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.
An amazing new documentary film is a must-see not just for music lovers, but for anyone who needs to see the nourishing power of the arts and human connections.
Kinshasa Symphony takes us into the everyday lives of the members of a most unlikely ensemble: the Orchestre Symphonique Kimbanguiste, located in the capital of the Democratic Republic of Congo, a place ravaged by war, endemic poverty and corruption.
Originally published on Fri August 2, 2013 10:23 am
Born in Arkansas in 1887, Florence B. Price (née Smith) moved to Boston at age 14 where she enrolled in the New England Conservatory of Music, studying with Frederick Converse and privately with George Chadwick. After graduating in 1906, she returned to Arkansas and held several teaching positions until 1927 when her family moved to Chicago.
Continuing her composition studies there, she would go on to write some 300 works and become the first black woman in the U.S. to be recognized as a symphonic composer. The two works on this new album testify to her art.