Violinist’s Attempted Murder Charge Is Dropped
Stefan Arzberger, a violinist with the Leipzig String Quartet in Germany, had been accused of trying to strangle a fellow guest in a Manhattan hotel last year.
Wed, 29 Jun 2016 19:51:21 -0500
Kip Winger Explores His Classical Side
You might remember the hair band Winger and its MTV hit "Seventeen." The band's namesake, bassist Kip Winger, has another side: classical composer.
Sat, 25 Jun 2016 08:32:00 -0400
Maya Beiser Spins The Clock Back To Bach
In a new video, the cellist plays with time and memory, turning back the clock to when she first heard J.S. Bach's music on a scratchy old LP. It remains, she says, a timeless lodestar for her art.
Thu, 23 Jun 2016 12:57:28 -0400
Alessio Bax: Tiny Desk Concert
In time for Father's Day, watch the celebrated pianist play lullabies by Bach and Brahms for his 22-month-old daughter, who nearly steals the show.
Fri, 17 Jun 2016 09:00:00 -0400
An American Opera Impresario Takes His Final Bow
In Houston and San Francisco, David Gockley commissioned operas destined for stages worldwide. As he retires, he reflects on reviving Scott Joplin and premiering Nixon in China.
Thu, 16 Jun 2016 08:26:00 -0400
Après lui le déluge
On this day in 1841 Adophe Adam's ballet Giselle premiered in Paris.
Tue, 28 Jun 2016 20:07:15 +0000
No saints in two acts
The cast of Wiener Staatsoper’s first-ever performance of Lulu in 1968 reads like a Who’s Who of then-contemporary Austro-German opera: the 28-year-old Anja Silja, Martha Mödl, Waldemar Kmentt, Hans Hotter, Hilde Konetzni, Manfred Jungwirth, Heinz Zednik, and Karl Böhm presiding over a production by Otto Schenk. Silja, who is still active in opera today at age 76, sang the title role in Wien 19perform Schigolch around the world into his 80s, memorably singing the part again in San Francisco in 1989. This is, of course, the original two-act version given until the death of the Widow Berg (who, some claim, was […]
Tue, 28 Jun 2016 18:38:22 +0000
Sarah Vaughan On Piano Jazz
Sarah Vaughan possessed one of the legendary voices in jazz. In this program from 1986, Vaughan's lively and sassy personality is on display, as are her amazing vocals.
Fri, 10 Jun 2016 11:00:00 -0400
Queer and Loathing in Las Vegas: Performing Community in Hagen’s Vera
The first half of the 20th century saw the demise of the great operatic heroine and out of the fracture arose a focus on male roles, ensemble casts, and female roles singing in a completely new way. And as opera became a more racially integrated affair, new disconnects emerged while similarly allowing for new audiences to see their bodies presented as operatic vehicles.
Wed, 29 Jun 2016 12:21:47 +0000
Towards The Future: New Music in the 21st Century
At a time when our most immediate collective reality is not only mediocre, but also dangerous and pathologically against the creation of fairer worlds, I would like to believe that there is some work to be done in our field, where perhaps we can reclaim creativity and imagination.
Mon, 27 Jun 2016 12:55:31 +0000
Timbre, Envelope and Variation in Electroacoustic Music
Timbre and envelope are intricately related and are major determinants of how effective a sound event in music will be, whether in acoustic music or electroacoustic music. Since the sound events used in electroacoustic music often have little or no distinct pitch characteristics, traditional contrapuntal sequencing devices often may not generate identifiable or interesting variations, but other techniques, including models borrowed from rhetoric, can be used effectively.
Thu, 23 Jun 2016 16:00:16 +0000
Imagining Community at Bang on a Can’s First Marathon
Essential to the construction of community is the creation of a shared history: a rhetoric and a narrative about who the community is, and what its values are. And in order to create a new kind of community, Bang on a Can had to overplay its hand. Community had to be performed.
Wed, 22 Jun 2016 12:45:56 +0000
The Defeat of New Music
Because of Babbitt and others, contemporary music gained access to academia and did find some solace, but the price of admission was nevertheless very high. By fundamentally treating contemporary music as a field of scientistic exploration, this type of music neglected most of its bonds with modernity and its emancipatory project based on self-critique.
Mon, 20 Jun 2016 13:06:38 +0000
The Peter Jay Sharp Library, Manhattan School of Music, 120 Claremont Avenue, New York, NY 10027