<?xml version="1.0" encoding="UTF-8"?>
<rss version="2.0"
	xmlns:content="http://purl.org/rss/1.0/modules/content/"
	xmlns:wfw="http://wellformedweb.org/CommentAPI/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:atom="http://www.w3.org/2005/Atom"
	xmlns:sy="http://purl.org/rss/1.0/modules/syndication/"
	xmlns:slash="http://purl.org/rss/1.0/modules/slash/"
	xmlns:itunes="http://www.itunes.com/dtds/podcast-1.0.dtd"
>

<channel>
	<title>Berkshire Review, an International Journal for the Arts &#187; Music</title>
	<atom:link href="http://berkshirereview.net/category/music/feed/" rel="self" type="application/rss+xml" />
	<link>http://berkshirereview.net</link>
	<description>Classical Music, Opera, Theatre, Photography, Art</description>
	<lastBuildDate>Thu, 30 Dec 2010 23:34:59 +0000</lastBuildDate>
	<language>en</language>
	<sy:updatePeriod>hourly</sy:updatePeriod>
	<sy:updateFrequency>1</sy:updateFrequency>
	<generator>http://wordpress.org/?v=3.0.4</generator>
<!-- podcast_generator="Blubrry PowerPress/1.0.12" mode="advanced" entry="normal" -->
	<itunes:summary>Classical Music, Opera, Theatre, Photography, Art</itunes:summary>
	<itunes:author>Berkshire Review, an International Journal for the Arts</itunes:author>
	<itunes:explicit>no</itunes:explicit>
	<itunes:image href="http://www.berkshirereview.net/images/BR7itunes.png" />
	<itunes:owner>
		<itunes:name>Berkshire Review, an International Journal for the Arts</itunes:name>
		<itunes:email>editor@berkshirereview.net</itunes:email>
	</itunes:owner>
	<managingEditor>editor@berkshirereview.net (Berkshire Review, an International Journal for the Arts)</managingEditor>
	<copyright>&#xA9; 2010 Michael Miller</copyright>
	<itunes:subtitle>A Podcast from the Berkshire Review for the Arts</itunes:subtitle>
	<itunes:keywords>classical music, opera, theatre, dance, art, photography, literature, travel, food, wine</itunes:keywords>
	<image>
		<title>Berkshire Review, an International Journal for the Arts &#187; Music</title>
		<url>http://www.berkshirereview.net/images/BRbloglogo.jpg</url>
		<link>http://berkshirereview.net/category/music/</link>
	</image>
	<itunes:category text="Arts" />
	<itunes:category text="Music" />
	<itunes:category text="Arts">
		<itunes:category text="Performing Arts" />
	</itunes:category>
		<item>
		<title>Brahms Symphony No. 2: Tonu Kalam conducts the UNC Symphony &#8211; A Christmas offering from the Berkshire Review</title>
		<link>http://berkshirereview.net/2010/12/brahms-symphony-no-2-tonu-kalam-conducts-the-unc-symphony/</link>
		<comments>http://berkshirereview.net/2010/12/brahms-symphony-no-2-tonu-kalam-conducts-the-unc-symphony/#comments</comments>
		<pubDate>Fri, 24 Dec 2010 07:24:41 +0000</pubDate>
		<dc:creator>The Editor</dc:creator>
				<category><![CDATA[Music]]></category>
		<category><![CDATA[Upcoming]]></category>
		<category><![CDATA[Johannes Brahms]]></category>
		<category><![CDATA[Marlboro]]></category>
		<category><![CDATA[Tonu Kalam]]></category>
		<category><![CDATA[University of North Carolina Symphony]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=9119</guid>
		<description><![CDATA[We thought this extraordinarily sensitive and intelligent performance of Brahms Second Symphony from Chapel Hill, North Carolina would be an appropriate seasonal treat for our readers. Listen for the accents which add tension and enliven the broad tempo of an approach which is basically lyrical and analytical, as well as the pointing of the harmonies and the expressive transitional passages. You can easily understand what inspired Dvořák in this symphony.]]></description>
		<wfw:commentRss>http://berkshirereview.net/2010/12/brahms-symphony-no-2-tonu-kalam-conducts-the-unc-symphony/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>MTT conducts the SF Symphony in Cowell, Mozart (with Gil Shaham), and John Adams&#8217; Harmonielehre</title>
		<link>http://berkshirereview.net/2010/12/mtt-conducts-san-francisco-symphony-cowell-mozart-gil-shaham-john-adams-harmonielehre/</link>
		<comments>http://berkshirereview.net/2010/12/mtt-conducts-san-francisco-symphony-cowell-mozart-gil-shaham-john-adams-harmonielehre/#comments</comments>
