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8 am ET: Wigmore Hall presents Michael Collins & Michael McHale. The clarinetist and pianist’s program includes Joseph Horovitz’s Sonatina which premièred at Wigmore Hall in 1981. Widor’s
Introduction et rondo was composed in 1898. At its première in 1935, Bax’s clarinet sonata was actually played twice; it was repeated in the program when the sheet music for a work by Lennox Berkeley was lost in the post. Each of the four
Time Pieces by Robert Muczynski highlights a characteristic of the clarinet in terms of range, technical prowess, tone color, and expressiveness. Register, view here and on demand for 30 days. LIVE
Her search leads her into archives and libraries. Film Movement has released this documentary film (and it s available to watch already) and there s a new
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The cultural highlights for our region this weekend include chamber music, orchestral music, experimental music, indie-pop … plus a whole lot more.
The Mahaiwe in Great Barrington, Mass., presents Heartbeat Opera’s Breathing Free, a visual album screened for free on Saturday at 7 p.m. Breathing Free focuses on Black empowerment in the arts, featuring excerpts from Beethoven’s Fidelio, a selection of Negro Spirituals, and songs by Harry T. Burleigh, Florence Price, Langston Hughes, Anthony Davis, and Thulani Davis. Immediately following the event there will be a live virtual talkback with the concert’s creators, Ethan Heard and Ras Dia. Although the event is free, registration is required – find details at mahaiwe.org.
Tue 11 May 2021 02.00 EDT
Questions thunder down on anyone who writes about music. How to describe abstract sounds in words is the first hurdle. Once every synonym for loud, soft, fast, slow has been exhausted, where next? While the story of a composerâs life is a helpful way in for most of us, others bang their spoons for hermeneutics. Until well into this century, volumes described as âa history of musicâ habitually began with the births of Bach and Handel in 1685 and petered out around Stravinskyâs
Rite of Spring (1913), thus bookending the music most audiences expected to hear in concerts. As for female composers, apart from Clara Schumann and Fanny Mendelssohn, they did not exist.