By James Conlon As readers of Musical America may know, I have long been an advocate for the works of composers whose lives and musical legacies were damaged through their suppression by the Third Reich. Last month this mission experienced a moment of great promise with the announcement of a gift of $1 million from […]
Read the rest of this article »by Sedgwick Clark The Philadelphia Orchestra had the reputation in the Ormandy days of a well-oiled machine that played in a predictably beautiful, glossy manner no matter the maestro. Ormandy’s successor, Riccardo Muti, sought to change the corporate Philadelphia Sound into a “composer’s sound” (and now he’s saying that again about his current American orchestra, […]
Read the rest of this article »By ANDREW POWELL Published: January 9, 2014 MUNICH — Sullen, virile, often disembodied voices speak bluntly in Vaughan Williams’s On Wenlock Edge (1909). They are lost and living British Empire soldiers. Their plights, in six Housman texts, shape the 22-minute song cycle and its mildly chromatic “atmospheric effects,” resulting in music of stimulating directness — […]
Read the rest of this article »By: Edna Landau When it comes to producing performance videos, conductors would seem to be at a greater disadvantage than other artists. Every process that is central to the advancement of their careers, such as applications for music directorships, orchestra staff positions, training programs or competitions depends on the submission of sample performance videos. Yet […]
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