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Tag: Bard Music Festival

The Berkshire Review for the Arts is ready for the 2013 season!

If the Berkshire Review appears to have been rather quiet lately, that is because New York Arts, as of the beginning of 2013, has taken over the international coverage that formerly occupied The Berkshire Review, which has returned to its roots as a local arts journal devoted on the great summer festivals of The Berkshires. While some of these—Aston Magna and Tannery Pond—have begun to simmer already in June, they will spring into full life with the American national holiday on July 4th—and so will the Berkshire Review!

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, Il Museo di Roma a Trastevere, etc. 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.

Saint-Saëns: Apollo Among the Dionysians

At first, Saint-Saëns was ahead of his time. Then, following his decade at the apex of French music, he was old-fashioned. We remember him today as if he were a composer of ‘light’ music, suitable for Pops concerts and to be excerpted. His most well-known work was a private joke that he hesitated to publish. And yet, as demonstrated by the Bard Festival, he was considerably more than that, a figure through whose music and career a new light is cast on the art and culture of the second half of the nineteenth century.

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.

Saint-Saëns’ Other Grand Opera, Henry VIII at Bard

One of the valuable things the Bard Music Festival teaches its audiences is just how arbitrary the classical canon is. While that can’t be said of Wagner or Elgar, we learned that Prokofiev and Sibelius are most visible in concert programs and recordings through works which are not necessarily their most personal or interesting, or perhaps even their best. As managers, virtuosi, and critics grind the classical sausage from a noble saucisson de Lyon into a hot dog, the nature of the classical loses its individuality and becomes uniform and bland. The fame of Camille Saint-Saëns, on the other hand, is linked to virtually no work at all — perhaps the Carnival of the Animals or the “Organ” Symphony, which is not really performed all that often today. This immaculate work acquired a bad reputation among critics, largely because it is extraordinarily loud in places — just the right places to produce wild applause from an audience — far too effectively for the tastes of the snobbish American critics of the late 1950s and 1960s, when it had two especially potent advocates, Charles Munch and Paul Paray. Curiously, Saint-Saëns has a bad reputation as an opera composer, although another one of his few works in the standard repertory, his Samson et Dalila, is an opera.

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.

The Bard Summer Music Festival 2012: Saint-Saëns and his World

Camille Saint-Saëns (1835-1921) is, like his friend Franz Liszt, an exemplary subject for the Bard Summer Music Festival: his world was large, and he was vitally connected with it. He was recognized as an important composer—the most important French composer—through most of his maturity. He studied with important teachers. He had many friends, many enemies, and many students. His musical output was encyclopaedic. Uncharacteristically for a French composer, he wrote in virtually every form there was to write in. His compositions are in many cases linked to prominent contemporary issues in politics, the arts, and science. He prepared an historical edition of the works of Rameau and revived works by Lully and Charpentier.

See also: “Orientalism in France: Leon Botstein and the ASO play Saint-Saëns, Franck, Ravel, Delage, and Bizet’s one-act opera, Djamileh at Carnegie Hall”

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.

Blurring the Line Between Romanticism and Modernism: a review of the first weekend of “Berg and His World” at Bard College, August 13—15: Berg and Vienna

The theme of Bard’s retrospective “Berg and His World” was clearly stated and restated: Berg needs to be liberated from the so-called “Second Viennese School” and seen in a wider context of Vienna and beyond. Too long has he been seen primarily as a student of Schoenberg along with Webern; this perspective masks his individuality as well as his stature, which, if anything, is as great or greater than that of his beloved “master.” The gauntlet was laid down right away by Leon Botstein, who gave the first pre-concert talk: Berg gives us the best of both worlds, the expressive, content-oriented approach to composition as communication, and the formally strict, self-contained structural world of the music for its own sake. Implication no. 1: Schoenberg and Webern over-emphasize the latter at the expense of the former. Implication no. 2: other composers and artists than Schoenberg had powerful influences on Berg’s urge to compose expressively (read “romantically”). Implication no. 3: Berg was as much a romantic as a modernist. Result: Berg became by far the most popular (hence, successful) composer of the three.

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.

Basically Beethoven at Bard College with new works by Farberman and Ran

The fare tonight was not merely Beethoven as meat and potatoes: a twentieth-century work, Harold Farberman’s Concerto for Timpani and Orchestra, was presented, as well as the U.S. premiere of Shulamit Ran’s Concerto for Clarinet and Orchestra (2008). The anchoring of each contemporary work to a Beethoven symphony was an ingenious touch. In each half of the program, after experiencing the colorful and exotic palette of new works, the Beethoven works were heard in the refreshing context as reference, foundation, ancestral, or even genetic code adumbrating the new works, and, indeed, all symphonic works to come.

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.

Wagner Bash: Bard’s Triumphant Solution to the Wagner Problem

After days of wonderful song recitals, chamber works, choral works either by Wagner’s adversaries, or his own jejune works, nothing prepared us for the Dropping of the Ring on August 22. A mere week before, we were blown away by Schumann’s great piano quintet; the utter grandeur of Brahms’s F-Minor Sonata for Two Pianos was still vivid from the night before. But when the nuclear event occurred, none of us were the same; nothing was the same.

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.

Got Wagner? – Wagner and the Choral Tradition

However ideologically opposed he might have been to the idea of choral music, and, in spite of his own injunction against the unnaturalness of simultaneous voices, in practice Wagner outfitted his operas with exceptional choral writing. Tannhäuser and Lohengrin are unimaginable without their famous choruses. While such writing eludes Rheingold, Walküre, and Siegfried, in dogmatic adherence to his pre-Schopenhauerian views at the time, Wagner relented and laced his later operas with sumptuous and varied choral passages. Throughout Parsifal, Wagner balanced differing choral idioms: the antiquated and sacred in Acts I and III, the romantic and sensual in Act II. Meistersinger, albeit partly a platform for purposeful anachronistic caricature, has his most varied and imaginative choral writing.

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.

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