		<pubDate>Tue, 21 Dec 2010 06:20:55 +0000</pubDate>
		<dc:creator>Steven Kruger</dc:creator>
				<category><![CDATA[Music]]></category>
		<category><![CDATA[Henry Cowell]]></category>
		<category><![CDATA[John Adams]]></category>
		<category><![CDATA[Michael Tilson Thomas]]></category>
		<category><![CDATA[Mozart]]></category>
		<category><![CDATA[SF Symphony]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=9107</guid>
		<description><![CDATA[Last week's program at the San Francisco Symphony carried a sense of celebration with it. John Adams was in attendance, giving luster to the orchestra's new performance and recording of his "Harmonielehre" under the direction of Michael Tilson Thomas. (Edo De Waart taped the piece in his final year as Music Director, when Adams was composer-in-residence.) There has always been a tendency to rally around the orchestra in San Francisco — cultural boosterism being one of the old-fashioned charms of this now rather important city, which sometimes still thinks of itself as a town and behaves like one in its enthusiasms — and John Adams is a local hero in the orchestra's history. But the spontaneous applause I heard on Saturday seemed to go beyond these boundaries. It is a though, from the standpoint of an audience, Adams were being hailed for having rescued contemporary music — and indeed, he just may have.]]></description>
		<wfw:commentRss>http://berkshirereview.net/2010/12/mtt-conducts-san-francisco-symphony-cowell-mozart-gil-shaham-john-adams-harmonielehre/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>CUNY Music in Midtown: Paula Robison presents Schoenberg’s Pierrot Lunaire, Thurs. Dec. 2, 1:00 pm</title>
		<link>http://berkshirereview.net/2010/12/cuny-music-in-midtown-paula-robison-presents-schoenberg-pierrot-lunaire/</link>
		<comments>http://berkshirereview.net/2010/12/cuny-music-in-midtown-paula-robison-presents-schoenberg-pierrot-lunaire/#comments</comments>
		<pubDate>Tue, 14 Dec 2010 02:37:52 +0000</pubDate>
		<dc:creator>Michael Miller</dc:creator>
				<category><![CDATA[Music]]></category>
		<category><![CDATA[Albert Giraud]]></category>
		<category><![CDATA[Arnold Schoenberg]]></category>
		<category><![CDATA[Carol McGonnell]]></category>
		<category><![CDATA[commedia dell'arte]]></category>
		<category><![CDATA[David Fulmer]]></category>
		<category><![CDATA[Eric Jacobsen]]></category>
		<category><![CDATA[Kabarett]]></category>
		<category><![CDATA[Katherine Chi]]></category>
		<category><![CDATA[Otto Erich Hartleben]]></category>
		<category><![CDATA[Paula Robison]]></category>
		<category><![CDATA[Sooyun Kim]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=8846</guid>
		<description><![CDATA[Music in Midtown ends its fall season with a special presentation by Paula Robison -- in a role outside her renown as solo flutist extraordinaire -- of Arnold Schoenberg's Pierrot Lunaire, op. 21. Robison will perform the Sprechstimme or “speech-voice” in the expressionist masterpiece, accompanied by Sooyun Kim, flute/piccolo; Carol McGonnell, clarinet/bass clarinet; David Fulmer, violin/viola; Eric Jacobsen, cello; and Katherine Chi, piano. Her lifelong love of the theater has inspired her to create a new English version of Schoenberg's Pierrot Lunaire texts, using both the original Albert Giraud poems and Otto Erich Hartleben's translations.]]></description>
		<wfw:commentRss>http://berkshirereview.net/2010/12/cuny-music-in-midtown-paula-robison-presents-schoenberg-pierrot-lunaire/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Boston Symphony Orchestra: Schumann and Harbison under Masur and Levine</title>
		<link>http://berkshirereview.net/2010/12/boston-symphony-orchestra-schumann-harbison-masur-levine/</link>
		<comments>http://berkshirereview.net/2010/12/boston-symphony-orchestra-schumann-harbison-masur-levine/#comments</comments>
		<pubDate>Tue, 07 Dec 2010 05:46:51 +0000</pubDate>
		<dc:creator>Charles Warren</dc:creator>
				<category><![CDATA[Music]]></category>
		<category><![CDATA[BSO]]></category>
		<category><![CDATA[James Levine]]></category>
		<category><![CDATA[John Harbison]]></category>
