Ethelbert Nevin, a retired technical draftsman, resides in a quiet New England backwater. Currently translating a novel about Continental pinsetters, Nevin longs for the days when music didn’t try to please everybody.
An uncomfortable and explicit melodrama (ennui, lovers, incest) inelegantly filmed.
This Baroque quintet plays 18th-century Scottish and Irish traditional music.
Carbonelli went to England and latterly sold claret to the royals.
Reicha’s 57 dawdle upon an insipid ditty. It is a lot of work for player and audience to make it to the end.
These four high-wattage pieces are invigorating and brilliantly executed.
This may be Chaplin’s finest score, but without the movie, these nearly 80 minutes pass by like a museum exhibition in a foreign land.
A marauding concert requiem easily mistaken for Shostakovich’s Symphony No. 14½.
Ingólfsson stakes a claim near the site that Romitelli quarried. The agile and luscious instrumental textures would have pleased Boulez.