Join us Friday as we celebrate the 75th anniversary of Tanglewood, the summer music festival that is both the seasonal home of the Boston Symphony Orchestra and a legendary destination in its own right.
The odds of making it in the classical music business are long, but for the past two years, 25-year-old viola player Nathan Schram has received a stipend, health insurance, lots of amazing performance opportunities and a real-world education teaching violin students at an inner-city elementary school in Brooklyn. Now, Schram and his colleagues have to say goodbye to The Academy.
How many contemporary political figures have a piano prize named after them? Here's one: Burmese opposition leader and Nobel Peace Prize laureate Aung San Suu Kyi. A gold medal will be awarded in her honor at the Leeds International Piano Competition. Playing the piano was one of her coping mechanisms during 15 years of house arrest.
Originally published on Tue September 18, 2012 4:26 pm
Every musician practices differently. Some turn their own living rooms into rehearsal spaces. Others, like pianist Jonathan Biss, prefer to step out of the comforts of home and into a studio. "It's a more productive way of working," Biss told us as we barged in with cameras and microphones.
Seventy-five years ago, an American institution was born: Tanglewood, the summer home of the Boston Symphony Orchestra, a cultural mecca to arts lovers and the musical refuge for generations of young artists.
Originally published on Tue September 18, 2012 4:41 pm
For New York Polyphony, it's location, location, location. The four-man vocal ensemble thrives on music from the Renaissance, much of it designed for cavernous, reverberant spaces. Think voices soaring through arched cathedrals. But madrigals by Flemish composer Orlando di Lasso, with their more intimate storytelling vibe, are suited for smaller venues — like, say, the living room of New York Polyphony bass Craig Phillips.
Originally published on Tue June 26, 2012 10:38 pm
Like the music of his good friend Béla Bartók, Scottish composer Erik Chisholm's two piano concertos rely heavily on folk sources. But in Chisholm's case, the influences come from Scotland and India rather than Bartók's beloved Eastern Europe.