		<category><![CDATA[Kurt Masur]]></category>
		<category><![CDATA[Robert Schumann]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=9017</guid>
		<description><![CDATA[In recent weeks the Boston Symphony Orchestra has celebrated the 200th anniversary of Robert Schumann’s birth with performances of the four Symphonies and the Piano Concerto, with mixed, eventually quite good, results.]]></description>
		<wfw:commentRss>http://berkshirereview.net/2010/12/boston-symphony-orchestra-schumann-harbison-masur-levine/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Cantata Singers &amp; Ensemble, David Hoose, Conductor: Vaughan Williams, Imbrie, Fine, and the Premiere of Wyner&#8217;s Give Thanks for All Things</title>
		<link>http://berkshirereview.net/2010/12/cantata-singers-david-hoose-vaughan-williams-imbrie-fine-premiere-wyner/</link>
		<comments>http://berkshirereview.net/2010/12/cantata-singers-david-hoose-vaughan-williams-imbrie-fine-premiere-wyner/#comments</comments>
		<pubDate>Tue, 07 Dec 2010 05:20:29 +0000</pubDate>
		<dc:creator>Michael Miller</dc:creator>
				<category><![CDATA[Music]]></category>
		<category><![CDATA[Andrew Imbrie]]></category>
		<category><![CDATA[Cantata Singers]]></category>
		<category><![CDATA[David Hoose]]></category>
		<category><![CDATA[Give Thanks for All Things]]></category>
		<category><![CDATA[Irving Fine]]></category>
		<category><![CDATA[Ralph Vaughan Williams]]></category>
		<category><![CDATA[Yehudi Wyner]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=9005</guid>
		<description><![CDATA[For my part I could not be more pleased that the Cantata Singers, following their usual custom, have devoted this season preponderantly to the music of Ralph Vaughn Williams. Sir Colin Davis' powerful rendition of his Sixth Symphony with the BSO in 2007 was memorable, but not nearly enough to counterbalance the neglect Vaughn Williams' music currently suffers in the United States. In Boston, there is bound to be the odd choral work cropping up in one church or another or on the programs of the many secular choral groups in the area, but the Cantata Singer's focus on Vaughn Williams in their 2010-11 season is none the less welcome.
]]></description>
		<wfw:commentRss>http://berkshirereview.net/2010/12/cantata-singers-david-hoose-vaughan-williams-imbrie-fine-premiere-wyner/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Baroque Hors d&#8217;œuvres with a Bach Main Course : Berkshire Bach Premières Kenneth Cooper’s Reconstruction of J. S. Bach’s Vergnügte Pleißen-Stadt S.216 (1728)</title>
		<link>http://berkshirereview.net/2010/12/berkshire-bach-kenneth-cooper-cantata/</link>
		<comments>http://berkshirereview.net/2010/12/berkshire-bach-kenneth-cooper-cantata/#comments</comments>
		<pubDate>Mon, 06 Dec 2010 23:27:11 +0000</pubDate>
		<dc:creator>Seth Lachterman</dc:creator>
				<category><![CDATA[Music]]></category>
		<category><![CDATA[baroque]]></category>
		<category><![CDATA[Berkshire Bach Society]]></category>
		<category><![CDATA[Cantata BWV 216 Restoration]]></category>
		<category><![CDATA[J. S. Bach]]></category>
		<category><![CDATA[Kenneth Cooper]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=8962</guid>
		<description><![CDATA[Mr. Cooper, who is best known for his zesty performances of Bach’s chamber music, is also a musicologist of no mean accomplishment.  Besides preparing scholarly editions of harpsichord music, he has been, as of late, in the reconstruction business: finishing or recreating works by masters from mere fragments. Last year he reconstructed the violin part to Mozart’s Adagio Quasi FantasiaK.396/385f from an extant five measures in Mozart’s hand.  He has also reconstructed the original cadenza for Beethoven’s B-flat piano concerto. Tonight, we heard a United States première of Mr. Cooper’s extensive reconstruction of a wedding cantata by J.S. Bach, listed in the Schmieder’s catalogue as #216.]]></description>
		<wfw:commentRss>http://berkshirereview.net/2010/12/berkshire-bach-kenneth-cooper-cantata/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Haydn the Philosopher</title>
		<link>http://berkshirereview.net/2010/12/haydn-philosopher/</link>
