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Month: October 2017

Sir Colin Davis conducts James Macmillan’s St. John Passion with the BSO

For more details about James MacMillan, his background, and his purposes in writing his St. John Passion, I’ll refer the reader to the review of the superb LSO Live recording of the work, which I published as an introduction to this concert, its U.S. premiere. MacMillan wrote the Passion as an 80th birthday tribute to Sir Colin Davis, and it was jointly commissioned by the London and Boston Symphony Orchestras. An Ayrshire Catholic of Irish extraction, James MacMillan became connected to music early, and his experience with the Passion according to St. John goes back to the traditional chanted readings of the text as part of the Good Friday liturgy. While most of the work consists straightforwardly of the Gospel narrative and the Improperia from the Roman Catholic Good Friday Mass, its selection and musical treatment are highly personal, giving it a dramatic and humanistic quality, which must please Sir Colin no end.

About Michael Miller

Michael Miller, Editor and Publisher of New York Arts and The Berkshire Review, an International Journal for the Arts, was trained as a classicist and art historian at Harvard and Oxford, worked in the art world for many years as a curator and dealer, and contributed reviews and articles to Bostonia, Master Drawings, Drawing, Threshold, and North American Opera Journal, as well as numerous articles for scholarly and popular periodicals. He has taught courses in classics, the English language, and art history at Oberlin, Rutgers, New York University, the New School, and Williams. Currently, when he is not at work on The Berkshire Review and New York Arts, he writes fiction, pursues photography, and publishes scholarly work. In 2011 he contributed an introductory essay to Leonard Freed: The Italians / exh. cat. Io Amo L’Italia, exhibition at Le Stelline, Milan, and wrote the revised the section on American opera houses in The Grove Dictionary of American Music. He is currently at work on a libretto for a new opera by Lewis Spratlan, Midi, an adaptation of Euripides’ Medea set in the French West Indies, ca. 1930.

Berkshire Bach Society’s New Year’s Brandenburgs 2010 with Kenneth Cooper at the Troy Savings Bank Music Hall

I always look forward to the Berkshire Bach Society’s New Year’s Bach concerts, this year their classic program of the Brandenburg Concertos straight through. I was especially pleased that they scheduled a third concert at the Troy Savings Bank Music Hall, allowing us to hear them in their full glory, that is, in a fully satisfactory acoustic, more than that, in fact, since the Music Hall offers a unique bloom all its own. It seemed a bit much at first, as the musicians pulled themselves together after Kenneth Cooper’s perfectly clear initial beat in the first concerto. Everyone was quite happily together after a couple of bars, and the rest was a marvellous blend of atmosphere and clarity. In fact it was really quite a revelation to hear some passages—especially the entire sixth concerto—in this unique environment.

About Michael Miller

Michael Miller, Editor and Publisher of New York Arts and The Berkshire Review, an International Journal for the Arts, was trained as a classicist and art historian at Harvard and Oxford, worked in the art world for many years as a curator and dealer, and contributed reviews and articles to Bostonia, Master Drawings, Drawing, Threshold, and North American Opera Journal, as well as numerous articles for scholarly and popular periodicals. He has taught courses in classics, the English language, and art history at Oberlin, Rutgers, New York University, the New School, and Williams. Currently, when he is not at work on The Berkshire Review and New York Arts, he writes fiction, pursues photography, and publishes scholarly work. In 2011 he contributed an introductory essay to Leonard Freed: The Italians / exh. cat. Io Amo L’Italia, exhibition at Le Stelline, Milan, and wrote the revised the section on American opera houses in The Grove Dictionary of American Music. He is currently at work on a libretto for a new opera by Lewis Spratlan, Midi, an adaptation of Euripides’ Medea set in the French West Indies, ca. 1930.

Mahler and Inspiration: Benjamin Zander at Albany’s Palace Theater

Mr. Zander, who leads the Boston Philharmonic, has leveraged his considerable communication and educational skills into creating something beyond the mere making of music.

Seth Lachterman

About Seth Lachterman

Seth Lachterman lives in Hillsdale, New York, which abuts the Berkshires in Massachusetts. While dividing his past academic career between music (composition and musicology) and mathematics, he has, over past three decades written original and critical works on the Arts. His essays have appeared in The Thomas Hardy Association Journal, English Literature in Transition, and poetry in The Raritan Quarterly. As a charter member and past president of the Berkshire Bach Society, he provided scholarly program notes for the Society’s concerts for over two decades. His Bach essays and reviews have been referenced in Wikipedia and have appeared in concerts at Ozawa Hall and the College of St. George, Windsor Castle.  Simultaneously, he has been a principal at Encore Systems, LLC, a software and technology consulting company. A president emeritus of Walking The Dog Theatre of Hudson, New York, he has invented a new technology for insuring privacy in text messaging and for social networking. In 2012, he founded UThisMe, LLC. to launch this new technology. Seth writes regularly for Berkshire Review of The Arts. When not listening to music, Seth Lachterman reads philosophy with a current interest in Heidegger.

