Tuesday, October 8, 2024

News and Ideas Worth Sharing

Larry Wallach

Larry Wallach is the Livingston Hall Chair in Music at Bard College at Simon’s Rock, where he has taught for five decades. He is a performer, composer, musicologist, and educator whose interests span the history of Western music up to the present day, with particular focus on baroque and modern repertories. He has published articles about Charles Ives and Johannes Brahms, and as pianist performed all the Ives violin sonatas. He is a founding board member of the Berkshire Bach Society. Dr. Wallach is active as a keyboard player on harpsichord, organ, and piano, collaborating with Ronald Gorevic, Paul Green, the Avanti Wind Quintet, John Cheek, Daniel Stepner, Stephen Hammer, Lucy Bardo, Paul Green, Susanna Ogata, Allan Dean, Ronald Barron, the Berkshire Bach Society chorus, Crescendo, and Anne and Eva Legêne. He has organized and performed in a concert for the Bard Retrospective Festival for Charles Ives in 1996, for the Housatonic River Festival Concert in 2004, for the Boston Early Music Festival in 2009, and for a program of music for four harpsichords that was performed in Norfolk CT, Great Barrington, MA, Albany NY and Hunter NY in 2009 and 2010. His compositions, primarily of chamber music, have been performed in New York, New England, Texas, California, and elsewhere. In 2020, his orchestral composition “Species of Motion” was recorded by the Janacek Philharmonic in the Czech Republic. He started writing music reviews for the Columbia College newspaper and resumed in 2009 for the Berkshire Review of the Arts.

written articles

Not the usual suspects: The Terra String Quartet expands the repertory

This is a group that could have showcased its formidable skills with staples by Beethoven or late Schubert, but instead chose to expand our horizons with less frequently played works by Mozart and especially Mendelssohn.

Musical ‘elitism’ validated: Miranda Cuckson and Conor Hanick at PS21’s House Blend series

In Miranda Cuckson and her pianist-partner Conor Hanick, PS21 has found and featured two elite artists that happen to be "classical" musicians who share a rare sense of style, adventure, and program-building.

A double-double from Mozart and Ax: four concertos in two nights

There are rare artists who succeed in convincing us that we are hearing the essence of Mozart, and among them Emmanuel Ax rates very high.

Saving Haydn for last, with jokes from the composer and the podium

It was unusual and refreshing that Alan Gilbert not only chose a relatively unfamiliar Haydn symphony (one I had never heard live before) but gave it a place of honor at the end of a substantial program of works otherwise from the 20th century.

How to perform a masterpiece: A lesson from Schubert and the Danish String Quartet

While the innovative nature of these programs is worth positive comment, I would like to focus here on the way the Danish Quartet created a masterpiece of a performance fully worthy of the music itself.

Contemporary’ also means older composers and their music: The closing concert of Tanglewood’s 2024 Festival of Contemporary Music

Today there exists a wide range of musical styles that can fall under the term “contemporary.”

Critique, Prayer, and Praise at Tanglewood: James Lee III responds to Aaron Copland, Randall Thompson joins with Igor Stravinsky

How did the works on this program hang together? It takes a bit of background digging and imaginative listening to find the connections, but they are there.

REVIEW: Energy to spare — The TMC Orchestra and Shostakovich Fill the Shed with Sound and Drama

Despite its year-to-year changing membership, this orchestra is reliably distinguished by energy, enthusiasm, and responsiveness, along with technical polish and precision.

REVIEW: Opening night at Tanglewood sees Beethoven both grandiose and intimate

Each work received a finely nuanced rendering with each detail carefully shaped as part of an overall conception, not just of individual movements, but of the totality of these large-scale works.

Two (fold) in One (flute): Brandon Patrick George’s Solo Recital at Tannery Pond

George’s concept was to pair works on the basis of either direct or common influences, thereby creating a dialogue spanning centuries and continents and arranged as a wide-ranging journey with the common vehicle of a solo flute.

REVIEW: Peter Sykes draws the stops; Bach and the Roosevelt Organ draw the audience

An additional facet of Sykes’ artistry is his skill in building a program that sustains interest and expands the audience’s horizons.

REVIEW: Tanglewood Music Center Orchestra Concert performs Strauss, Frank, and Prokofiev in Ozawa Hall

The Tanglewood Music Center Orchestra continues to serve the indispensable function of widening audience exposure to less familiar repertory.

REVIEW: Spotlight on the Tanglewood Music Center Orchestra

The first half of the program offered extroverted and colorfully scored works performed with panache by young musicians having the time of their lives. After intermission, a perennial favorite of symphonic concerts, Mahler’s Symphony no. 4, benefited from the presence of Nelsons.

Central European string quartets across the centuries

You can almost draw a straight line on a map of central Europe through the birthplaces of the three composers represented on last Sunday afternoon’s concert at South Mountain.
spot_img

The Edge Is Free To Read.

But Not To Produce.