Articles by Year: La Folia, 2016.
EA Bucket 23.
Herbert is contemplating the experience of listening and ruminating upon the Adagio of Mahler’s unfinished Tenth.
EA Bucket 23.
Herbert is contemplating the experience of listening and ruminating upon the Adagio of Mahler’s unfinished Tenth.
String Theory 22: Ensembles with Piano
Plowright and the Szymanowski Quartet offer a second release of Polish chamber music.
String Theory 22: Ensembles with Piano
Plowright and the Szymanowski Quartet offer a second release of Polish chamber music.
Used Bin Troll Tweets V.
Hahn’s effervescent pieces stand agreeably between frivolity and pretension.
Used Bin Troll Tweets V.
Hahn’s effervescent pieces stand agreeably between frivolity and pretension.
Mostly Symphonies 30.
In 16 intentionally disjointed tracks, with internal repetitions and drop-kicked transitions, Play.list unspools like a pocket Strauss tone poem tracked randomly.
Mostly Symphonies 30.
In 16 intentionally disjointed tracks, with internal repetitions and drop-kicked transitions, Play.list unspools like a pocket Strauss tone poem tracked randomly.
Mostly Symphonies 29: Keep Going, Keep Going… Two new Berio Sinfonias
Berio the finisher and arranger was asked to orchestrate several Mahler songs from Des Knaben Wunderhorn. Knowing Sinfonia lurks around the corner, these songs take on an innocent, even archaic quality when we know the postmodern age is just moments away.
Mostly Symphonies 29: Keep Going, Keep Going… Two new Berio Sinfonias
Berio the finisher and arranger was asked to orchestrate several Mahler songs from Des Knaben Wunderhorn. Knowing Sinfonia lurks around the corner, these songs take on an innocent, even archaic quality when we know the postmodern age is just moments away.
Mostly Symphonies 28: Untangling Schnittke
For a full 48 minutes, there’s nothing ambiguous here, nothing that suggests its composer could command many styles and would with apparent frivolity combine them in the same work.
Mostly Symphonies 28: Untangling Schnittke
For a full 48 minutes, there’s nothing ambiguous here, nothing that suggests its composer could command many styles and would with apparent frivolity combine them in the same work.
In 1908…
In 1908 Mahler (48) made his Metropolitan Opera debut in New York with Wagner’s Tristan und Isolde (Jan. 1), wrote Das Lied von der Erde, and premiered his Seventh in Prague (Sep. 19).
In 1908…
In 1908 Mahler (48) made his Metropolitan Opera debut in New York with Wagner’s Tristan und Isolde (Jan. 1), wrote Das Lied von der Erde, and premiered his Seventh in Prague (Sep. 19).
Used Bin Troll Tweets U.
A sparkling, often virtuosic collection of Romantic and early-Modern sea pieces.
Used Bin Troll Tweets U.
A sparkling, often virtuosic collection of Romantic and early-Modern sea pieces.
Shostakovich & Schubert: An Odd Coupling?
Two string quartet concerts at Zankel Hall in October: the Belcea Quartet and the Danish String Quartet.
Shostakovich & Schubert: An Odd Coupling?
Two string quartet concerts at Zankel Hall in October: the Belcea Quartet and the Danish String Quartet.
Used Bin Troll Tweets T.
A lonely story lurks within 12 sections, perhaps Sephardic, Moravian or older, with nods to jazz, Gertrude Stein and Joaquín Rodrigo.
Used Bin Troll Tweets T.
A lonely story lurks within 12 sections, perhaps Sephardic, Moravian or older, with nods to jazz, Gertrude Stein and Joaquín Rodrigo.
Of Crags and Fissures
As forewarned on his 75th birthday, here is a brief glimpse into the recorded output of Emmanuel Nunes (1941-2012), an exile from Portugal whose mature career was spent between France and Germany.
Of Crags and Fissures
As forewarned on his 75th birthday, here is a brief glimpse into the recorded output of Emmanuel Nunes (1941-2012), an exile from Portugal whose mature career was spent between France and Germany.
String Theory 21: Mostly Viola(s)
Royer is an inspired Scelsi performer. He plays as if improvising, easing into Scelsi’s languid microtones with grace notes flicked away like involuntary twitches.
String Theory 21: Mostly Viola(s)
Royer is an inspired Scelsi performer. He plays as if improvising, easing into Scelsi’s languid microtones with grace notes flicked away like involuntary twitches.