By Brian Taylor Goldstein, Esq. Hi Musical America, I am a Danish citizen and I plan to go to the Unites States on a promo tour in spring. I know that it is necessary to apply for an O-1B visa being a solo artist. I have a native US promoter who will petition for me. […]
Read the rest of this article »By Rebecca Schmid Journeys have provided powerful inspiration to writers, painters and composers alike, opening eyes to new ways of seeing the world. The broadening of artists’ palettes has sometimes allowed them to capture a landscape more vividly than the natives could themselves. One only has to think of Dvorak’s New World Symphony, Gauguin’s portraits […]
Read the rest of this article »by Sedgwick Clark We were driving bumper to bumper out to the country last Friday and checked out the Met Opera station on Sirius XM. It was about 20 minutes into Wagner’s Die Walküre, and Hunding had just come home from a hard day at the office to discover his lovely wife, Sieglinde, with a […]
Read the rest of this article »By: Edna Landau To ask a question, please write Ask Edna. The end of 2012 has brought a deluge of e-mails into my Inbox. Some were holiday greetings, coupled with updates on an artist’s current activities. Others were invitations to a showcase or to visit with an artist at the conferences which take place in New […]
Read the rest of this article »By Brian Taylor Goldstein, Esq. Dear Law and Disorder, I am a music professor at a medium-sized state college. We have two questions with regard to live streaming some of our concerts and recitals. We, of course, have paid the ASCAP and BMI licenses/fees to cover the rights for live performances. I believe the licensing […]
Read the rest of this article »By ANDREW POWELL Published: January 8, 2013 RAVENNA — Sacred music has lent gravitas to Riccardo Muti’s career since the 1960s. Settings of the Ordinary and the burial service by Bach, Mozart, Cherubini, Schubert, Berlioz, Brahms and Verdi have drawn his attention and received, more often than not, a disciplined performance. No, this is not […]
Read the rest of this article »By James Jorden One thing you can’t call David McVicar is inept. His productions always work with precision, every movement landing everyone in the right place at the right time, every “still” moment photo-ready. Reportedly he brings shows in on budget and on time, and there’s never a last-minute scramble to improvise some kind of […]
Read the rest of this article »Consider this scene. Galván hammers an old upright piano apart with his sputtering footwork. In doing so, he destroys the harmonic integrity of the instrument. When he forces the piano apart, we hear its strings shrieking as they stretch. We see Galván in a deep lunge with his muscular arms working to push the battered object to its breaking point. But the piano doesn’t dissemble. Instead its strings, like Galván’s wiry body, produce a shrill, taut dissonance, one that is awe-inspiring in its intensity. At this moment, the image of the persecuted gypsy becomes real: Galván, stripped of his shirt, dances while caught in a barbed wire fence. His angular, contorted gestures and his sharp, hard footwork eviscerate him as they reveal the unique quality of his dancing, which bends the tradition of the Seville school of flamenco beyond recognition.
Read the rest of this article »by Sedgwick Clark My favorite solo piano music is Debussy’s – iridescent, sensual, and, after all these years, mysterious. My first recording of his music was by Charles Rosen performing Images, Books I and II, Estampes, L’Isle joyeuse, and other short pieces on an Epic LP. It had been praised by David Hamilton as “indispensable” […]
Read the rest of this article »By James Conlon I had intended to submit this entry on December 15, the day after the terrible events in Newtown, CT. I found it impossible to think about anything else, and felt it was inappropriate, if not disrespectful, to publish it on that day. I have kept it for the New Year and offer […]
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