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Search resuls for: "SETH COLTER"


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5 Classical Music Albums You Can Listen to Right Now
  + stars: | 2023-11-30 | by ( ) www.nytimes.com   time to read: +2 min
But his foray into opera, “Afterword: An Opera in Two Acts,” is less traditionally dramatic. In the liner notes for this finely produced live recording, Lewis — a scholar, computer music specialist and trombonist — talks about the conceptual influence of Anthony Braxton’s operas. In those works, singers are not bound to representations of a single character from one act to the next. Lewis, a veteran of the artistic network, wrote a celebrated historical tome on the organization, and his libretto for “Afterword” freely adapts that text. And it does flourish, among the trio of vocal soloists, most prominently in an extraordinary performance by the contralto Gwendolyn Brown.
Persons: George Lewis’s, Lewis —, , Anthony Braxton’s, Lewis, Gwendolyn Brown, SETH COLTER Organizations: Association for, Advancement of Creative Musicians
There’s a lot of Stephen Sondheim in New York at the moment: the premiere staging of his last musical, “Here We Are,” and star-studded revivals of “Merrily We Roll Along” and “Sweeney Todd” on Broadway. And for one weekend this month, there was also one more show of his on: “The Frogs.”This endearingly weird, Aristophanes-inspired musical — created with Burt Shevelove and famously premiered at a Yale University swimming pool in 1974 — hasn’t been onstage in New York since a heavily revised 2004 revival that Sondheim conceived with Nathan Lane, who also performed the role of Dionysos. Few local institutions have the skill or interest to pull off “The Frogs” — with its bookish references and ironic-then-impassioned music — but it’s typical, delightful fare for MasterVoices and its artistic director, Ted Sperling, who mounted and conducted a concert staging of the musical at the Rose Theater. (Lane was there, too, now as a host guiding the audience through the show.)
Persons: Stephen Sondheim, “ Sweeney Todd ”, , Burt Shevelove, — hasn’t, Sondheim, Nathan Lane, Ted Sperling, Lane Organizations: Yale University, MasterVoices, Rose Theater Locations: New York
Courtney Bryan’s Music Brings It All Together
  + stars: | 2023-10-31 | by ( Seth Colter Walls | ) www.nytimes.com   time to read: +1 min
The name Courtney Bryan is not one that you’ll currently find on many recordings. Aside from two independently released, jazz-tilting albums from 2007 and 2010, precious little of this pianist and composer’s finely woven, adventurous music is available to hear widely. But you can expect that to change, beyond live performances including the premiere of Bryan’s chamber work “DREAMING (Freedom Sounds),” presented by the International Contemporary Ensemble at Merkin Hall on Wednesday. Symphony orchestras, chamber musicians, vocal groups and jazz performers have all been drawn to her sound. Last spring, the New York Philharmonic premiere of “Gathering Song,” with text by the stage director Tazewell Thompson and hints of post-bop jazz harmony, displayed her place among the most exciting voices in contemporary American music.
Persons: Courtney Bryan, you’ll, , Boosey & Hawkes, ” Bryan, MacArthur, Tazewell Thompson Organizations: International, Merkin Hall, Boosey &, Columbia University, New York Philharmonic Locations: New Orleans
John Zorn may have turned 70 this month, but he looks younger. Zorn has been taking his stylistically varied live performances on the road to celebrate this birthday. On Thursday, the Miller Theater at Columbia University took its turn, with the first in a series of “composer portrait” concerts that continue into November. Throughout the evening, this most hyperactive of American composers could be seen bounding with ease between the stage and his seat in the audience. With a ringleader’s zeal, Zorn introduced different groupings of musicians.
Persons: John Zorn, Homenaje, Remedios Varo ”, Zorn, Tristan Tzara Organizations: Walker Art Center, Roulette, Theater, Columbia University Locations: Remedios, San Francisco, Minneapolis, Brooklyn
Review: At Mostly Mozart, the Sense of an Ending
  + stars: | 2023-07-26 | by ( Seth Colter Walls | ) www.nytimes.com   time to read: +1 min
Change is coming for the Mostly Mozart Festival Orchestra and for its longtime music director, Louis Langrée — this month is the beginning of the end of his tenure with the orchestra. When the ensemble appears at Lincoln Center next year it will be with a freshly conceived name, and with the conductor Jonathon Heyward at the helm. So there is a sense of finality hovering over this summer’s offerings, which began last weekend with a free outdoor concert in Damrosch Park. On Tuesday night, Langrée and his players resumed their more typical places in the recently refurbished David Geffen Hall — renovations that kept the festival orchestra out of that theater last year. In remarks before the concert, Langrée warmly recalled his two-decade relationship with the orchestra and with New York audiences.
Persons: Louis Langrée, Jonathon Heyward, Heyward, Langrée, David, Amir ElSaffar, Mozart Organizations: Orchestra, Lincoln Center, David Geffen Hall Locations: Damrosch Park, New York
Pleasant spring weather warmed the grounds of Girard College here on a recent afternoon. But even as classes were letting out for the weekend, some high school students at this boarding school had a few hours of work ahead of them. Inside the gymnasium of the school, which is devoted to children from single- and zero-parent homes who come from underserved communities, five teenagers began to gather around the bleachers. But she quickly broke away to welcome the students as they entered. A few minutes later the composer Tyshawn Sorey conferred with the instrumentalists.
Persons: Brooke O’Harra, Tyshawn Sorey Organizations: Girard College
Even as a child, Henry Threadgill liked to experiment. In this Pulitzer Prize-winning composer and saxophonist’s new memoir, “Easily Slip Into Another World,” he recounts a youthful attempt to fly from a window using a “contraption” of his own devising. He managed to escape the ensuing, predictable crash without breaking any bones, but the young Threadgill did earn a reputation for daring in his Chicago neighborhood. His mother’s response — “Henry, why do you have to be so extreme?” — became, as he writes, “the refrain of my childhood.”That same question may have occurred to a few listeners. He has also led some of the most widely acclaimed ensembles in the past half-century of American jazz.
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