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We the People
Revolutions and Music
Revolutions have always been part of human history, and they certainly have been central to the formation of the modern world. We frequently use the word “Revolution” in generic ways to describe various phenomena like the “industrial revolution” or the
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Baroquism
Over the years, I have come to realise that somehow my tastes in classical music often balanced between baroque and minimalism. For some reason, each period seemed to refer to the other—the latter more than the former. I felt like
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Presaging the Future of Opera? Thomson and Stein’s Four Saints in Three Acts
In 1926, the American composer Virgil Thomson went to the fabled address of 27 Rue de Fleurus, where the American poet and writer Gertrude Stein lived with her companion, Alice B. Toklas. Thomson was familiar with Stein’s writings and spoke
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The Concert Programme as Menu
Composing a concert is like composing a menu…. If you start with light pieces and play a 45-minute sonata after the interlude, it’s like starting dinner with hors d’oeuvres and dessert and finishing with a Châteaubriand and vegetables. – Arthur
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Love Is in the Music
Love has been an unfailing interest of mankind and an indispensable element of human lives. Love is much more than superficial attraction: at its best, love displays trust, commitment, longing, making sacrifices for the greater good. Yet on the flip
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Connecting the Dots—When Piano Rolls Were the Rage
A few days ago, we were invited to an historic home on a nearby lake, a rambling manor that had been in one family for generations. Inside we encountered sensory overload—antiques, and collectibles, decades-old toys, hundreds of books, silver sets,
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How the Classical Music Experience Is Changing
Many modern orchestras are focusing on the audience experience today. In the United States and several other countries, you can go to a concert hall to hear a symphony orchestra and they will encourage you to clap between movements if
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Upset by Einaudi?
What is it about Ludovico Einaudi and his music which provokes such strong reactions from so-called “serious” classical music people? His music is regularly criticized by these people for being “bland”, “unchallenging”, “unsophisticated”, or simply “bad”… Einaudi’s musical language is
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