The Washington Post: NSO’s ‘Wind & Wave’ celebrates the sea, but ignores the tide
This guy right here loves a theme. When orchestras build a night of music around a central idea — be it a topic, a color, an era, a season — it offers listeners a comfy couch of context that allows us to settle in and feel situated. Having a theme also allows us to hear pieces of music in fresh dialogue with one another.
More to the point of this review, sometimes a theme just provides a good enough excuse to invite old friends over for a party, as was the case with the National Symphony Orchestra’s “Wind & Wave” concert on Thursday (repeating Friday and Saturday nights). This sea-and-sky-inspired selection brought together works from Richard Wagner (the overture to “Der fliegende Holländer”), Samuel Barber (“Night Flight”) and Claude Debussy (“La Mer”).
Strings: Violinist Anne Akiko Meyers Continues Passionate Advocacy of New Music with Recent Concerto Commission Inspired by Amelia Earhart
For a good two decades, Anne Akiko Meyers has made it a hallmark of her artistic mission to expand the literature for her instrument by inviting living composers to write something new—and then championing the results with total commitment. It’s an undertaking not recommended for the risk averse. While playing the mainstream repertoire entails having a tradition to fall back on whenever doubts arise, being the first to introduce a composition to the public can resemble setting out on a tightrope walk without a safety net.
This intrepid attitude makes Meyers an ideal advocate for Michael Daugherty’s new violin concerto, Blue Electra, which is inspired by the legacy of the boldly adventurous aviatrix Amelia Earhart. From November 10–12 at the Kennedy Center in Washington, D.C., Meyers will give the work its world premiere with the National Symphony Orchestra led by Gianandrea Noseda.
The Philadelphia Inquirer: For up-and-coming musicians, putting in work means starting at the top
Increasingly, young artists like Haochen Zhang, Yuja Wang, Stewart Goodyear, and James Ehnes take on heavy-weight repertoire they are often advised to save for middle age — or older.
Complete Beethoven piano concerto recordings just don’t just arrive out of thin air. But so it may seem in the just-released set — Nos. 1-5— by pianist Haochen Zhang and the Philadelphia Orchestra under principal guest conductor Nathalie Stutzmann.
All five concertos were recorded over three days at the Kimmel Center after only one two-hour rehearsal session.
Gramophone: Video of the Day: Video of the Day: Flautist Jennifer Grim plays Julia Wolfe's Oxygen
Oxygen for 12 flutes, multitracked and performed by Jennifer Grim
Flautist Jennifer Grim's latest album Through Broken Time was born out of a desire to raise the voices of underrepresented composers through her time working on the Diversity & Inclusion Committee of the National Flute Association. Each work on the album holds special significance to Jennifer and today's Video of the Day brings an essence of urban modernism, marking the importance of New York in Jennifer's development as an artist.
Oxygen by Julia Wolfe was originally commissioned by the US's National Flute Association as a flute ensemble piece. For the album, Jennifer recorded each of the piece's twelve parts across piccolo, flute, alto and bass flute. Recording over 3 hours of music to cover and layer all the parts, the piece proved to be a mammoth undertaking.
Meet The Artist: Trey Lee, Cellist
Who or what inspired you to pursue a career in music and who or what have been the most important influences on your musical life and career?
Without a doubt, Pau (Pablo) Casals has been a major inspiration for multiple reasons. His playing has always sounded like someone singing and speaking at the same time, which is what I am constantly trying to achieve in my own playing; I find that a musician who can do both has a much greater ability to keep a listener’s attention. Much is also said about his interpretations being irresistibly astute. Whether or not you agree with his ideas, much of this comes down to his courage to play everything with total commitment.
Calgary Herald: Young global pianists to compete at Honens International Piano Competition in Calgary
In 1992, pianist Jon Kimura Parker sat on the first competition jury of the Honens International Piano Competition. He was 33 at the time. It was a relatively young age to sit on a jury, particularly given the fact that the oldest competitor that year was 30. “I remember feeling quite intimidated to be on that jury at such a young age,” says Parker, in an interview from his office at Rice University in Houston, where he has been a professor for 21 years. “So it was a big deal for me.”
The Arts Desk: Dragonflies, harmoniums and folded paper
Two discs of music by American contemporary composer Andy Akiho have caught my ear in recent months. Born in 1979, his biography states that “he spent most of his 20s playing steel pan by ear in Trinidad and began composing at 28,” the physicality and theatricality involved in playing steel pans an essential element of Akiho’s music. Have a look at “Pillar IV” from the vast percussion piece Seven Pillars on YouTube; watching three members of Brooklyn’s Sandbox Percussion in action (look out for the wine bottles) is absorbing.
Gramophone: Video of the Day: Sandbox Percussion & Matt McBane
Sandbox Percussion & Matt McBane perform 'Groundswell' from their latest album 'Bathymetry', released on November 4, which draws on various strains of classical minimalism and modern electronic music production
Grammy-nominated percussion quartet Sandbox Percussion’s latest collaboration with composer Matt McBane introduces the world of analog synthesizer through their album, Bathymetry, released on 4 November. It draws on various strains of classical minimalism and modern electronic music production, taking influence the world of YouTube ASMR(autonomous sensory meridian response) and ambient modular synth.
The Columbian: Vancouver Symphony Orchestra set for 44th season
Two American concertos featuring pianist Michelle Cann will kick off the Vancouver Symphony Orchestra’s 44th season this weekend at the Skyview Concert Hall.
I Care If You Listen: 5 Questions to Viet Cuong
On September 22-24, the Pacific Symphony and the endlessly musical and adventurous Sandbox Percussion will perform Viet Cuong’s Re(new)al concerto. The three continuous movements of Re(new)al explore the power of hydro, wind, and solar energies through the brilliant use of found objects and orchestral instrumentation.