Search

mandersmedia music shop

Retailers of music on Vinyl, CD, Cassette and other formats on Discogs

Category

Classical

Alex Ross A Marlene Dietrich moment

Retrieved after dipping into Greil Marcus’s forthcoming book Folk Music: A Bob Dylan Biography in Seven Songs (Yale UP).

from Alex Ross: The Rest Is Noise https://ift.tt/LR8lixO
via IFTTT

Alex Ross At the grave of Ernst Toch

Previously: Lubitsch, Korngold, Salieri, Bruckner, Liszt, Georg Trakl, Willa Cather and Edith Lewis, Thomas Mann, Bach, Nietzsche, Monteverdi, Koussevitzky, Michael Furey, Luranah Aldridge, Ligeti, Frescobaldi, Villiers de l’Isle-Adam, Baudelaire and Beckett, Nadia and Lili Boulanger, Stravinsky and Nono, Zemlinsky, Schnittke, Fibich, Xavier Scharwenka, Elliott Carter, Enescu, Rachmaninov, Mahler and many others, Russ.

from Alex Ross: The Rest Is Noise https://ift.tt/G6wOlfN
via IFTTT

Alex Ross Street Symphony’s Bach

Street Symphony is a remarkable Los Angeles-based organization that stages performances and workshops in homeless shelters, jails, and other places where classical musicians seldom appear. Previously, I’ve seen them at the Midnight Mission, a shelter and recovery center on L.A.’s Skid Row. On Saturday night, I attended a different kind of Street Symphony event at Inner City Arts, a specialized arts school. This was oriented more to the general public, although many associates and allies of the group were in the audience. The program consisted of Bach’s Cantata No. 82, “Ich habe genug,” interspersed with monologues by Linda Leigh, a longtime Skid Row resident who has established herself as a poet, teacher, and activist. The performance was a singularly intense and moving occasion; the only point of comparison that came to mind was Lorraine Hunt Lieberson’s legendary account of “Ich habe genug,” in Peter Sellars’s staging. The soloist was the excellent bass-baritone Scott Graff, who sings with the L.A. Master Chorale; I had met Scott while writing my 2017 column about Street Symphony, at which time he was giving vocal lessons to a recovering addict named Brian Palmer. Three years ago came the tragic news that Brian had died at the age of forty-four. He was present in the performers’ thoughts last weekend. The beauty of the event resided in the organic way Leigh’s stories — about an educational trip to South Korea; about her experiences of birth, abortion, and miscarriage; about her conversations with rideshare drivers who pick her up on Skid Row  — intersected with the raw, roiling emotion inherent in Bach’s cantata. No attempt to explicate or justify the connection was made, and none was needed; it simply happened. In purely musical terms, this was a superb account of the work, with precisely articulated and lyrically flowing work by Graff and with fluid accompaniments by Aaron Hill, Jin-Shan Dai, Alex Granger, Eva Lymenstull, Adan Fernandez, and Vijay Gupta, Street Symphony’s brilliant, charismatic leader. But in conjunction with Leigh it became a great deal more. Afterward, Gupta mentioned that Bach’s music would originally have been heard in conjunction with a sermon in church. Leigh’s monologues were a sermon of a kind, though they were free of dogma. In the wake of the Supreme Court’s catastrophic assault on the rights of women, the evening offered a kind of refuge, one free of easy consolation.

