"I love Hudson-Housatonic Arts – Formerly the Berkshire Review for the Arts. Performances, Exhibitions, Articles, and Interviews about the Arts from the Berkshires and Hudson Valley"

2022-07-11 23:14:07

Skip to contentPrimary MenuHomeArtArchitecture – Urban DesignDrawingsPhotographyLiteratureDanceFilmMusicOperaEarly Music and BaroqueContemporary MusicBard Music FestivalRecordingsA Singer’s Notes by Keith KiblerTheaterMusical TheaterA Singer’s Notes by Keith KiblerPodcastsFood & DrinkPlacesHudson-Housatonic ArtsFormerly the Berkshire Review for the Arts. Performances, Exhibitions, Articles, and Interviews about the Arts from the Berkshires and Hudson ValleyObituary: Michael Miller, Writer, Editor of Hudson-Housatonic Arts and New York Arts, Dies at 73November 21, 2021November 22, 2021Arts PressMichael James Miller, writer and arts critic, died aged 73 on November 14th, 2021, after a long illness with cancer. He was at home in North Adams, MA, his partner Joanna Gabler and youngest son, Lucas, beside him. His last word was “Peace.”Michael was born on January 10th, 1948, in Miami, FL, the son of Max “Ike” Miller, a restauranteur and later a successful commodities trader. His mother was Helen (née Briggs), a homemaker and devoted parent to him and his elder sister, Anne.Read MoreA Crop of Recordings XXXVII: Schmitt/Honegger, Furtwangler, Sibelius, OndineNovember 8, 2021November 8, 2021Steven KrugerHere is one of the strangest living bits of ceremonial history you will ever encounter, along with some fine, nearly forgotten music ever since. The year 1937 witnessed Paris’s International Exposition, the last continental world’s fair to take place before the Second World War, and something of a nervous set piece for political tensions of the day. Read MoreBella Merlin, co-author of When Action Is Eloquence, talks with Michael Miller about Shakespeare and CompanyNovember 8, 2021Michael MillerIn her interview about the book she has co-authored with Tina Packer, When Action is Eloquence, the distinguished actor and teacher Bella Merlin reflects on how she came into contact with Shakespeare & Company and her three year progression through the completion of a manuscript based on her own deep knowledge of acting and her participation in the Company’s month-long intensive course.Read MoreThe Belcea Quartet plays Szymanowski and Schubert – Capital Region ClassicalOctober 31, 2021October 31, 2021Seth LachtermanIt may be unnecessary to claim that the Belcea Quartet is one of the most esteemed string ensembles performing today.  However, being based abroad, and having been founded over twenty-seven years ago by Romanian violinist Corina Belcea and Polish violist Krzysztof Chorzelski, their artistic uniqueness and stature has eluded wide recognition in the U.S.Read MoreBrahms in Good HandsSeptember 9, 2021Larry WallachTraditionally, the BSO’s Tanglewood season concludes with a performance Beethoven’s Ninth, an overplayed sound-track triggering optimistic images of brotherhood and the profound goodness of the human heart. The mere fact that this became a ritual has drained it of musical significance—which has been replaced by its function as an ambiguous signifier; it has been pulled out to celebrate great occasions, cultural and political movements of all stripes, including by the Nazis.Read MoreDisparities, Intended or Otherwise: House-Blend III at PS 21, ChathamSeptember 9, 2021Larry WallachLigeti’s Trio for horn, violin, and piano is subtitled “Hommage à Brahms” since it was commissioned, in 1982, as a companion piece to Brahms’ trio for the same instruments. This is a rare instrumental combination owing to radical disparities in color, volume, and methods of tone production that challenge the composer to balance and blend their sounds. It was probably this quality that acted as one of the inspirations for this piece, which marked a turning point in the career of this composer. Ligeti does not consciously emulate Brahms in this work; if anyone, it is Beethoven who serves as a distant presence.Read MoreA Crop of Recordings XXXVI: Mozart/Muti, Gershwin/Rodziński, Prokofiev and Miaskovsky/Vasily Petrenko, Brahms/Iván Fischer, Handel/HaselböckAugust 22, 2021August 22, 2021Steven KrugerWelcome to the world of unselfconscious Mozart as it once was. When this LP first arrived in record bins in 1977, there was nothing stylistically unusual about romantically phrased performances of the composer’s music, delivered by large orchestras with substantial masses of strings. Herbert von Karajan, Bruno Walter, Karl Böhm, George Szell, all recorded “big” Mozart. Towards the end of the decade Josef Krips would turn out some nicely crisp late symphonies with the Concertgebouw for Phillips, a bit reduced in scale, but we were still a long way from the aggressive small dog Mozart which bites at our ankles today and answers to the word “Authenticity.”Read MoreHouse-Blend II: The Long Baroque Era?August 22, 2021August 22, 2021Larry WallachAlan Feinberg, curator of the House Blend concert series at PS 21 in Chatham, has interesting ideas about how to bring together seemingly disparate repertory to provoke new perspectives. My second reaction to the unusual programming of the second concert was “what do these pieces have to do with each other?” (My first reaction was “Cool: I get to hear Biber, Wolpe, and Nancarrow, all in the same program?”) It makes you think as you listen, which is not a bad thing if what you are thinking about is the music you are (carefully) listening to; and the thoughts accumulate as you listen. My thought about the Biber Passacaglia for solo violin, composed in 1676 and a powerful precursor to Bach’s solo violin music, was this: Biber makes the violin sound like several voices singing in counterpoint. This is not something the violin normally does, but after Biber, it became conceivable.Read MorePosts navigationPage 1Page 2…Page 140NextAbout Hudson-Housatonic ArtsAbout Hudson-Housatonic Arts (formerly The Berkshire Review for the Arts): Theatrical Performances, Concerts, and Exhibitions in the Hudson Valley and the BerkshiresAdvertise with Hudson-Housatonic ArtsAuthorsSubscribe to the Hudson-Housatonic Arts Newsletter (Free)The Latest on Hudson-Housatonic ArtsSupport Hudson-Housatonic Arts & New York Arts with tax deductible donations through Fractured Atlas.We can't effect our transition to an organization that will bring you original multidisciplinary performances and exhibitions, or the essays, reviews, articles, and interviews the arts deserve without your support. Please donate generously. The Arts Press (parent organization of Berkshire-Hudson Arts) is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the charitable purposes of The Arts Press must be made payable to Fractured Atlas only and are tax-deductible to the extent permitted by law.Please send contributions other than those made online, i.e. by check, to Michael Miller, Publisher, The Arts Press, 127 East 91st Street, New York New York, 10128. Checks should be made payable to Fractured Atlas, with The Arts Press in the memo line.Follow us on Twitter!Follow @ArtsHousatonic© 2022 Hudson-Housatonic Arts | WordPress Theme: Cosimo by CrestaProject.Google PlusLinkedinInstagramYouTubePinterestTumblrVKWP2Social Auto Publish Powered By : XYZScripts.com We use cookies to ensure that we give you the best experience on our website. If you continue to use this site we will assume that you are happy with it.OkayPrivacy policy