmonic’s score library and revived the work for a new era. This awareness wasn’t totally Kempe’s doing. A generation of college students had grown up in the meantime watching late-night swashbucklers featuring Korngold’s Hollywood scores. These audiences fell in love with the spirit of his music. It was Errol Flynn, you might say, who got young people interested in Korngold, and film score conductors like Charles Gerhardt who then followed apace with the music on LP. Today, John Wilson occupies a similar space in British musical culture, bringing to life for concert audiences music originating in film and television.

Wire and Light Legerdemain: Richard Harrington’s unique art at MCLA Gallery 51, North Adams, Massachusetts

The mysteries of these works deepen when illuminated with a spectral light slit and allowed to traverse the physiognomy of the hard-metallic torsos.

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