Latest

November 21, 2021 Obituary: Michael Miller, Writer, Editor of New York Arts and Hudson-Housatonic Arts, Dies at 73
November 8, 2021 A Crop of Recordings XXXVII: Schmitt/Honegger, Furtwangler, Sibelius, Ondine
October 20, 2021 Glimmerglass 2022: Francesca Zambello’s Final Season Ends Twelve-Year Tenure
August 22, 2021 A Crop of Recordings XXXVI: Mozart/Muti, Gershwin/Rodziński, Prokofiev and Miaskovsky/Vasily Petrenko, Brahms/Iván Fischer, Handel/Haselböck
August 4, 2021 Commentary: What We Do

Paavali Jumppanen, Pianist, Talks to Michael Miller before his Recital at the Frick Collection, Sunday, October 8, at 5 pm.

October 5, 2017Michael Miller

Filed UnderMusic Podcasts

Pavaali Jumppanen

Pavaali Jumppanen

Podcast: Play in new window | Download (Duration: 47:23 — 75.4MB)

Subscribe: Apple Podcasts | RSS

I’m very pleased to present this interview with Paavali Jumppanen, who will be playing a recital at the Frick Collection this coming Sunday, October 8, 2017, at 5 pm. He will play works by three composers he has studied in particular depth over many years: Beethoven, Debussy, and the William Duckworth (1943-2012).

Debussy: Études
Duckworth: Selections from The Time Curve Preludes
Beethoven: Sonata No. 23 in F Minor, Op. 57 (“Appassionata”)

Mr. Jumppanen has accomplished a great deal in the United States as well as his native Finland, primarily in Boston, where he appeared regularly at the Isabella Stewart Gardner Museum. He has also received a fellowship at Harvard and been a resident at Bucknell.

As you will learn in the podcast, he is not only a pianist of exceptional virtuosity and perception, he is interested in many different aspects of the history and theory of music. He is currently director of two festivals in Finland, one devoted to the piano, Piano Espoo,

You will find more, including online recordings and links to available CDs and vinyl recordings on his artist site and blog, Paavali’s Studio.and another, far to the north in Lapland, Kiehu Music, which is rooted in the particular mixed culture of that remote borderland between Finland and Sweden.

Related

Tagged WithPaavali Jumppanen

About the author

Michael Miller

Michael Miller, Editor and Publisher of New York Arts and The Berkshire Review, an International Journal for the Arts, 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 The Berkshire Review and 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.

More Posts (342)

Support New York Arts. All donations are tax deductible We can't effect our transition to an organization that will bring you original multidisciplinary performances and exhibitions, or the essays, reviews, articles, and interviews the arts deserve 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.

Read the Fractured Atlas privacy policy here: https://www.fracturedatlas.org/site/about/privacy

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.

Obituary: Michael Miller, Writer, Editor of Hudson-Housatonic Arts and New York Arts, Dies at 73

Michael James Miller, writer and arts critic, died aged 73 on November 14th, 2021, after a long illness with cancer. He was at home in North Adams, MA, his partner Joanna Gabler and youngest son, Lucas, beside him. His last word was “Peace.”

Michael was born on January 10th, 1948, in Miami, FL, the son of Max “Ike” Miller, a restauranteur and later a successful commodities trader. His mother was Helen (née Briggs), a homemaker and devoted parent to him and his elder sister, Anne.

A Crop of Recordings XXXVII: Schmitt/Honegger, Furtwangler, Sibelius, Ondine

Here is one of the strangest living bits of ceremonial history you will ever encounter, along with some fine, nearly forgotten music ever since. The year 1937 witnessed Paris’s International Exposition, the last continental world’s fair to take place before the Second World War, and something of a nervous set piece for political tensions of the day.

Bella Merlin, co-author of When Action Is Eloquence, talks with Michael Miller about Shakespeare and Company

In her interview about the book she has co-authored with Tina Packer, When Action is Eloquence, the distinguished actor and teacher Bella Merlin reflects on how she came into contact with Shakespeare & Company and her three year progression through the completion of a manuscript based on her own deep knowledge of acting and her participation in the Company’s month-long intensive course.

The Belcea Quartet plays Szymanowski and Schubert – Capital Region Classical

It may be unnecessary to claim that the Belcea Quartet is one of the most esteemed string ensembles performing today. However, being based abroad, and having been founded over twenty-seven years ago by Romanian violinist Corina Belcea and Polish violist Krzysztof Chorzelski, their artistic uniqueness and stature has eluded wide recognition in the U.S.

Brahms in Good Hands

Traditionally, the BSO’s Tanglewood season concludes with a performance Beethoven’s Ninth, an overplayed sound-track triggering optimistic images of brotherhood and the profound goodness of the human heart. The mere fact that this became a ritual has drained it of musical significance—which has been replaced by its function as an ambiguous signifier; it has been pulled out to celebrate great occasions, cultural and political movements of all stripes, including by the Nazis.

Disparities, Intended or Otherwise: House-Blend III at PS 21, Chatham

Ligeti’s Trio for horn, violin, and piano is subtitled “Hommage à Brahms” since it was commissioned, in 1982, as a companion piece to Brahms’ trio for the same instruments. This is a rare instrumental combination owing to radical disparities in color, volume, and methods of tone production that challenge the composer to balance and blend their sounds. It was probably this quality that acted as one of the inspirations for this piece, which marked a turning point in the career of this composer. Ligeti does not consciously emulate Brahms in this work; if anyone, it is Beethoven who serves as a distant presence.

A Crop of Recordings XXXVI: Mozart/Muti, Gershwin/Rodziński, Prokofiev and Miaskovsky/Vasily Petrenko, Brahms/Iván Fischer, Handel/Haselböck

Welcome to the world of unselfconscious Mozart as it once was. When this LP first arrived in record bins in 1977, there was nothing stylistically unusual about romantically phrased performances of the composer’s music, delivered by large orchestras with substantial masses of strings. Herbert von Karajan, Bruno Walter, Karl Böhm, George Szell, all recorded “big” Mozart. Towards the end of the decade Josef Krips would turn out some nicely crisp late symphonies with the Concertgebouw for Phillips, a bit reduced in scale, but we were still a long way from the aggressive small dog Mozart which bites at our ankles today and answers to the word “Authenticity.”

WP2Social Auto Publish Powered By : XYZScripts.com