December 29, 2017 • 11:16 am Comments Off on Vaughan Williams Five
Immersed in Vaughan Williams’ Symphony No. 5 — and don’t want to leave it.
Filed under: Vaughan Williams
December 20, 2017 • 10:50 am Comments Off on Cellist Jan Vogler and His Trio Venture into “New Worlds” with Bill Murray
My latest for Strings magazine (October issue):
Chamber music is all about knowing how to forge close partnerships. For the world-renowned cellist Jan Vogler, that instinct includes connecting to artists beyond the classical-music sphere. But he didn’t expect a serendipitous encounter with Bill Murray to lead to one of the most innovative projects he has ever undertaken.
Filed under: Uncategorized
December 16, 2017 • 1:09 am Comments Off on Beethoven at 247
For Beethoven’s (conventionally celebrated) birthday, listening to one of my favorites:
Filed under: Beethoven
December 14, 2017 • 10:23 am Comments Off on John Adams, with Strings Attached
John Adams. Photo by Margaretta Mitchell
My new John Adams profile for Strings is now available online:
In the contemporary music world, writing opera tends to generate the sexiest headlines and, at least temporarily, to garner more widespread attention….
Filed under: John Adams, profile, Strings
December 6, 2017 • 9:42 pm Comments Off on Conrad Tao: Leaving the Comfort Zone
Conrad Tao is performing Thursday night with the Berkeley Symphony.
My new profile of pianist and composer Conrad Tao for Steinway is now online:
HIS NAME HASN’T changed, but mentally splicing the twenty-three-year-old Conrad Tao with the child prodigy who first came before the general public more than a decade ago is likely to make you do a double take.
Filed under: Uncategorized
November 29, 2017 • 8:40 am Comments Off on Seth Parker Woods Comes to Seattle
Here’s a recital debut I’m especially looking forward to: Seth Parker Woods at the Performance Chapel. My Seattle Times story on this remarkable cellist.
Performances by Chicago-based cellist Seth Parker Woods are not only ear-opening: They expand your perceptions of his instrument’s identity itself.
Filed under: cello, new music, Seattle Times, Seth Parker Woods
November 24, 2017 • 8:17 am Comments Off on An Unfinished “Phantom Opera” Is Completed with Love
Pauline Oliveros; photo by Allan J. Cronin
Remembering the great Pauline Oliveros, one year after her death: my New York Times story on The Nubian Word for Flowers:
Pauline Oliveros, the beloved composer who died last November, spent her long career experimenting — with improvisation, with technologically enhanced sound design and with “deep listening,” her term for a kind of heightened, mindful perception of sound.
Filed under: new opera, New York Times
November 16, 2017 • 11:27 am 2
Simon Woods, who as President & CEO has worked so closely with Ludovic Morlot to reshape the Seattle Symphony and enhance its sense of mission, will head south in January to become Chief Executive Officer of the Los Angeles Philharmonic.
Michael Cooper reports in The New York Times:
In Los Angeles, Mr. Woods will have far greater resources — and a far larger organization to run. The Los Angeles Philharmonic’s annual budget, the largest of any American orchestra, is approximately $125 million — nearly four times Seattle’s, which is $32 million. But he said he was undaunted.
Here’s the full Seattle Symphony press release:
Seattle Symphony Board to Launch Search for Successor
SEATTLE – The Seattle Symphony’s President & CEO Simon Woods, who has led the organization since 2011, will leave in January to become the Chief Executive Officer of the Los Angeles Philharmonic, widely regarded as one of the nation’s most important and forward- looking orchestral organizations. A search committee led by Board Chair Leslie Jackson Chihuly and Chair-Elect René Ancinas will be formed to launch an international search for Woods’ successor.
Filed under: Los Angeles Philharmonic, music news, Seattle Symphony
November 13, 2017 • 9:47 am Comments Off on Strange Beauty: The Berlioz Requiem in Seattle
(c) Brandon Patoc
My review of the Berlioz Requiem performed by Ludovic Morlot and Seattle Symphony:
Even for a composer as naturally original as Hector Berlioz, the Grande messe des morts stands apart for its wild uniqueness…
Filed under: Berlioz, review, Seattle Symphony
Arts & Culture Stories from NPR
MEMETERIA by Thomas May 