In 1968, a 16-year-old jazz fan at Palo Alto High School in California decides to hold a concert in the school's auditorium to raise funds for its International Club-and convinces Thelonious Monk's manager that his client should be the headliner. (Not surprisingly, the student, Danny Scher, would soon become a major force in the live-music production world.) As concert day approaches, one of the school's janitors, an audio enthusiast, offers to tune the piano in exchange for recording the show, a deal that's quickly agreed to. On the afternoon of October 27, the Thelonious Monk Quartet gives its only known high-school performance. Afterward, the janitor (his name apparently lost to history, though researchers are no doubt still working on that) hands the young promoter a tape. It goes in a box, where it sits for the next 50 years. When its owner rediscovers it, he contacts Monk's son T.S., who-first tickled by the story, then impressed by the recording's quality-sanctions its release.
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UK singer and producer Labrinth just scored his first-ever Emmy Award for Outstanding Original Music and Lyrics thanks to his Euphoria soundtrack standout, "All For Us." The song, which ended the emotional rollercoaster first season, was nominated alongside Pharrell and Chad Hugo's "Letter to My Godfather" from The Black Godfather, Thomas Mizer and Curtis Moore's "One Less Angel" from The Marvelous Mrs. Maisel, and Trent Reznor and Atticus Ross' "The Way It Used to Be" from Watchmen. Reznor and Ross won the Emmy for the dramatically-titled Outstanding Music Composition For A Limited Series, Movie Or Special award.
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Some years ago, I was stopped at a traffic light and heard Johannes Brahms' Symphony No. 1 on the radio. It dawned on me (after many times listening and playing it in orchestras on the violin) that Brahms channeled his predecessor, Ludwig van Beethoven.
The young Brahms cleverly passed this famous rhythmic tattoo among the various voices in the orchestra. Sometimes it's in your face. Sometimes it's subtle like this:
There are other nods to Beethoven in Brahms' First Symphony that have been well pointed out. For instance, the nature of the broad, stately theme in Brahms' finale has been compared to Beethoven's "Ode to Joy."
The pressure of such high expectations terrified him. That's why Brahms took nearly two decades - from early doodles and sketches to final product - to complete that first symphony. Once he cleared that hurdle, the music flowed freely. He completed his other three symphonies each in less than a year.
The looming shadow of Beethoven was and is legendary; intimidating numerous composers who followed him. Besides Brahms, great symphonists like Felix Mendelssohn and Gustav Mahler felt his presence.
David Korevaar, a concert pianist and Distinguished Professor in the College of Music at the University of Colorado Boulder, said Beethoven had a similar effect on his contemporaries, including his teacher.
"Poor Haydn," Korevaar said.
Franz Josef Haydn realized his student's genius and changed his focus as a composer. Haydn pretty much stopped writing instrumental music and turned his attention largely to choral works instead.
"Beethoven by the late 1790s made such an impact that Haydn - who, after Mozart's death, briefly got to revel in being the greatest composer in Vienna - found himself again eclipsed," Korevaar said.
Two centuries later, Beethoven continues to intimidate.
"There's this kind of masterpiece complex where we say, 'Do you dare to play this music?' Well, why not?" Korevaar said.
During the COVID-19 pandemic, Korevaar challenged himself to record all 32 Beethoven Piano Sonatas, mostly in his home living room The goal was to complete the cycle in 60 days. He did it in 41.
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In May, 2020, Anthony McGill launched a powerful musical protest video urging people to #TakeTwoKnees in demonstration against the death of George Floyd and historic racial injustice
Today, the Avery Fisher Artist Program of Lincoln Center, in New York City, announced American clarinetist Anthony McGill as the 2020 recipient of the prestigious US $100,000 Avery Fisher Prize, in recognition of outstanding achievement and excellence in music.
A graduate of the Curtis Institute of Music, Anthony currently serves as the principal clarinet of the New York Philharmonic and holds teaching positions at The Juilliard School, Curtis Institute of Music, and Bard College Conservatory of Music.
His #TakeTwoKnees video went viral this May, and hundreds of artists and citizens responded to the initiative with their own videos using the hashtag.
"Thank you to the Avery Fisher Artist Program for this incredible honor. I never imagined as a young music student that one day I would be where I am today. None of it would have been possible without people truly believing in me. I'm grateful for this recognition of my life's work as I continue to advocate for the next generation of young musicians," Anthony said.
A virtual 2020 Avery Fisher Prize award ceremony will take place on Tuesday, September 15 at 6:00 PM (EDT) and will be streamed live on The Violin Channel's Facebook.
Previous recipients include Yo-Yo Ma, Lynn Harrell, Sarah Chang, Pamela Frank, Nadja Salerno-Sonnenberg, Edgar Meyer, Midori, Joshua Bell, Gil Shaham, Leila Josefowicz, and the Emerson and Kronos String Quartets.
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NPR's Mary Louise Kelly talks with concert pianist Simone Dinnerstein about her new album, A Character of Quiet, which she recorded at home during the pandemic.
Life right now is a lot of things - unsettled, scary, quiet - rush-hour traffic mostly gone, the thrum of our daily routines suspended. For concert pianist Simone Dinnerstein, that has meant no touring, no concerts. Instead, she has recorded a new album at home during quarantine and chosen music that speaks to a sense of the world slowing down. It's called "A Character Of Quiet." And Simone Dinnerstein joins us now from New York.
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Bettye LaVette's big ears, wide-open mind and ability to get inside a song's lyric, melodic line and harmonic implications "LaVetticize" every song she interprets. Her career parallels the rise of soul music, and she's among a tiny handful of her contemporaries who continue to create vital recordings.