		<comments>http://berkshirereview.net/2010/12/haydn-philosopher/#comments</comments>
		<pubDate>Mon, 06 Dec 2010 05:44:38 +0000</pubDate>
		<dc:creator>Andrew Miller</dc:creator>
				<category><![CDATA[Opera]]></category>
		<category><![CDATA[Antony Walker]]></category>
		<category><![CDATA[Carl Jung]]></category>
		<category><![CDATA[Carlo Francesco Badini]]></category>
		<category><![CDATA[J. R. R. Tolkien]]></category>
		<category><![CDATA[Joseph Haydn]]></category>
		<category><![CDATA[mythology]]></category>
		<category><![CDATA[Orpheus and Eurydice]]></category>
		<category><![CDATA[Pinchgut Opera]]></category>
		<category><![CDATA[Robert Graves]]></category>
		<category><![CDATA[William Blake]]></category>
		<category><![CDATA[William Butler Yeats]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=8923</guid>
		<description><![CDATA[The Orpheus and Eurydice tale never really spoke to me, as it is now accepted in Ovid's version. I was fed it over and over again through school, but always felt manipulated by Eurydice's double death, which the storyteller designed to be super affective by describing their ardent love with so much intensity. It is really a quadruple death since the two lovers become so absorbed into one another, one's death is the other's; all pathos is destroyed in the end and the story goes beyond mere tragedy. The pivotal twist caused by Hades' rule forbidding Orpheus to look back at Eurydice as they leave the underworld is arbitrary and puritanical; placing such negative importance and obsessively focussing on a simple and natural physical movement is a hallmark of Puritanism and conservative Catholicism. Also, the Eurydice in Ovid's myth is a very weak character, only existing to be a victim. In fact, according to Robert Grave (The Greek Myths, 1960), Eurydice's death and the the lovers' rendez-vous in the underworld is a late addition to the myth of Orpheus, priest of Dionysus, resulting from misinterpretations of paintings depicting Dionysus' harrowing of the underworld to rescue his mother Semele, a journey on which Orpheus accompanied him to charm Hecate and the spirits of the dead. Eurydice herself is a literary descendant of the more ancient queens, whose sacrifices were sometimes poisoned with snake venom. The barbaric Dorians who invaded Greece from the north several centuries after the fall of Knossus may have made many brutal additions to myths, like the double death. They imposed their patrilineal customs and changed the native myths to suit by depreciating women. The more ancient version does end with Orpheus' death by Maenads tearing him limb from limb, but this somehow makes more sense, like Le sacre du printemps, on a mystical level, something which attracted Yeats, whose plays A Full Moon in March and The King of the Great Clock Tower were based on Orpheus' Irish counterpart King Bran.]]></description>
		<wfw:commentRss>http://berkshirereview.net/2010/12/haydn-philosopher/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Triumph of Youth: Juilliard415 at Tully Hall under Nicholas McGegan</title>
		<link>http://berkshirereview.net/2010/12/juilliard415-tully-hall-nicholas-mcgegan/</link>
		<comments>http://berkshirereview.net/2010/12/juilliard415-tully-hall-nicholas-mcgegan/#comments</comments>
		<pubDate>Mon, 06 Dec 2010 05:02:16 +0000</pubDate>
		<dc:creator>Larry Wallach</dc:creator>
				<category><![CDATA[Music]]></category>
		<category><![CDATA[Antonio Vivaldi]]></category>
		<category><![CDATA[Carl Heinrich Graun]]></category>
		<category><![CDATA[George Frideric Handel]]></category>
		<category><![CDATA[Juilliard School of Music]]></category>
		<category><![CDATA[Nicholas McGegan]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=8921</guid>
		<description><![CDATA[On the Saturday night before Thanksgiving, I found myself in New York with nothing on my agenda. Our hostess was planning to attend a concert that she described as being performed by students in the relatively new Juilliard graduate program in baroque performance. Without thinking of the event as review-worthy, I agreed to go to satisfy my curiosity about that program. I had heard about it in connection with some of its faculty members whom I had previously encountered at the summer Baroque Institute at Longy School. Once the music began, I quickly shed preconceptions about student concerts. This was a group of players to rival and in many ways surpass established historical-instrument ensembles.]]></description>