Irish Travellers, Tinkers No More: Photographs and Traveller, a film by Alen MacWeeney (UPDATED, including audio: Traveller Liam Weldon sings “The Blue Tar Road”)

In his important collection of anthropological photography, Robert Gardner made clear the connection between the ethnographer’s record of life in western Papua or Ethiopia and the photojournalist’s observation of downtown Barcelona or Dallas. Alen MacWeeney’s Irish Travellers, Tinkers No More is one further document in this fluid branch of study. The travellers were and still are a constant presence in Ireland, where MacWeeney was born and raised, although, at least in the 1960’s when these photographs were made, a largely unseen one—this is, on purpose. A professional need, it seems, sucked Alen MacWeeney into their society, and he remained, to observe and experience it in depth. Now, after some forty years, this experience has been made public.

About Michael Miller

Michael Miller, Editor and Publisher of New York Arts and The Berkshire Review, an International Journal for the Arts, was trained as a classicist and art historian at Harvard and Oxford, worked in the art world for many years as a curator and dealer, and contributed reviews and articles to Bostonia, Master Drawings, Drawing, Threshold, and North American Opera Journal, as well as numerous articles for scholarly and popular periodicals. He has taught courses in classics, the English language, and art history at Oberlin, Rutgers, New York University, the New School, and Williams. Currently, when he is not at work on The Berkshire Review and New York Arts, he writes fiction, pursues photography, and publishes scholarly work. In 2011 he contributed an introductory essay to Leonard Freed: The Italians / exh. cat. Io Amo L’Italia, exhibition at Le Stelline, Milan, and wrote the revised the section on American opera houses in The Grove Dictionary of American Music. He is currently at work on a libretto for a new opera by Lewis Spratlan, Midi, an adaptation of Euripides’ Medea set in the French West Indies, ca. 1930.

Music in a Time of Disaster…The Vienna Philharmonic conducted by Pierre Boulez, Carnegie Hall, January 16, 2010

To hear a program of music by Mahler and the members of the Second Viennese School (Schoenberg, Webern) five days after the earthquake in Haiti is to experience questions about the role that the arts, and music in particular, plays in our lives. Burke and Kant recognized two categories of artistic experience, the beautiful and the sublime, one characterized by orderliness, balance, and grace, the other by overwhelming power. Beauty is associated with the works of humans, and the sublime with the acts of nature (and/or God, depending on your persuasion). Both pieces on the second half of the Vienna Philharmonic’s program (Webern and Mahler) contained climactic moments that can only be described as devastating, as close as art can get to imparting the experience of disastrous loss. As we read the papers about the destruction of a country, we struggle to find the connection between our own lives and the unimaginable suffering and trauma being experienced by our neighbors and fellow humans. Music can help.

About Laurence Wallach

Larry Wallach is a pianist, musicologist, and composer who lives in Great Barrington, Massachusetts and heads the Music Program at Simon’s Rock College of Bard. He has also taught composition at Bard College. He studied piano privately with Henry Danielowitz and Kenneth Cooper, and was trained at Columbia University where he studied music history with Paul Henry Lang, performance practices with Denis Stevens, and composition with Otto Luening, Jack Beeson, and Charles Wuorinen. He earned a doctorate in musicology in 1973 with a dissertation about Charles Ives. In 1977, he was awarded a grant to become part of a year-long National Endowment for the Humanities seminar at the University of North Carolina directed by William S. Newman, focussing on performance practices in earlier piano music. He went on to participate in the Aston Magna Summer Academy in 1980, where he studied fortepiano with Malcolm Bilson, both privately and in master classes.

Larry Wallach has been an active performer of chamber music with harpsichord and piano, and of twentieth century music. He has collaborated with harpsichordist Kenneth Cooper, with recorder virtuoso Bernard Krainis, with violinist Nancy Bracken of the Boston Symphony, with violinist/violist Ronald Gorevic, with gambist Lucy Bardo, and with his wife, cellist Anne Legêne, performing on both modern and baroque instruments. He has appeared with the Avanti Quintet, the New York Consort of Viols, and is a regular performer on the “Octoberzest” series in Great Barrington. He has been on the staffs of summer early music workshops at World Fellowship and Pinewoods Camp.
In 1996, he presented a program at the Bard Music Festival devoted to Charles Ives designed around a performance the composer’s Second Violin Sonata along with all the source tunes that are quoted in it. Part of this program was repeated at Lincoln Center in NY. He has also appeared on programs in Washington DC, and at St. Croix VI. As a composer, his works have been heard in New York, Boston, Amherst, the Berkshires, and at Bard College.

