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Review: Mastery on display at Tanglewood as conductors Karina Canellakis, Herbert Blomstedt take the podium
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5 Minutes That Will Make You Love Choral Music
Listen to the gorgeous sound of a mass of voices: ancient, contemporary, gospel, opera, sacred, romantic.
Credit.Angie Wang
May 5, 2021, 5:00 a.m. ET
Now we want to convince those curious friends to love choral music the gorgeous sound of a mass of voices. We hope you find lots here to discover and enjoy; leave your favorites in the comments.
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Charmaine Lee, vocalist and composer
When I first heard Marcel Cellier’s compilation album “Le Mystère Des Voix Bulgares,” I was struck by the choir’s vocal quality: raw and direct, with a supreme clarity and unlike anything I’d heard before. In “Kalimankou Denkou,” a powerful solo by Yanka Rupkina is wrapped in rich, cascading harmony, unfolding with organic complexity. This is perfect tonal music, where harmony and melody reinforce each other to convey deep expression. I hope it leads you down a YouTube rabbit hole in the vocal music not only of Bulgaria, but
Last modified on Tue 13 Apr 2021 07.50 EDT
The composer Simon Bainbridge, who has died aged 68 after a long period of ill health, responded deeply to the visual arts and poetry in a way that informed a musical style of impressive technical assurance and originality. Time spent studying with Gunther Schuller at the Berkshire Music Center at Tanglewood, Massachusetts (1973-74), opened his ears to jazz and what Schuller termed third stream music, a fusion of jazz and classical.
But despite the absorption of jazz influences such as big band and Miles Davis into his style, his compositions remained intellectually challenging, often austere. A flirtation with the minimalism of the American composers Steve Reich and Philip Glass, for example, failed to develop into a closer relationship, Bainbridge finding it limiting both harmonically and rhythmically.
Daniel Dylan Wray
, January 11th, 2021 09:39
It seems odd to argue that a member of one of the most celebrated rock bands of all time, the Velvet Underground, is under-appreciated, says Daniel Dylan Wray in this subscriber only essay, until you consider just how absent he is from conversations about popular music
Author portraits by Natasha Bright
People have some very strongly held beliefs about the roles of John Cale and Lou Reed. A few years ago, when interviewing Cabaret Voltaire’s Richard H Kirk, I lightheartedly made a Reed/Cale comparison between him and ex-Cabs member Stephen Mallinder due to their fractious yet potent creative relationship. It was met with a stern look, a furrowed brow and the reply, “Well it depends who’s who.” It turned out the idea of being painted as Cale in that partnership was deeply offensive, and of course Kirk would be Reed in any such scenario.
My newspaper career began as a correspondent then a reporter for The Berkshire Courier weekly in Great Barrington.
Attending municipal meetings and taking notes on activities was interesting. I got to know elected officials and sometimes phoned for more information. But I didnât like making cold phone calls. Or interviews. Shy from birth.
Nevertheless, I questioned magicians and stamp collectors, cartoonists and auto mechanics, naturists and naturalists, museum curators and mystery writers. But Pulitzer Prize and Academy Award-winning composer Aaron Copland (1900-1990)? What would I ask him?
Copland was in the Berkshires in July 1980 for his usual stint at Tanglewood. My publisher, Alan Copland, was a cousin of Aaron and arranged a lunch for the three of us at Wheatleigh in Stockbridge. I have no recollection of what we ate before we retired to a side room.
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