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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

Arnold Schoenberg

Contemporary Opera

ramed by a self-portrait painting, Arnold Schoenberg (Omar Ebrahim, c.) recalls a romantic moment from his past, reenacted by Jesse Darden (l.) and Sarah Womble (r.) in Boston Lyric Opera’s World Premiere Schoenberg in Hollywood by composer Tod Machover and librettist Simon Robson.

Tod Machover’s Schoenberg in Hollywood, by the Boston Lyric Opera

December 4, 2018Charles Warren

The Boston Lyric Opera recently completed its very successful run of Tod Machover’s new opera, Schoenberg in Hollywood, libretto by Simon Robson. Returning from out of town, I was fortunate to attend the final performance, Sunday, November 18th.

Music

CUNY Music in Midtown: Paula Robison presents Schoenberg’s Pierrot Lunaire, Thurs. Dec. 2, 1:00 pm

April 22, 2011Michael Miller

Paula Robison presents Arnold Schoenberg’s Pierrot Lunaire, op. 21|
Music in Midtown at the Elebash Recital Hall, CUNY Graduate Center
December 2, 2010

Sooyun Kim, flute/piccolo
Carol McGonnell, clarinet/bass clarinet
David Fulmer, violin/viola
Eric Jacobsen, cello
Katherine Chi, piano…

Music

Arnold Schoenberg in Los Angeles, 1948

Boulez and Barenboim conduct the Vienna Philharmonic at Carnegie Hall in Schoenberg, Webern, Boulez, Wagner and Beethoven

February 1, 2010Michael Miller

Vienna Philharmonic Orchestra
Daniel Barenboim, Conductor
Carnegie Hall, January 15, 2010

Beethoven, Symphony No. 6, “Pastoral”
Wagner, Prelude and Liebestod from Tristan und Isolde
Schoenberg, Variations for Orchestra, Op. 31
Encore: J. Strauss Jr., Unter Donner und Blitz, Op. 324…

Music

Pierre Boulez

Music in a Time of Disaster…The Vienna Philharmonic conducted by Pierre Boulez, Carnegie Hall, January 16, 2010

January 23, 2010Larry Wallach

Vienna Philharmonic Orchestra
Pierre Boulez, conductor
Carnegie Hall, January 16, 2010

Schoenberg, Chamber Symphony No. 2, Op. 38
Schoenberg, Piano Concerto, Op. 42 (Daniel Barenboim, soloist)
Webern, Six Pieces for Orchestra, Op. 6
Mahler, Adagio from Symphony no. 10 …

Music

Sir Simon Rattle

Sir Simon Rattle and the Berlin Philharmonic play Brahms and Schoenberg at Carnegie Hall

November 19, 2009Michael Miller

Carnegie Hall, November 11-13, 2009

1. Berliner Philharmoniker
Sir Simon Rattle, Music Director and Conductor

Brahms-Schoenberg, Piano Quartet No. 1 in G Minor, Op. 25
Brahms, Symphony No. 1

2. Berliner Philharmoniker
Sir Simon Rattle, Music Director and Conductor
Evelyn …

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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.”

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