2018

Contemporary Music

Come celebrate William Bolcom’s 80th birthday with an all-Bolcom program at Merkin Hall, Sunday, April 29, 2018 | 8:00pm

The illustrious American composer William Bolcom is about to celebrate his 80th birthday! In his honor there will be a full program of Mr. Bolcom’s chamber music, including the world premiere of his Dark Dreams that will Not Disappear, commissioned and performed by violist Jacob Adams and pianist Angela Drăghicescu for this occasion.
Contemporary Music

Eve Beglarian: Songs from A Book of Days at the Morgan

To call composer/performer Eve Beglarian inventive is to undercut her gifts and reach by a great deal. Winner of the 2017 Herb Alpert Award in Music for her “prolific, engaging and surprising body of work,” her Book of Days, presented as an adjunct to the Morgan’s exhibit, Now and Forever: The Art of Medieval Time, on view until April 29, 2018, is her effort to make a piece of music for every day of the year. Twelve of her one hundred thirty-two finished pieces were on the program.
Theater

Preview: Spit & Vigor’s Moth & Flame—FINAL WEEKEND, Friday and Saturday, April 20-21, at Balcony Theater at the Center at West Park 165 W 86th Street

A full review of this remarkable two-person play will appear in May. Since the final performances take place this weekend, Friday, April 20th and Saturday, April 21st, I offer this very brief account to urge readers not to miss this fascinating experiment in parallel lives—the lives of artists, a category of humanity that Plutarch passed over.
Music

San Francisco Symphony, Edward Gardner, conductor, Simon Trpčeski, piano, play Tippett, Gershwin, and Rachmaninoff

Though Michael Tilson Thomas doesn't step away from our podium officially until the summer of 2020, his recently announced departure ensures every guest conducting week at the San Francisco Symphony between now and then amounts to a job interview for the Music Directorship. English conductor Edward Gardner, current Music Director of the Bergen Philharmonic in Norway and a frequent recording artist for Chandos with British orchestras, surely had this possibility in mind for his impressive debut program here last week: a shrewdly chosen British signature piece; a bow to MTT's New York Broadway roots with Gershwin, and Rachmaninoff's final blockbuster, written in America. He brought the house down.
Musical Theater

Unplugged, Pared Down, Terrific: A Sondheim Tribute at Feinstein’s 54 Below

Stephen Sondheim redefined American musical theater. Fifteen of his works were highlighted by Phil Geoffrey Bond in the Sondheim Unplugged series, now in its seventh season. The evening featured Sondheim’s music and lyrics, (as well as several numbers created in collaboration with others), performed by actor/singers, several of them alums of the original Broadway shows. The singers were accompanied by masterful pianist Joe Goodrich and laced with just enough views of posters and behind-the-scenes film shots shown on monitors. The final still of Sondheim, who recently celebrated his eighty-seventh birthday, triggered tears of gratitude.
Music

Three Recently-Founded Chamber Music Series in Manhattan: The Crypt Sessions, The ASPECT Foundation, and the WA Concert Series

Some of the most rewarding musical experiences I have enjoyed this season have been with small chamber organizations of recent mint. It is no coincidence that all three of the concert series feature ambitious offerings of food and drink. As Ruth Sommers, founder and director of yet another series, Festival Chamber Music, which I have already discussed in these pages, the rationale for this is as much social as culinary. She attributes the extraordinary success of her series in part to this social element, and the series discussed here are no less successful and equally lively as an environment to meet like-minded people, including the musicians. This does in fact enhance the music directly, as only conversation can. As for the food and drink, I can say all are excellent, without going so far as to review them, as if they were restaurants. The point is the social encounter, which above all helps attract newcomers to classical concerts and does wonders in making the events more relaxed and fun for everybody.
Music

The 2017 Bethlehem Bach Festival in Retrospect, with a Look Forward to 2018, Marking the 120th Anniversary of the Bethlehem Bach Choir

I recently spent an afternoon at the 92nd Street Y, listening to Angela Hewitt play the  Goldberg Variations, the second recital of a pair which began with the First Book of the Well-Tempered Clavier. The hall was packed for both concerts. The audience remained raptly silent during both. This afternoon every single member of the audience who was capable of standing was on his feet, expressing sincere gratitude for the great music they had just heard. There was a kind of religion in this, and it brought Jews, Christians, agnostics, and atheists together to hear the greatest of all music, which people who know it regard with spiritual fervor. This is the third year of Ms. Hewitt's Bach cycle, which will continue next season, overlapping with Garrick Ohlsson's traversal of the complete piano music of Brahms. That is how J. S. Bach is cultivated in the neighborhood where I live.
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