In terms of an ensemble profoundly shaking up a repertoire, the string quartet has the Kronos Quartet, and contemporary chamber music has had Speculum Musicae. The woodwind quintet right now is lucky to have Imani Winds, which played Sunday afternoon for
Face(book)ing the Music. The San Francisco Symphony says it will become the first major symphony orchestra to stream on Facebook Live on Wednesday, when it performs the world premiere of Mason Bates' Auditorium. Pablo Heras-Casado conducts, with Bates per
In solo recitals, players tend to memorize their parts, so page-turners are a moot point. In an orchestra, where parts are only a few pages long, players can photocopy, cut, and tape parts to avoid awkward page turns. When there are two musicians to a sta
It's OK to show up at a Philadelphia Orchestra concert this season and feel conflicted that big plans never materialized. The Stravinsky Soldier's Tale in a staged version by James Alexander, announced for the current run of concerts, was a victim of this season's budget cuts, and so the program was reworked without actors and dancers.
What is the state of the orchestral training program at the Curtis Institute of Music at the moment? The question is worth asking mostly because so many Curtis orchestra concerts over the last 21/2 decades have so decisively tipped over into the professional-quality realm.
Christian Tetzlaff is much loved in our town, and his presence Friday night was much missed. But another way of looking at it is that the German violinist, in canceling his recital to be home for the birth of his sixth child, left an opening for something more significant.
J.S. Bach from the master. At 82, conductor Helmuth Rilling has possibly logged more Bach than anybody, having recorded all of Bach's choral works over some 170 compact discs. In Philadelphia this week, he is hosted by Temple University in master conducti
Having great chamber music easily accessible a couple of times a week in town is greeted as the natural order of things. But it was hardly inevitable, and is largely thanks to one man: Anthony P. Checchia, founding artistic director of the Philadelphia Chamber Music Society.