A classical-trained German pianist working in a range of musical disciplines has just launched his most audacious experiment yet – an original piano sonata consisting almost entirely of creations from his unconscious mind.
The Orchestre National de Bordeaux Aquitaine added another feather to its cap last week (June 1-2) with the engagement of a leading international guest conductor, Michail Jurowski, who led the ONBA in two demanding orchestral pieces, the Shostakovich Symphony No.
Taking a break in gaps between a Mozart piano concerto in Izmir, Turkey, (No. 9, “Jeunehomme”), a recording session of three Mozart concertos in Rennes, France (Nos.
Pianist Mitsuko Uchida delivered a sparkling Mozart piano concerto No. 20 in D minor (K.466) with the Boston Symphony Orchestra under Andris Nelsons on Thursday, the eve of Easter weekend, to an enthusiastic full house at Symphony Hall. Ms.
The Leonard Bernstein incidental music for Voltaire’s Candide seems even fresher today than it did 60 years ago when it flopped on Broadway.
Veteran impresario Jacques Leiser, summing up his 60 years of toil with some of the world’s greatest performers, is worried about today’s drift in the music business.
Ilya Rashkovsky is a rising young Siberian pianist, now based in Paris, whose new CD injects fresh élan into Modeste Mussorgsky’s delightful Pictures at an Exhibition.
The Franco-American pianist Nicholas Angelich delivered a freshly crafted version of a Beethoven warhorse, Piano Concerto No. 5 in E flat, Op. 73, together with the Orchestre National Bordeaux Aquitaine conducted by Paul Daniel, in the Auditorium of Bordeaux Thursday evening (Nov.17).
Visiting star composer-pianist-conductor Thomas Adès put on a bold show of musical versatility Sunday afternoon at Jordan Hall, joining the Boston Symphony Chamber Players in selections ranging from Purcell to Stravinsky.
Humans have always had the desire to live forever. Even today there are those wealthy enough to have their bodies frozen in a cryogenic state and others who fervently believe that the wizards of Silicon Valley will preserve them digitally.
Virtually all writing, talking and thinking about American experimental music in the 20th century turns eventually to the defining genius of the era, John Cage.
We have come a long way since the day when female composers suffered denigration for their supposed inability to compose anything of substance. That battle is over, and the women have won. There is no longer any such thing as “women’s music,” if there ever was.
The new production of Mozart and Lorenzo da Ponte’s classic opera Così Fan Tutte has attracted no shortage of controversy.
A new sound in the realm of electronic music is evolving from the mind of a transplanted Moldavan avant-garde composer now struggling to make his way in New York. He has based his recent work on “lounge electronica” but, he adds, “with a classical twist”.
Certain musicians or pieces of music, for one reason or another, will always carry unsavoury associations. Wagner, whose music was co-opted by the Nazi party, is the obvious example.
France is a favorite European venue for summer music festivals, attracting international artists and audiences from throughout the world. Somehow, despite the often-predicted dropoff in classical concert attendance, the festivals all seem to thrive.