This weekend marks the centennial of the Titanic disaster. One hundred years ago Saturday, the ship that, as legend had it, "God himself couldn't sink," struck an iceberg in the North Atlantic. It was about 20 minutes to midnight on April 14, 1912. Two hours and 40 minutes later, the Titanic was gone.
Originally published on Tue September 18, 2012 6:05 pm
Tomorrow is the income tax filing deadline in the U.S., and jazz musicians in particular know it. The overwhelming majority of jazz musicians are freelance performers (and often freelance teachers, composers and other music-related service providers). But the informal aesthetics of the jazz world often extend to its business practices as well, with its handshake deals and cash payments. That makes it quite difficult to keep track of income and expenses when it comes time to report to the Internal Revenue Service.
Amnon Weinstein first encountered a violin from the Holocaust 50 years ago. He was a young violin maker in Israel, and a customer brought him an old instrument in terrible condition and wanted it restored.
The customer had played on the violin on the way to the gas chamber, but he survived because the Germans needed him for their death camp orchestra. He hadn't played on it since.
"So I opened the violin, and there inside there [were] ashes," Weinstein says.
Numbers — they always look so solid, so reassuring, so — dare I say — hopeful? Earlier this week, the U.S. Department of Education issued a new report titled Arts Education In Public Elementary and Secondary Schools, 1999-2000 and 2009-10.
When legendary jazz guitarist Wes Montgomery died in 1968, the list of his recordings filled an entire page — single-spaced. Now, more space is needed, because a significant new collection of previously unreleased Wes Montgomery music is out this month on a new compilation, Echoes of Indiana Avenue.
What's the saying — the more things change, the more they stay the same? It seems that's how it goes in the ways we make music. MIT futurologist Tod Machover rethinks traditional instruments, coming up with new things like the hyperpiano; Pianist Michael Chertock gives it a go in an explosive excerpt below.
New York's Metropolitan Opera is gearing up to launch Wagner's complete Ring cycle, but just how "revolutionary" is the $16 million, 45-ton production? New York Times' Anthony Tommasini talks with Met GM Peter Gelb about the embattled Robert Le Page production, a conversation Parterre Box views as "damage control" on Gelb's part.