Park Avenue Armory Announces 2017 Season
Park Avenue Armory announces today its upcoming 2017 season, which will include two new commissions, and world and North American premieres across disciplines in its Wade Thompson Drill Hall and historic interiors. Marking the first full season programmed by Artistic Director Pierre Audi, and the 10th anniversary of the Armory's artistic program, the year features major collaborations with an international roster of artists working in theater, classical, and popular music, visual art, and installation.
Highlights of the season's major productions include The Hairy Ape, Eugene O'Neill's classic expressionist play that reimagines the Old Vic production; the world premiere of Hansel and Gretel, a new commission by Ai Weiwei and Herzog & de Meuron that explores the meaning of public space in our surveillance laden-world; Répons by Pierre Boulez, a rarely performed spatial masterpiece experienced from multiple perspectives; Blank Out, a multi-disciplinary chamber opera based on the life and work of Ingrid Jonker by Michael van der Aa; and the world premiere of KANATA, a three-part theater commission by Le Theatre du Soleil and Ex Machina, and directed by Robert Lepage that explores the history of Canada's aboriginal communities. The 2017 season will open with the North American premiere of Manifesto, Julian Rosefeldt's large-scale cinematic installation of reinterpreted artistic declarations brought to life by Cate Blanchett.
This season also includes the continuation of its intimate performance programs, including the Recital Series, which presents both rising and celebrated operatic talent in the Belle Époque setting of the Board of Officer's Room, and the Artists Studio series, curated by Jason Moran, which presents contemporary music from across the globe in the revitalized Veterans Room.
For more information, visit http://www.armoryonpark.org/programs_events/2017_Season
--Stephanie Yeo, Resnicow and Associates
Carl Palmer on the Passing of Greg Lake
It is with great sadness that I must now say goodbye to my friend and fellow band-mate, Greg Lake. Greg's soaring voice and skill as a musician will be remembered by all who knew his music and recordings he made with ELP and King Crimson. I have fond memories of those great years we had in the 1970s and many memorable shows we performed together. Having lost Keith this year as well, has made this particularly hard for all of us. As Greg sang at the end of Pictures At An Exhibition, "death is life." His music can now live forever in the hearts of all who loved him. --Greg Lake, December 8, 2016
KODO: Taiko Percussion Ensemble Announce 22 City U.S. Tour
Kodo--the world's foremost professional taiko company who have played a singular role in popularizing modern taiko drumming--will present their program DADAN in North America for the first time, visiting 22 U.S. cities between January and March 2017.
Forging new directions for the traditional Japanese drum, Kodo will bring a display of their raw athleticism and rhythmic mastery back to the U.S. with this cutting-edge and ever-evolving production featuring the men of Kodo in a bold portrayal of the essence of drumming through this vibrant living art form. The 2017 tour highlights include stops at Walt Disney Concert Hall in Los Angeles, Chicago's Symphony Center, the Smith Center in Las Vegas, and BAM (Brooklyn Academy of Music) in New York City.
For complete information, visit http://www.kodo.or.jp/index_en.html
--Liza Prijatel Thors, Rebecca Davis PR
Watch Two New Videos about American Bach Soloists' Messiah in Grace Cathedral
Jeffrey Thomas conducts the period-instrument specialists of ABS, the renowned American Bach Choir, and a quartet of brilliant vocal soloists in Handel's beloved masterpiece in one of San Francisco's most awe-inspiring, sacred spaces. ABS, Handel, and Grace Cathedral are perennially a winning combination and a highlight of the holiday season. A beloved Bay Area tradition now in its 18th consecutive year, ABS's performances of Handel's timeless work attract music lovers from around the world.
Wednesday, December 14 2016 7:30 pm
Thursday, December 15 2016 7:30 pm
Friday, December 16 2016 7:30 pm
Grace Cathedral, San Francisco, CA
"The 1753 Foundling Hospital Version of Handel's Messiah" - Jeffrey Thomas: https://www.youtube.com/watch?v=w14qytkJ0_Q&index=6&list=PLmbakg-rAnFhGphIKBLJW4cqjprDGdU0M
"Welcome to Grace Cathedral" - The Rt. Rev. Marc Handley Andrus:
For more information, visit http://americanbach.org/
--American Bach Soloists
Joshua Bell: Seasons of Cuba--Live From Lincoln Center with Dave Matthews Dec. 16
"Live From Lincoln Center" presents Grammy Award-winning violinist Joshua Bell in a performance with the Chamber Orchestra of Havana and some of Cuba's most renowned artists, as well as special guest Dave Matthews. This marks the U.S. debut of the Chamber Orchestra of Havana, conducted by Daiana García. Live From Lincoln Center's "Joshua Bell: Seasons of Cuba" airs nationally as part of the PBS Arts Fall Festival on Friday, December 16, 2016 (check local listings).
