Argerich Bewitches With Prokofiev In Vienna

Vienna, Konzerthaus; March 2, 2020—Martha Argerich is one of the very few classical music superstars that please both the hard-nosed aficionados and the broader public. She’s a Grigory Sokolov and Lang Lang rolled into one. If you don’t like Argerich, you also subscribe to “Curmudgeon Monthly”. Five decades into her career she increasingly resembles Mim […]

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Brahms’ German Requiem Premiered at Carnegie Hall

CARNEGIE HALL, NEW YORK, MARCH 2, 2020 OK, it wasn’t exactly THAT kind of premiere, but it was the first performance of the German Requiem in a new critical edition by Brahms scholar Michael Musgrave, who contributed a thoughtful note to the program booklet about how this version differs from the one we normally hear. […]

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A Rousing And Moving Mother of Us All

The Metropolitan Museum of Art – American Wing; New York, February 14, 2020—The famous quilt collection in the Metropolitan Museum of Art’s American Wing is an apt metaphor for Virgil Thomson and Gertrude Stein’s 1947 opera The Mother of Us All. The quilts are the handiwork of women, often collectively stitched-together patchworks, made up of […]

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The Ammann Piano Concerto “Gran Toccata” Explored

Munich, Gasteig; January 9, 10, & 12, 2020—The Piano Concerto of Swiss composer Dieter Ammann was supposed to have been premiered at Vienna’s Konzerthaus with the Vienna Symphony. It wasn’t ready, however, and the concert last April (reviewed for ClassicsToday) featured Bartók’s Third, instead. The actual premiere had to wait for the BBC Proms, which, […]

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Conference Report–Music in the Disruptive Era: the Digital, the Internet, and Beyond

Organized by the Centro Studi Opera Omnia Luigi Boccherini, Lucca Lucca, Italy; 14-16 December 2019—The impact of the Internet and digital technologies on the way the music is created, disseminated, and consumed is impossible to assess fully. Because we live in the middle of this “disruptive era,” the full impacts of the new technologies and […]

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Editorial: Classical Music’s Ten Dirtiest Secrets

Classical Music’s Ten Dirtiest Secrets Considering how culturally valuable and self-evidently important classical music is supposed to be, its proponents are a surprisingly defensive group. At performing arts organizations, press departments fret that the slightest negative comment about an artist might attract public notice. What little marketing that takes place with respect to recordings always […]

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