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	<title>Musical America Blogs &#187; Stravinsky</title>
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		<title>&#8216;Le Boeuf sur le Toit&#8217; recreates 1920s Parisian Club</title>
		<link>http://www.musicalamerica.com/mablogs/?p=8364</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=8364#comments</comments>
		<pubDate>Fri, 23 Nov 2012 12:24:12 +0000</pubDate>
		<dc:creator>rschmid</dc:creator>
				<category><![CDATA[Berlin Times]]></category>
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		<category><![CDATA[Le Boeuf sur le Toit]]></category>
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		<category><![CDATA[Madeleine Peyroux]]></category>
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		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=8364</guid>
		<description><![CDATA[By Rebecca Schmid The eclectic musical life of the brief but thriving ‘Roaring twenties’ continues to inspire a nostalgia that is all the more understandable given contemporary classical music’s reorientation toward popular idioms from techno to rock. The latest album of French pianist Alexandre Tharaud, Le Boeuf sur le Toit, sets out to recreate the [...]]]></description>
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		<title>New York Rites</title>
		<link>http://www.musicalamerica.com/mablogs/?p=7453</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=7453#comments</comments>
		<pubDate>Fri, 21 Sep 2012 17:11:32 +0000</pubDate>
		<dc:creator>rschmid</dc:creator>
				<category><![CDATA[Berlin Times]]></category>
		<category><![CDATA[Alan Gilbert]]></category>
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		<category><![CDATA[Rebecca Schmid]]></category>
		<category><![CDATA[Stockhausen]]></category>
		<category><![CDATA[Stravinsky]]></category>
		<category><![CDATA[The Rite of Spring]]></category>
		<category><![CDATA[Vaslav Nijinsky]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=7453</guid>
		<description><![CDATA[By Rebecca Schmid In Berlin, where contemporary music thrives from the Philharmonie to off spaces, it is a widespread perception that New York’s mainstream institutions are afraid to program anything past Stravinsky. A look at Alan Gilbert’s recent undertakings with the New York Philharmonic, notably in a hugely successful “360” concert of Mozart, Stockhausen, Boulez [...]]]></description>
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		<title>Nézet-Séguin performs Epic Romance with the Berlin Philharmonic</title>
		<link>http://www.musicalamerica.com/mablogs/?p=5490</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=5490#comments</comments>
		<pubDate>Fri, 22 Jun 2012 12:42:34 +0000</pubDate>
		<dc:creator>rschmid</dc:creator>
				<category><![CDATA[Berlin Times]]></category>
		<category><![CDATA[Apollon Musagète]]></category>
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		<category><![CDATA[Sir Simon Rattle]]></category>
		<category><![CDATA[Stravinsky]]></category>
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		<category><![CDATA[Walter Seyfarth]]></category>
		<category><![CDATA[Yannick Nézet-Séguin]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=5490</guid>
		<description><![CDATA[By Rebecca Schmid Conducting the Berlin Philharmonic is no small feat for a 37-year-old, and Yannick Nézet-Séguin—returning to the orchestra’s podium for the first time since his 2010 debut—had no intention to the make the event a small affair. The newly minted music director of the Philadelphia Orchestra, seen at the Philharmonie on June 16, [...]]]></description>
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		<item>
		<title>“We Didn’t Hear the Same Concert”</title>
		<link>http://www.musicalamerica.com/mablogs/?p=4284</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=4284#comments</comments>
		<pubDate>Wed, 21 Mar 2012 15:37:11 +0000</pubDate>
		<dc:creator>sedgwickclark@aol.com</dc:creator>
				<category><![CDATA[Why I Left Muncie]]></category>
		<category><![CDATA[Bates]]></category>
		<category><![CDATA[Cowell]]></category>
		<category><![CDATA[David Del Tredici]]></category>
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		<category><![CDATA[nyphil]]></category>
		<category><![CDATA[Rachel Barton Pine]]></category>
		<category><![CDATA[sedgwick clark]]></category>
		<category><![CDATA[Stravinsky]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=4284</guid>
		<description><![CDATA[by Sedgwick Clark That’s a traditional reader complaint. But it happens to critics too. Russian violinist Vadim Repin and Lithuanian pianist Itamar Golan have solid careers, and their program last Saturday evening (3/17) in Alice Tully Hall was an enticing selection of works by Janáček, Ravel, Grieg, and Chausson. From mid-parquet I found Repin’s sound [...]]]></description>
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		<item>
		<title>Finding the Right Gimmick</title>
