n 1862–63 Anton Bruckner composed the Overture in G minor. In contrast with the earlier Four Orchestral Pieces and the next Symphony in F minor, the Overture appears a much more mature work. Bruckner’s characteristics are already present: the opening subject with his octave interval in unison – as that of the main theme of the Ninth Symphony, the full orchestral chords followed by semiquaver runs, and the second slower subject with its large interval leaps, which is prefiguring the descending motive of the Adagio of the Fifth Symphony. The work contains at bars 271–275 a descending scale similar to the “Sleep leitmotiv” of the not yet composed Act 3 of Wagner’s Walküre.
The adventurous Momenta Quartet will make a return appearance at Bard College at Simon’s Rock’s South Berkshire Concerts on Saturday, February 28 at 8:00 p.m. in the McConnell Auditorium of the Daniel Arts Center. A pre-concert conversation with the performers in the Liebowitz Black Box Theater at 6:45 pm will give concertgoers the opportunity to hear a discussion of the works beforehand.
The New Opera to Present Bizet’s Carmen at Chapin Hall, Williams College, June 28 at 8 pm
Please join us for a showing of Gasland Part II on Monday, May 12th at 7pm at 218 Murdock Hall at MCLA in North Adams.
This event is organized by the MCLA Environmental Studies Department & Caretaker Farm.
For more information about this event, please contact Elena Traister (Elena.Traister@mcla.edu) or Bridget Spann (email@example.com).
I am extremely proud to present, as our single concert of this season, a piano recital by Stephen Porter, a musician of supreme intelligence, sensitivity, and learning. His pianism is equally developed on the fortepiano as on the modern piano, and we are fortunate that his curious ear for historical instruments has drawn him to the unique qualities of the House of the Redeemer’s Grotrian-Steinweg grand in the intimate acoustics of its Library.
Time yaps at the heels of comedy. Tragedy marches inexorably on. In comedy the present turns immediately to the past, this is why the pace must be fast. Private Lives tries to talk about serious things rapidly. It does not stop and consider. The past is a repetition of the future, not the other way around. This is why the characters circle endlessly. You might call it the rhythm of life, or in a darker comedy, the dance of death. There is plenty of life left in Private Lives. Its relentless wit continues to charm. The couple who fight best seem to love best. Only fine actors can repeat themselves. Shakespeare and Company’s production of Noel Coward’s play had the requisite energy. David Joseph, in particular, seemed inexhaustible, time yapping at his heels. Dana Harrison also commanded the speed and flavor of imperious time, sometimes by trying to slow it ever so slightly.