Originally published on Mon December 3, 2012 12:08 pm
Lincoln Center and the New York Phil have confirmed plans for a (long, long overdue) major overhaul of 50-year-old Avery Fisher Hall that "aims to redefine what it means to be a concert hall at a time of challenging orchestra economics and changing audience habits." This will be the third attempt at addressing the venue's acoustical challenges.
The Peony Pavilion is one of China's most famous operas, but uncut performances of this romantic 16th century work can take more than 22 hours. Chinese composer Tan Dun, who's best known for his Academy Award-winning score for the film Crouching Tiger, Hidden Dragon, has adapted the work into a compact 75 minutes.
It was almost spooky. Each night after 11 p.m., when nothing was stirring in the Kennedy Center Concert Hall, two men would enter. One would sit at the organ, playing a key or series of keys, and the other would crawl around inside the organ pipes, 40 feet off the floor. The process went on for months.
It was the all but final phase of installing a new organ for the Kennedy Center for the Performing Arts in Washington, D.C. And on Nov. 27, the organ makes its formal debut.
Composer Max Richter has done a brave thing for any artist in any medium: He's messed with a classic, specifically, Vivaldi's four violin concertos known as The Four Seasons. He has a new album simply titled Recomposed by Max Richter: Vivaldi, The Four Seasons.
Richter says that as a child, he loved The Four Seasons. But as he grew older, that passion faded.
Originally published on Thu November 29, 2012 1:29 pm
In the New York Times this week, Anthony Tommasini has a series in both print and video about those microcosmic musical moments like "a fleeting passage, a short series of chords, some unexpected shift in a melodic line — when something occurs that just grabs us." What links these diverse bits from Chopin to Puccini to Mahler together?
If Carl Philipp Emanuel Bach wrote a dull piece of music, I've not yet heard it. And even if there is a workaday piece or two lurking within his 300 keyboard sonatas, you certainly won't find it on this new album by British pianist Danny Driver, who deftly uncovers the surprising restlessness of the music.