Articles by The Editor

Coming Up and Of Note

Hotel Elefant’s “speakOUT,” featuring composer Paola Prestini

Hotel Elefant's spring concert continues their third season theme "speakOUT," representing artists who are utilizing music to reflect on issues both personal and political. Not only will the program “speakOUT” by focusing on these issues, but the program itself will raise its voice by featuring an all-female cast of composers, presenting innovative work by featured composer Paola Prestini along with emerging composers Lainie Fefferman and Leaha Maria Villarreal. The ensemble will perform Prestini’s Yoani, with a libretto by Royce Vavrek, including a brand new movement from the work, and Inngerutit; the world premiere of Lainie Fefferman’s Hotel Elefant-commissioned piece Impostor Syndrome; and the world premiere of Leaha Maria Villarreal’s This is How We Love.
New York Arts in Italy

Leonard Freed, The Italians – exhibition now at The Leica Gallery, New York, until August 9, 2014

Leonard Freed, The Italians, Quantuck Lane Press, 2011, exhibition now at the Museo di Roma in Trastevere through May 27, 2012. The great documentary art photographer's warm-hearted, but sharply observed takes on Italian life between 1956 and 2005 appear in 190 superb duotone illustrations. With an introductory essay in English and Italian by Berkshire Review/New York Arts editor, Michael Miller. The selection of images in the book and in the exhibition was made by Freed's widow, Brigitte and James Mairs, editor at the Quantuck Lane Press. The Italian edition, which is also bilingual and virtually identical, is distributed by the local organizer, Admira.
Coming Up and Of Note

Extraordinary Brahms and Shostakovich from Tonu Kalam and the UNC Symphony Orchestra

It's not our custom to review performances we post, but I will say a few words about this concert. Brahms's Third Symphony is notoriously difficult to perform successfully. I have heard great conductors fail in it. The Toscanini story is famous. None of his NBC Symphony performances quite gel, and there was always much discussion about why this particular symphony, which seemed so well-suited to his temperament evaded him, until his splendid performance with the Philharmonia Orchestra became generally available as a recording many years after his last visit to London at the very end of his career. The puzzlement about Nelsons' recent performance with the BSO is another case in point. Tonu Kalam has no such problem here. By adopting a gentle, lyrical approach to the work, Kalam achieves a performance that is musically and emotionally coherent—one of the finest I've heard.
Coming Up and Of Note

Thank you!!! Because of your donations New York Arts now qualifies for grants from private and government foundations.

Thanks to the generosity of some of our readers, we are now eligible for grants from private and government foundations, which are as crucial to our public programs of concerts, exhibitions, and readings, as they are to vitality of New York Arts and The Berkshire Review. Of course your generosity at any level is warmly appreciated. But please continue your support! Private donations are essential to our ongoing operations, and foundations look for private community support in considering the awarding of grants.
Music

The American Symphony Orchestra’s 50th Birthday Celebration: Leon Botstein Conducts Ives’ Fourth and Mahler’s Eighth

Leopold Stokowski seemed to float in and out of Carnegie Hall last Saturday evening, as Leon Botstein led the American Symphony Orchestra in their festive—and massive—50th birthday celebration. In fact Maestro Botstein made it perfectly clear that the concert was as much about the founder as it was about the orchestra in his introductory talk and in his important program note, available on the ASO site. The American Symphony Orchestra was the fruit of over twenty-two years of short-lived attempts by Stokowski to found orchestras which put into practice a few ideals that were dear to his heart: bringing American-born and -trained musicians into the mainstream of classical music, to make orchestral concerts easily and inexpensively available to working people, and to play repertory outside the most familiar classics.
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