--Jane Covner, Jag PR
New England Conservatory Alumni and Faculty on the 59th Annual Grammy Nomination List
New England Conservatory alumni and faculty were included in nominations for the 59th Annual Grammy Awards, announced yesterday. The Grammy Awards ceremony, on which winners will be revealed, will be televised live from the Staples Center in Los Angeles, Sunday, February 12, 8pm EST, on CBS. Final-round ballots will be mailed to voting members of The Recording Academy on December 14, and are due back to the accounting firm of Deloitte for tabulating by January 13, 2017.
The album Undercurrent by singer/songwriter Sarah Jarosz '13 is recognized with nominations for Best American Roots Performance (track "House of Mercy") and Best Folk Album, which accrue to the performers; the album also received a nomination for Best Engineered Album, Non-Classical. Jarosz has previously been nominated for Build Me Up from Bones (2013) and a track from her debut album, Song Up in Her Head (2009).
Moving to the classical categories, an orchestra with deep ties to NEC appears among the nominations, after having previously been nominated for a Grammy award for another release in the nominated project. More than half of the Boston Symphony Orchestra's players are NEC faculty and/or alumni. The BSO and music director Andris Nelsons are nominated for Best Orchestra Performance with Shostakovich: Under Stalin's Shadow-Symphonies Nos. 5, 8 & 9. This follows up on last year's nominated release of Symphony No. 10 in a series of live recordings for Deutsche Grammophon.
Among the nominees for Best Chamber Music/Small Ensemble Performance, Third Coast Percussion is nominated for its Steve Reich recording. This quartet of percussionists includes Robert Dillon '04 M.M., who was a member of the NEC Percussion Ensemble during the recording of its Naxos CD American Music for Percussion, Vol. 1.
Marta Aznavoorian '96 M.M. is pianist of the Lincoln Trio, nominated for Trios from Our Homelands. In reference to the recording's theme, Aznavoorian's Armenian heritage is represented by composer Arno Babajanian.
For more information, visit http://necmusic.edu/bso
--Lisa Helfer Elghazi, Celesta PR
International Contemporary Ensemble Featured in PROTOTYPE Festival
The International Contemporary Ensemble (ICE) is featured in two events as part of the fifth annual PROTOTYPE festival — the New York City premiere of David Lang and Mark Dion's theatrical work anatomy theater, and the Silent Voices concert.
Inspired by actual medical texts from the 17th and 18th century, anatomy theater follows the progression of a convicted murderess from her confession to execution, to denouncement, and finally to dissection. Peabody Southwell (Sarah Osborne), Marc Kudisch (Joshua Crouch), Robert Osborne (Baron Peel), and Timura (Ambrose Strang) are featured together with the International Contemporary Ensemble in seven performances on January 7, 8, 10, 11, 12, 13, and 14 at 8:00 p.m. at the BRIC House Ballroom, 647 Fulton Street, Brooklyn, NY 11217.
On January 14 and 15 at 5:00 p.m. at the Florence Gould Hall at the French Institute Alliance Française (FIAF), ICE and the Brooklyn Youth Chorus are featured in Silent Voices, a multimedia, multi-composer stage work conceived by BYC Founding Artistic Director Dianne Berkun Menaker, and commissioned and produced by the Chorus. The project harnesses the power of young people to be instruments of change, giving voice to those silenced or marginalized by social, cultural or religious circumstances and features music by Sahba Aminikia, Jeff Beal, Rhiannon Giddens, Alicia Hall Moran, Mary Kouyoumdjian, Ellis Ludwig-Leone, Nico Muhly, Toshi Reagon, Ellen Reid, Kamala Sankaram, Caroline Shaw and Paul Miller/DJ Spooky and texts by Hilton Als, Michelle Alexander, Samad Behrangi, and Pauli Murray.
Tickets: Priced at $30, can be purchased from the Prototype Festival website at http://prototypefestival.org/
--Katlyn Morahan, Morahan Arts and Media
John J. Puccio, Editor, Publisher, Reviewer
Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.
Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer
For more than 20 years I was the editor of The $ensible Sound magazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.
For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst
I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.
Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.
It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.
When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.
So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio
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