She was born Betty Jo Haskins on January 29, 1946, in Muskegon, Michigan. Bettye's family moved to Detroit when she was six years old. Her parents sold corn liquor and her living room was often visited by The Soul Stirrers, The Blind Boys of Mississippi, and many other traveling gospel groups of the day. Unlike many of her contemporaries, Bettye did not get her start in the church, but in that very same living room, where there was a jukebox, filled with the blues, country & western, and R&B records of the time. The "5" Royales, Dinah Washington, Bobby "Blue" Bland, Red Foley: these were her roots.
"My Man - He's a Loving Man," Bettye's 1962 debut single, hit #7 on the R&B charts and sent her on tour with fellow newcomer, Otis Redding. Moving to New York, she joined the Don Gardner and Dee Dee Ford Review as a featured singer, recorded "Let Me Down Easy" and toured with James Brown. Bettye played (and tap-danced) the role of Sweet Georgia Brown in the Broadway musical, "Bubbling Brown Sugar" on tour for four years.
In recent years, Bettye's recording and performing career has only picked up speed. She has received the W.C. Handy Award for Comeback Blues Album of the Year, the Pioneer Award from the Rhythm and Blues Foundation, Best Soul Blues Female Artist from The Blues Foundation, and three Grammy nominations. Her new Blackbirds,' lbum was released via Verve in August 2020.
Listen to Jon Floridis Montana Public Radio's Musician's Spotlight Broadcast: for for 9/15/20.
Pianist Igor Levit has released a very personal double album marked by a desire for encounter and togetherness. The program includes rarely played arrangements of Bach and Brahms by Ferruccio Busoni and Max Reger, as well as Palais de Mari – Morton Feldman's final work for piano. "Encounter" is the pianist's sixth disc released on the Sony Classical label and conveys the urgent desire for human togetherness – at a time when isolation is the order of the day.
For September 15 2020, Igor Levit - Encounter is the WFMT: Chicago 'Featured New Release'
In the fall of 1968, a sixteen-year old high school student named Danny Scher had a dream to invite legendary jazz pianist and composer Thelonious Monk and his all-star quartet to perform a concert at his local high school in Palo Alto, CA.
Violinist Daniel Hope spent his period of social distancing by performing chamber concerts online from his living room in Berlin with specially invited guests including Christoph Israel, Till Brönner, Matthias Goerne and more.
World-renowned singer-songwriter Melody Gardot announces her long-awaited new album along with the release of a highly anticipated single which sees her join forces with 17-time Grammy Award winning music icon Sting.
Classicalite PREMIERE: Nigel Kennedy 'Vivaldi: The New Four Seasons' - WATCH
Posted: September 2, 2015 12:00 AM
| By: Admin
Our world sure seemed different 25 years ago. Back then, Nigel Kennedy, l'enfant terrible of the violin, made beguiling records for EMI. And a quarter century ago, he cut one with the English Chamber Orchestra. Entitled Vivaldi: Four Seasons, it's been certified by the Guinness Book of Records as the best-selling classical work of all time.
As Monsier Karr duly noted, though, the more things change, the more they're kind of the same. Ostensibly.
Pushing 60 and still one of our best-coiffed violinists, today, Nigel Kennedy records with even more freedom for Sony Classical. OK, so maybe his units--alas, like his neck vertebrae--don't move quite as much as they used to. But independent of climate change, Kennedy's updated take on the "Summer" of Vivaldi in Concerto No. 2 in G minor, Op. 8, RV 315 burns a hell of a lot hotter (and man-made) that those sessions in London's Church of St. John-at-Hackney in September, 1986.
Three years later, Kennedy would give us but a first take. 25 years hence, premiering here on Classicalite the week before Labor Day, have a second look at the video for "Summer, Presto" from Nigel Kennedy and the Orchestra of Life's forthcoming album on Sony Classical, Vivaldi: The New Four Seasons. READ THE FULL Classicalite ARTICLE & WATCH THE VIDEO
In 1989 Nigel Kennedy made his breakthrough recording of Vivaldi's Four Seasons. In his sleeve notes to that famous release, Kennedy stressed that he had rejected the idea of playing Vivaldi's suite of violin concertos in either the "authentic" fashion, using period instruments, or in the more florid "romantic" style. Now, in 2015, Kennedy returns with a completely fresh take on The Four Seasons, but while the music sounds hugely different, his creative attitude is the same. Once again he has set out to prove that The Four Seasons is timeless, and in his opinion there's no reason why Vivaldi's masterpiece shouldn't be opened up to embrace developments in musical instrument technology, or even new musical styles undreamt of in Vivaldi's 18th century world.
23 NEW 28 Total
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Written entirely for violin, orchestra, band and voices and inspired by the elements air, earth, fire and water, Nigel Kennedy's Four Elements takes the listener on a multi-genre musical journey of exhilaration, contemplation and celebration. This work is a suite of pieces which Nigel originally conceived as his own 21st-century response to Vivaldi's baroque masterpiece in the sense of creating programmatic, pictorial music based on an underlying theme. A notable new ingredient in the mix is the electronic drum programming by Damon Reece, who has worked with Massive Attack and Goldfrapp. Singers featured on the album include Zee Gachette and Xanton Blaq, a former member of Amy Winehouse's band.
After decades of dazzling the world with record-breaking classical performances, the English violin virtuoso Nigel Kennedy has surprised the music industry with a breathtaking jazz recording. He has become the first EMI Classics violinist to be invited into the fabled Blue Note family, with his new album Blue Note Sessions marking the start of a completely new career path within the magical world of jazz. Although a radical departure from his lifelong study of the classics, there are still hallmark signatures of this uniquely gifted musician who has so changed the face of classical markets.
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