Classical Music

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Looking Back on 2017: Music
Looking Back 2017 Music

Featuring selections by Jem Cohen, Keith Connolly, Britton Powell, Alan Courtis, Byron Westbrook, and more.

The Chromatic Trip: on William Eggleston’s Musik by Maxwell Neely-Cohen
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The pioneering photographer releases an album of synth and piano works.

Leo Svirsky by Michael Pisaro
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“Activism always involves a kind of coalition building, but the kind of community art is capable of building extends further, to the dead and the unborn.”

Field Recording by Patrick Higgins
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I’ve been working with the concept of remixing my own classical compositions for a number of years.

Marina Abromović’s Goldberg by David Brody
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“In the coy manner of Yoko Ono, we were instructed: ‘Listen.’ (No duh.)”

Max Richter by Tobias Carroll
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“Everyone comes together, then they just go to sleep. It’s an anti-rave.”

Philip Glass’s Words Without Music: A Memoir by Michael Coffey
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Words Without Music is a sustained performance with fascinating scenes and a lucid text.

Hunter Hunt-Hendrix by Tobias Carroll
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Guillaume de Machaut meets Bone Thugs-N-Harmony through black metal.

Erik Satie’s A Mammal’s Notebook by Anthony Huberman
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One way to understand the work of Erik Satie is to imagine a place somewhere between two opposite artistic poles: James McNeill Whistler and Robert Filliou.

Mixtape: Blues Control by Ryan Sheldon
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Blues Control curates an odyssey through avant-garde landscapes of film and classical composition—with a brief digression into street performance.

Rolip Glashley: Philip Glass and Robert Ashley by Nick Hallett
Robert Ashley S Automatic Writing

Nick Hallett witnesses the collision of two individuated music universes. The result continues to play out during several events starting this month.

Michael Counts by John Zorn
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Uniting three works of opera that span over 100 years, Michael Counts curates, directs, and designs his vision Monodramas for the New York City Opera. He speaks with musician John Zorn about the scale and challenges of the stage.

BOMB on the Scene: Live Transmission: Morgan O’Hara and Peter Gregson by Richard J. Goldstein

Morgan O’Hara’s LIVE TRANSMISSION drawings—part object, part performance—catalog movement. It was only natural that she undergo her latest performative drawings at The LAB gallery in Midtown. Morgan O’Hara used the repurosed storefront as a stage, with a black-and-white backdrop of a blown-up 2001 drawing, collaborating with six musicians over a week’s time. Richard J. Goldstein talks to O’Hara and alt-classical musician Peter Gregson, her first collaborator.

Nico Muhly’s Speaks Volumes by Craig Lucas
​Nico Muhly

If you stripped radiant joy of all associations to sentimentality, you might hear the work of composer Nico Muhly on speaks volumes, his first CD. 

Pere Portabella’s The Silence Before Bach by Alex Waterman
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The Silence Before Bach opens with a white screen, as if signaling a departure from the darkness of cinema into the light and divinely inspired world of Johann Sebastian Bach. 

Benedict Mason by George Steel
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“My dream was a synchronized sound of present, absent, and distant musicians choreographed across the audience via the elaborate placement and movements of the performers in the whole building.”

George Steel by William Wegman
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Artist William Wegman has been an early music aficionado since he was a graduate student in the mid-‘60s. when he met George Steel, the Miller Theatre’s impresario who started the encyclopedic Composer Portrait Series, they had plenty to discuss.

Mauricio Kagel by Anthony Coleman
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Mauricio Kagel’s seminar in Aix-en-Provence, France, in the summer of 1981, sponsored by the organization Centre Acanthes, was a turning point in my life.

Frantz Casseus by Marc Ribot
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Haitian classical guitarist Frantz Casseus came to New York with the ambition to compose a distinct music, fusing the European classical tradition with Haitian folk elements.

Julia Wolfe by David Krasnow
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I heard my first Julia Wolfe work, performed by the Spit Orchestra, in the early nineties.

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