from Alex Ross: The Rest Is Noise https://ift.tt/Pv8J5ae
via IFTTT

Alex Ross Worth noting

From Andrew Marantz’s article “The Illiberal Order,” in this week’s New Yorker:
There was no single moment when the democratic backsliding began in Hungary. There were no shots fired, no tanks in the streets. “Orbán doesn’t need to kill us, he doesn’t need to jail us,” Tibor Dessewffy, a sociology professor at Eötvös Loránd University, told me. “He just keeps narrowing the space of public life. It’s what’s happening in your country, too—the frog isn’t boiling yet, but the water is getting hotter.” He acknowledged that the U.S. has safeguards that Hungary does not: the two-party system, which might forestall a slide into perennial single-party rule; the American Constitution, which is far more difficult to amend. Still, it wasn’t hard for him to imagine Americans a decade hence being, in some respects, roughly where the Hungarians are today. “I’m sorry to tell you, I’m your worst nightmare,” Dessewffy said, with a wry smile. As worst nightmares went, I had to admit, it didn’t seem so bad at first glance. He was sitting in a placid garden, enjoying a lemonade, wearing cargo shorts. “This is maybe the strangest part,” he said. “Even my parents, who lived under Stalin, still drank lemonade, still went swimming in the lake on a hot day, still fell in love. In the nightmare scenario, you still have a life, even if you feel somewhat guilty about it.”

from Alex Ross: The Rest Is Noise https://ift.tt/i3J8qUl
via IFTTT

Alex Ross AMOC at Ojai

Anything Goes. The New Yorker, July 4, 2022.

from Alex Ross: The Rest Is Noise https://ift.tt/4NhAgBu
via IFTTT

Tomás Luis de Victoria (1548-1611)

Donald Macleod surveys one of the most famed Spanish composers of the Renaissance, Tomás Luis de Victoria.

Tomás Luis de Victoria has become the most famed Spanish composer of the Renaissance and ranks alongside Palestrina and Lassus as one of the greatest composers of the 16th century. He was a singer, organist, scholar, teacher, and a priest but it was in composition that he made his most significant impact. His motets, Offices for the Dead and music for Holy Week are admired for their great beauty and intensity and his musical talent thrust him into the orbit of Spain’s royal family and the most senior clerics in Rome. His devotion to God sat at the heart of his creative life; and he wrote, “there is not a single thing as useful as music, which, reaching our hearts soft but deeply, provides a clear benefit not only for our soul but also for our body.”

Music Featured:

O magnum mysterium
Ave Maria
Missa pro defunctis (Taedet animan meam)
Missa pro defunctis (excerpt)
Missa pro defunctis (excerpt)
Magnificat octavi toni
O Magnum Mysterium
Vadam et circuibo civitatem a 6
Ascendens Christus in altum
Super flumina Babylonis
Missa O magnum mysterium
Ave maris stella a 4
Gaude Maria
Nigra sum sed formosa
Ardens Est Cor Muem
Magnificat septimi toni
Lamentations for Maundy Thursday
Conditor alme siderum a 4
Aurea luce a 4
O Ildephonse
Pange Lingua ‘more hispano’ a 4
Victimae paschali Laudes a 8
Veni, Sancte Spiritus a 8
Missa pro Victoria a 9
Missa Surge Propera a 5 (Credo)
O quam gloriosum
O vos omnes
Missa pro defunctis (excerpt)
Versa est in luctum
Libera me (Absolution)
Missa Salve regina a 8
Alma Redemptoris Mater

Presented by Donald Macleod
Produced by Luke Whitlock

For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Tomás Luis de Victoria (1548-1611) https://ift.tt/TsR6uA9

And you can delve into the A-Z of all the composers we’ve featured on Composer of the Week here: https://ift.tt/V1nCAvO

from Composer of the Week https://ift.tt/OiY46FZ
via IFTTT

Alex Ross For Mr. Baron

Martin J. Baron, for many decades the imperturbable admiral of fact-checking at The New Yorker, has died at the age of eighty-five. Mr. Baron, as he was invariably addressed, worked on most of my articles from the mid-1990s until his retirement, and I owe infinitely much to his knowledge, his meticulousness, his gentleness, and his sympathy.  As I wrote in the acknowledgments to The Rest Is Noise: “Martin Baron is the greatest fact-checker that ever was and ever will be. (Leave on author.)” The last phrase is a long-standing New Yorker locution, connoting something that cannot be checked by normal channels and is left to the writer’s discretion. The son of a St. Louis Symphony violinist, if I recall correctly, Martin had a profound love for classical music, Schubert above all. I offer the above in his memory.

from Alex Ross: The Rest Is Noise https://ift.tt/8icHOXI
via IFTTT

Alex Ross Wagnerismi

The Italian translation of Wagnerism, by Lorenzo Parmiggiani and Andrea Silvestri, is now available from Bompiani. It joins the Spanish version, by Luis Gago (Seix Barral), and the German version, by Gloria Buschor and Günter Kotzor (Rowohlt). Sadly, there was no interest in a French translation.

from Alex Ross: The Rest Is Noise https://ift.tt/c4VRX8d
via IFTTT

Dvořák and America

Donald Macleod explores Dvořák’s American years and uncovers what he achieved during his time there.

