Score: Respighi, Botticelli, and Mussolini.
Boston Globe, August 30, 2018.
The work to share
Guerrieri: Christ for the World We Sing (COELSIGE 6.6.4.6.6.6.4) (PDF, 154 Kb)
A congregational hymn (with keyboard decoration, an SATB verse, and a descant) to add to this ongoing collection. We will miss your guidance, Kelsey Woodruff.
“Strange, long drawn, and musically wild and unearthly”
Score: Bernard Herrmann, Moby Dick, and the movies.
Boston Globe, August 2, 2018.
You’ve heard the noise they make
A couple of piano-recital reviews from the Foundation for Chinese Performing Arts’ summer festival at the Walnut Hill School:
Reviewing Hung-Kuan Chen.
The Boston Musical Intelligencer, July 25, 2018.
Reviewing SangYoung Kim.
The Boston Musical Intelligencer, August 3, 2018.
Everyone was looking for a little entertainment
Score: K. 595 and the Neapolitan monarchs.
Boston Globe, June 28, 2018.
Honkin’ down the highway
Score: “I Get Around” and the car as muse and malady.
Boston Globe, May 31, 2018.
Full enjoyment of felicitie
Catching up on recent scribbling:
- Score: William Harris, Faire Is the Heaven, and the pity of war.
Boston Globe, May 3, 2018. - Score: Britten, swimming in Bridge’s Brook.
Boston Globe, March 29, 2018. - Score: Maurice Duruflé in devout retreat.
Boston Globe, March 1, 2018.
And:
How classical took control of the jazz in Rhapsody in Blue.
San Francisco Chronicle, February 28, 2018.
(Special thanks to Joshua Kosman for the request.)
The image at the top is my favorite slide from a talk I gave at the Radcliffe Institute last month. Here’s my second favorite:
I know it’s supposed to be a stereo-equipment showroom, but I think it’s more fun to imagine that it’s actually the guy’s apartment, and his date is slowly backing toward the door, having realized the depth of his addiction.
Also from the talk—an earworm of unusual ruthlessness. You’ve been warned.
Let them when they leave thy altars / Kindle others in thy name
This space has been quiet for four months, but, for once, I have a decent excuse, as I have doing my utmost to take advantage of the flatteringly good fortune of a fellowship at the Radcliffe Institute for Advanced Study at Harvard. The full, worldwide panorama of post-World War II music requires diligent pursuit! Nevertheless, I am giving it a shot. If you’re in Cambridge, feel free to drop by.
Still, it’s a good time to catch up on collating some other work. I am very happy once again to be mingling with the fine souls at NewMusicBox, this time with some ruminations on music’s ability (or lack thereof) to connect:
- On Empathy
NewMusicBox, February 14, 2018.
Courtesy of the implacable nature of the church calendar, there’s also two more choral introits to add to the ever-expanding list:
- Guerrieri: Hark! a Gladsome Voice is Thrilling (2017) (PDF, 53 Kb)
- arr. Guerrieri: I Got a Home in That Rock (2018) (PDF, 57Kb)
And the Globe column has been scaled back to a monthly affair, but continues to lurk around the edges of the newspaper industry:
- Score: William Billings and Jeremiah Ingalls.
Boston Globe, October 27, 2017. - Score: Ligeti’s oblique Bagatelles.
Boston Globe, November 1, 2017. - Score: Handel’s Messiah and the American experiment.
Boston Globe, November 30, 2017. - Score: Esquivel’s mid-century modernism.
Boston Globe, January 4, 2018. - Score: Lachenmann’s dialectic, mimetic Kinderspiel.
Boston Globe, February 1, 2018.
Put it all in one place like that, and I seem really productive. Negligence has its advantages.
Duly noted
Score: Lutosławski’s 3rd and Solti’s pencil.
Boston Globe, October 20, 2017.
Special thanks to Christina Linklater and the staff at the Merritt Room at Harvard’s Loeb Music Library for giving me a look at the relics.
Names which begin with the letter S
Score: On Goblin and Suspiria.
Boston Globe, October 13, 2017.