		<wfw:commentRss>http://berkshirereview.net/2010/12/juilliard415-tully-hall-nicholas-mcgegan/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>MTT conducts the San Francisco Symphony: Schubert, Richard Strauss</title>
		<link>http://berkshirereview.net/2010/12/mtt-san-francisco-symphony-schubert-richard-strauss/</link>
		<comments>http://berkshirereview.net/2010/12/mtt-san-francisco-symphony-schubert-richard-strauss/#comments</comments>
		<pubDate>Thu, 02 Dec 2010 01:35:56 +0000</pubDate>
		<dc:creator>Steven Kruger</dc:creator>
				<category><![CDATA[Music]]></category>
		<category><![CDATA[Alexander Barantschik]]></category>
		<category><![CDATA[Ein Heldenleben]]></category>
		<category><![CDATA[Elza van den Heever]]></category>
		<category><![CDATA[Four Last Songs]]></category>
		<category><![CDATA[Franz Schubert]]></category>
		<category><![CDATA[Michael Tilson Thomas]]></category>
		<category><![CDATA[Richard Strauss]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=8895</guid>
		<description><![CDATA[Michael Tilson Thomas was looking hard for insight in Schubert last Saturday. He found it in words, if not in the music. Indeed, you might say he chose the first Entr'acte from Rosamunde for an illustration of his point. As a young man, Thomas managed to alienate the Boston Symphony for decades by talking too much, and the tendency to lecture and otherwise condescend to his audiences from the podium still remains. This time, though, the music happened to be rather forgettable, and Thomas' remarks about it more interesting. The Entr'acte seems to be part of a dry run for Schubert's "Unfinished," and MTT correctly pointed out that its harmony is headed in the direction of Mendelssohn and Schumann.]]></description>
		<wfw:commentRss>http://berkshirereview.net/2010/12/mtt-san-francisco-symphony-schubert-richard-strauss/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Expressions of Haan in the Voice of Korea</title>
		<link>http://berkshirereview.net/2010/12/haan-korea-religion-music-dance/</link>
		<comments>http://berkshirereview.net/2010/12/haan-korea-religion-music-dance/#comments</comments>
		<pubDate>Wed, 01 Dec 2010 23:40:06 +0000</pubDate>
		<dc:creator>Rebecca Y. Kim</dc:creator>
				<category><![CDATA[Dance]]></category>
		<category><![CDATA[Music]]></category>
		<category><![CDATA[haan]]></category>
		<category><![CDATA[Korean Music]]></category>
		<category><![CDATA[Korean Religion]]></category>
		<category><![CDATA[The Korean Traditional Performing Arts Association of New York]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=8870</guid>
		<description><![CDATA[Three women bow in prayer before three ropes of suspended white cloth on a stage cast in mist. When the music begins, they shake and tug at the cloths to undo knots that symbolize a soul entangled by bitterness and regret. A fourth woman, crouched behind the others, is the shaman who leads the Ssitkim gut, a traditional Korean cleansing ritual for ensuring a soul’s passage to the afterlife by purging this bitter disquiet known as haan. Sue Yeon Park, who is President of The Korean Traditional Performing Arts Association of New York and a 2008 NEA Heritage Fellow, choreographed excerpts from the ritual and danced the role of the shaman. Ms. Park originally created the choreography in 2001 for a concert at Hunter College following September 11th.]]></description>
		<wfw:commentRss>http://berkshirereview.net/2010/12/haan-korea-religion-music-dance/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
	</channel>
</rss>

<!-- Performance optimized by W3 Total Cache. Learn more: http://www.w3-edge.com/wordpress-plugins/

Minified using disk
Page Caching using disk (enhanced)
Database Caching 33/53 queries in 0.077 seconds using disk

Served from: berkshirereview.net @ 2011-01-01 11:07:03 -->