Nearly two hours of Debussys solo piano music at one sitting can be, for some, too much impressionistic color to digest. And indeed a woman beside me fell asleep during the twelve Préludes, Book One.
If I were to help a new listener grapple with Charles Ivess Piano Sonata No. 2, Concord, Mass., 1840-1860, I would share my story of first seeing the scores opening page.
Piano practice is like having a dog. If one has lived long enough with such an unnecessary but at the same time critical circumstance, one wonders how others live without it.
In the world of classical music trios, there are few combinations as natural as the cello, guitar and piano. Operating mostly in the same register, attacking and retreating equally, the instruments can blend beautifully if played with discipline and heart.
A California polymath has electrified the music world with his images of classical music in visual form, capturing more than 165 million hits on his Internet postings in just a few years. Only pop singers or weird videos do better.
Ukrainian-born Evgeny Ukhanov, based in Australia for the past 20 years, is an established performer of new music originating in his adopted homeland. Now he has teamed up with friend and Melbourne composer Alan Griffiths on a new CD of selections regrouped under the title “Introspection”.
If music makes you happy or sad, you are probably an average listener. If it leaves you indifferent, you might be considered insensitive. But if it gives you goosebumps you are in a very special group with connections in your brain anatomy that others may never feel.
Lake Como, known as the “magic lake” of Italy, has inspired writers and composers for centuries with natural surroundings so conducive to creative expression.
Much of the mythology that surrounds Elvis Presley, who died 40 yea
Katia and Marielle Labèque -- the glamorous French keyboard siblings -- have achieved a solid legacy of exuberant performances in the two-piano repertoire, ranging from experimental contemporary works to traditional classical-romantic composers.
I was flipping through my copy of Prokofiev’s Piano Sonata No. 6 recently and spotted his two “col pugno” markings. My memory took me back many years to the day I first encountered these violent directions. At the time, I didn’t know what to think.
One of the world’s greatest living violinists, Maxim Vengerov, accompanied by an equally accomplished pianist Roustem Saïtkoulov, dazzled a full house at the 18th century Grand Théâtre of Bordeaux Sunday night (18 June) with a faultless concert.
A classical-trained German pianist working in a range of musical disciplines has just launched his most audacious experiment yet – an original piano sonata consisting almost entirely of creations from his unconscious mind.
The Orchestre National de Bordeaux Aquitaine added another feather to its cap last week (June 1-2) with the engagement of a leading international guest conductor, Michail Jurowski, who led the ONBA in two demanding orchestral pieces, the Shostakovich Symphony No.
Taking a break in gaps between a Mozart piano concerto in Izmir, Turkey, (No. 9, “Jeunehomme”), a recording session of three Mozart concertos in Rennes, France (Nos.
Pianist Mitsuko Uchida delivered a sparkling Mozart piano concerto No. 20 in D minor (K.466) with the Boston Symphony Orchestra under Andris Nelsons on Thursday, the eve of Easter weekend, to an enthusiastic full house at Symphony Hall. Ms.
The Leonard Bernstein incidental music for Voltaire’s Candide seems even fresher today than it did 60 years ago when it flopped on Broadway.
Veteran impresario Jacques Leiser, summing up his 60 years of toil with some of the world’s greatest performers, is worried about today’s drift in the music business.