Friday, July 31, 2015

Nino Rota and the Art of Free Time

Vacation time, which allows me to choose CDs apropos of...well, gorgeously, nothing. Recordings pile up, in a good week, a couple of dozen at a time. They taunt me: What is Marc Albrecht all about, and why doesn't he ever conduct here? Don't you want to hear what George Crumb is up to lately?

Nino Rota and the Art of Free Time

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Vacation time, which allows me to choose CDs apropos of...well, gorgeously, nothing. Recordings pile up, in a good week, a couple of dozen at a time. They taunt me: What is Marc Albrecht all about, and why doesn't he ever conduct here? Don't you want to hear what George Crumb is up to lately?

At the top of the heap over the next few weeks are Natalie Hinderas in George Walker's Piano Sonata No. 1 and Hale Smith's Evocation; Benjamin Britten and Peter Pears in Schubert lieder; and Jessye Norman with Pierre Boulez in songs of Alban Berg.

I've been poking around for an errant Dvořák Stabat Mater to go with the recently acquired score bought at Barnes and Noble for 75 percent off. The search is inconclusive, but at least I now know that I still have in hand Muti and pianist Giorgia Tomassi in two Nino Rota (pictured) piano concerti.

I'll hear a few concerts between now and the start of the new year. As for blogging, I'm feeling non-committal, but don't be surprised if it stays fresh through the holidays. I feel a think piece or two coming on.

Inquirer Classical Music Critic
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About this blog

Peter Dobrin is a classical music critic and culture writer for The Inquirer. Since 1989, he has written music reviews, features, news and commentary for the paper, covering such topics as the Philadelphia Museum of Art at the Venice Biennale, expansion of the Curtis Institute of Music, the Philadelphia Orchestra's bankruptcy declaration in 2011, Philadelphia's evolving performing arts center and the general health of arts and culture.

Dobrin was a French horn player. He earned an undergraduate degree in performance from the University of Miami, and received a master's degree in music criticism from the Peabody Institute of the Johns Hopkins University, where he studied with Elliott Galkin. He has no time to practice today.

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