		<link>http://www.musicalamerica.com/mablogs/?p=4184</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=4184#comments</comments>
		<pubDate>Wed, 14 Mar 2012 16:01:21 +0000</pubDate>
		<dc:creator>sedgwickclark@aol.com</dc:creator>
				<category><![CDATA[Why I Left Muncie]]></category>
		<category><![CDATA[alex ross]]></category>
		<category><![CDATA[alice tully hall]]></category>
		<category><![CDATA[avery fisher hall]]></category>
		<category><![CDATA[BBC]]></category>
		<category><![CDATA[Beethoven]]></category>
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		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=4184</guid>
		<description><![CDATA[by Sedgwick Clark Shaham’s 1939 Dark Horse Gil Shaham had an epiphany. After years of recognition as one of the brightest young lights of the concert circuit, the Israeli-American violinist conjured one of the most imaginative programming concepts in years. He had been struck by how many violin concertos written in the 1930s had entered [...]]]></description>
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		<item>
		<title>A Genuine Jolt at the NY Phil</title>
		<link>http://www.musicalamerica.com/mablogs/?p=3847</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=3847#comments</comments>
		<pubDate>Wed, 08 Feb 2012 19:31:59 +0000</pubDate>
		<dc:creator>sedgwickclark@aol.com</dc:creator>
				<category><![CDATA[Why I Left Muncie]]></category>
		<category><![CDATA[Alan Gilbert]]></category>
		<category><![CDATA[Beethoven]]></category>
		<category><![CDATA[Berg]]></category>
		<category><![CDATA[Boulez]]></category>
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		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=3847</guid>
		<description><![CDATA[by Sedgwick Clark Alan Gilbert and the New York Philharmonic are on a European tour for a couple of weeks, and for a change I didn’t roll my eyes in despair when I saw the list of repertoire. His predecessors as music director, Kurt Masur and Lorin Maazel, for all their superb work at building [...]]]></description>
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		<title>Masterly Mann at Manhattan</title>
		<link>http://www.musicalamerica.com/mablogs/?p=3574</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=3574#comments</comments>
		<pubDate>Wed, 11 Jan 2012 17:19:34 +0000</pubDate>
		<dc:creator>sedgwickclark@aol.com</dc:creator>
				<category><![CDATA[Why I Left Muncie]]></category>
		<category><![CDATA[Alan Gilbert]]></category>
		<category><![CDATA[alice tully hall]]></category>
		<category><![CDATA[avery fisher hall]]></category>
		<category><![CDATA[Beethoven]]></category>
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		<category><![CDATA[carnegie]]></category>
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		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=3574</guid>
		<description><![CDATA[by Sedgwick Clark In their wildest dreams, the six string quartets couldn’t have asked for more. Nor could music lovers, as the Manhattan School of Music rang in the New Year with what it called the “Inaugural Robert Mann String Quartet Institute.” Yes, this is why I left Muncie, but this time my hometown friends [...]]]></description>
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		<title>Mostly Mozart/Some Stravinsky</title>
		<link>http://www.musicalamerica.com/mablogs/?p=2343</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=2343#comments</comments>
		<pubDate>Fri, 12 Aug 2011 08:50:57 +0000</pubDate>
		<dc:creator>sedgwickclark@aol.com</dc:creator>
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		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=2343</guid>
		<description><![CDATA[by Sedgwick Clark Lincoln Center’s attempt to add variety to Mostly Moz is just fine with me, especially if the variety is Stravinsky. Audiences seem to agree too, for a Saturday afternoon of Stravinsky films and two concerts of his chamber music by the spiffy International Contemporary Ensemble (ICE) were packed. The first of the [...]]]></description>
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		<item>
		<title>Precision Isn&#8217;t Everything</title>
		<link>http://www.musicalamerica.com/mablogs/?p=2320</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=2320#comments</comments>
		<pubDate>Fri, 05 Aug 2011 06:30:53 +0000</pubDate>
		<dc:creator>sedgwickclark@aol.com</dc:creator>
				<category><![CDATA[Why I Left Muncie]]></category>
		<category><![CDATA[alice tully hall]]></category>
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		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=2320</guid>
		<description><![CDATA[by Sedgwick Clark We’ve been in the thrall of “perfect” playing for so long that sometimes it takes a less than precise ensemble to remind us of genuine character. The Royal Danish Orchestra, under its music director Michael Schønwandt, had it in spades last week in its delightful program of native son Carl Nielsen’s strange [...]]]></description>
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