Antonín Dvořák became the first Czech composer to achieve global fame. His gift for transforming the folk styles of his native Bohemia into richly Romantic classical music won him admirers far beyond his homeland. Consequently, Dvořák was approached to leave Europe and serve as director of the newly established National Conservatory of Music in America. His sponsors hoped he would help foster a new and distinctive American musical style, less reliant upon Germanic traditions. During his time in America, from 1892 – 1895, Dvořák composed many of his most celebrated works, including his 9th symphony and his cello concerto. Before leaving, he’d started work on his Cello Concerto, inspired by his yearning for the Bohemian countryside. Back at home, Dvořák also completed his String Quartet No 13 which some have seen to be his final work to have musical associations with America.

Dvořák’s had set out to encourage American musicians to look to their own traditions rather than simply following behind Europe. He may not have been entirely successful but he did encourage others in that aim, such as Harry T. Burleigh. Burleigh said of Dvořák that he’d assisted in changing attitudes of African American’s towards their own folk tradition, and most importantly, that Dvořák “was a man of the people”.

Music Featured:

Symphony No 9 in E minor, Op 95 “From the New World” (excerpt)
Piano Trio No 4 in E minor, Op 90 “Dumky” (Lento maestoso)
Carnival Overture, Op 92
Requiem, Op 89 (Introitus)
Symphony No 4 in D minor, Op 13 (excerpt)
Silent Woods, Op 68 No 5
Symphony No 8 in G, Op 88 (excerpt)
Requiem, Op 89 (Confutatis Maledictis)
Symphony No 6 in D, Op 60 (Scherzo: Furiant)
Symphony No 8 in G, Op 88 (Allegretto grazioso – Molto vivace)
Te Deum, Op 102
Southland Sketches (excerpt) – Harry T. Burleigh
Symphony No 9 in E minor, Op 95 “From the New World” (excerpt)
Sonatina for violin and piano, Op 100 (Larghetto)
Swing Low, Sweet Chariot – Arr. Harry T. Burleigh
Go Down Moses – Arr. Harry T. Burleigh
Symphony No 9 in E minor, Op 95 “From the New World” (Largo)
String Quintet, Op 97 “American” (excerpt)
Symphony No 9 in E minor, Op 95 “From the New World” (Allegro con fuoco)
Humoresques, Op 101 No.7 (excerpt)
Suite in A, Op 98B (Allegro)
String Quartet No 12 in F, Op 96 “The American” (Vivace)
Humoresques, Op 101 (excerpt)
Biblical Songs, Op 99 (excerpt)
Among the Fuchsias, from Five Songs of Laurence Hope – Harry T. Burleigh
Worth While, from Five Songs of Laurence Hope – Harry T. Burleigh
Cello Concerto in B minor, Op 104 (excerpt)
Lullaby, B194 – Dvořák Arr. J. Suk
String Quartet No 14, Op 105 (Molto vivace)
Cello Concerto in B minor, Op 104 (Adagio ma non troppo)
String Quartet No 13 in G, Op 106 (excerpt)
Cello Concerto in B minor, Op 104 (Finale)

Presented by Donald Macleod

Produced by Luke Whitlock

For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Dvořák and America https://ift.tt/60hFRe5

And you can delve into the A-Z of all the composers we’ve featured on Composer of the Week here: https://ift.tt/WEc0hpq

from Composer of the Week https://ift.tt/xUBdjDk
via IFTTT

Create a free website or blog at WordPress.com.

Up ↑

%d bloggers like this: