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Thoughts from a concert reviewer’s desk
There was a time, not so long ago and at least within my living memory, when critics were regarded as significant arbiters of taste and culture who could, seemingly, make or break a career with one well-aimed stroke of their
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“The Orchestra is my Instrument”
Georges Prêtre (1924-2017)
He was described as a “sound wizard and a musician with an unparalleled intensity.” And after seven decades of working with top orchestras, high-octane performers and cutting-edge composers, the French conductor Georges Prêtre has died at the age of 92.
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Forgotten Pianists: Samuil Feinberg
The pianist Samuil Feinberg (1890-1962) was a contemporary of Heinrich Neuhaus and they both taught at the Moscow Conservatory. He’s now largely remembered for being the first pianist to play the complete Well-Tempered Clavier by J.S. Bach in Russia.
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Musical Giants of the 20th Century: Spinto Tenor
The spinto is a tenor with a larger, slightly pressed voice (from spingere, Italian for push). While it is distinctly different from a light lyric tenor in a standard Mozart opera (for example a Don Ottavio in Don Giovanni), a
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“The Miracle of Bach and Heinrich”
Heinrich Schiff (1951-2016)
When the cellist and conductor Heinrich Schiff suffered a devastating stroke in 2008, he was in serious danger of loosing all mobility on his left side. As soon as he got to the hospital he almost instinctively started to go
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Forgotten Pianists: Heinrich Neuhaus
The noise of the new so often pushes the old out of our sight that often it’s a good idea to go back and see what we might have missed or forgotten. Today, we’re looking at the influential Heinrich Neuhaus.
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Musical Giants of the 20th Century: Organists
Although we primarily associate the pipe organ with liturgical and/or religious use, the “Queen of Instruments” was originally part of the gladiatorial games in Rome! Parades and subsequent gory events were often accompanied by music, featuring curved horns and organs.
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Musical Giants of the 20th Century
Historically Informed Performances
What do you get when you enrich the subjectivity of artistic interpretation with the objectivity of scholarly study? In terms of terminology you get “historically informed performances.” However, in philosophical terms you get one of the most contentious topics since
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