Sadness—The Cantata Singers and More

Last Friday, January 15th, the Cantata Singers under Music Director David Hoose continued their season centered around the music of Heinrich Schütz, on this occasion performing at the First Church, Cambridge. This can be a problematic venue, with blurry sound, especially for solo voices. But Friday there were no solo voices, and the a capella mixed choir and eventually a small orchestra sounded fine—well balanced and clear enough, at least where I was sitting, which was fairly close. The audience was large and enthusiastic. The fine concert deserved their appreciation.

Charles Warren

About Charles Warren

Charles Warren studied literature and music formally and now teaches film
history and analysis at Boston University and in the Harvard Extension School.
He is the author of “T.S. Eliot on Shakespeare,” and edited and contributed to
the volumes “Beyond Document: Essays on Nonfiction Film” and “Jean-Luc Godard’s ‘Hail Mary:’ Women and the Sacred in Film.”

James MacMillan, St John Passion: London Symphony Orchestra, Sir Colin Davis, conductor

The Scottish composer James MacMillan is not nearly as well-known in the United States as he is in Britain. Hence it is a good thing that an outstanding recording of his St. John Passion is available from LSO Live for purchase as discs or as an iTunes download, as the BSO prepares to perform it under Sir Colin Davis, who commissioned the work as part of his 80th birthday celebrations. There is no better introduction to a composer or to a work than simply to listen to it, and a recording fills the requirement nicely, especially of a performance by Sir Colin, who has a special gift in presenting unfamiliar music with the passionate convication that it is the very best of its kind.

About Michael Miller

Michael Miller, Editor and Publisher of New York Arts and The Berkshire Review, an International Journal for the Arts, was trained as a classicist and art historian at Harvard and Oxford, worked in the art world for many years as a curator and dealer, and contributed reviews and articles to Bostonia, Master Drawings, Drawing, Threshold, and North American Opera Journal, as well as numerous articles for scholarly and popular periodicals. He has taught courses in classics, the English language, and art history at Oberlin, Rutgers, New York University, the New School, and Williams. Currently, when he is not at work on The Berkshire Review and New York Arts, he writes fiction, pursues photography, and publishes scholarly work. In 2011 he contributed an introductory essay to Leonard Freed: The Italians / exh. cat. Io Amo L’Italia, exhibition at Le Stelline, Milan, and wrote the revised the section on American opera houses in The Grove Dictionary of American Music. He is currently at work on a libretto for a new opera by Lewis Spratlan, Midi, an adaptation of Euripides’ Medea set in the French West Indies, ca. 1930.

Master Drawings New York 2010

For the fourth year Master Drawings New York will bring together a distinguished group of dealers from Europe and the United States to exhibit in Upper East Side galleries during “Old Master Week,” the period in late January when Sotheby’s and Christie’s hold their auctions of old master drawings, paintings, and sculpture. This is an heady occasion when collectors, curators, and dealers can gather to seek out discoveries at the auction houses, admire the dealers’ offerings, see exhibitions at the Met, the Frick, and the Morgan Library, as well as to catch up with friends and share insights and gossip. Last year the enterprise was a surprising success, given the dismal economic climate. If many things seem uncertain and there remain many reasons to be apprehensive, the climate in this rarified world should be more propitious this year. What’s more, in the old master world one is dealing with more-or-less known artists and works, and there is less speculation than in contemporary art. This is also—let’s not forget—an opportunity for newcomers to the small but very pleasant world of master drawings to become acquainted with these extremely knowledgeable experts and to view a sample of their taste on the walls.

About Michael Miller

Michael Miller, Editor and Publisher of New York Arts and The Berkshire Review, an International Journal for the Arts, was trained as a classicist and art historian at Harvard and Oxford, worked in the art world for many years as a curator and dealer, and contributed reviews and articles to Bostonia, Master Drawings, Drawing, Threshold, and North American Opera Journal, as well as numerous articles for scholarly and popular periodicals. He has taught courses in classics, the English language, and art history at Oberlin, Rutgers, New York University, the New School, and Williams. Currently, when he is not at work on The Berkshire Review and New York Arts, he writes fiction, pursues photography, and publishes scholarly work. In 2011 he contributed an introductory essay to Leonard Freed: The Italians / exh. cat. Io Amo L’Italia, exhibition at Le Stelline, Milan, and wrote the revised the section on American opera houses in The Grove Dictionary of American Music. He is currently at work on a libretto for a new opera by Lewis Spratlan, Midi, an adaptation of Euripides’ Medea set in the French West Indies, ca. 1930.

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