“In order to play dance pieces correctly, you must learn to dance it.” Thus spoke my recorder teacher this past Friday. A tall order, considering that Baroque dance has become a specialized and rarely-performed art inaccessible to most people.
In his first New York appearance since the termination of his contract as BSO Music Director, Nelsons courts public sympathy and makes some thrilling music.
The CBSO present the work of three European émigré composers of the 1930s and 40s, who reimagined their musical influences with contrasting approaches and results.
Jakub Hrůša leads the CSO in pedestrian Janáček and Rachmaninov, but Strauss's Four Last Songs and Wagner's Tristan excerpts send audiences home deeply touched.
The sparkle of Max Bruch's Fecond Violin Concerto and the drama of Beethoven's Pastoral Symphony overcome the gloom of Anna Thorvaldsdottir’s dark forebodings.
Beethoven's Christus am Ölberge is paired with Haydn's Die sieben letzten Worte, a journey from agony to transcendence in which the agony proves the more honest companion.
Kristina is a Liberal Arts major at Lewis University in Illinois and an experienced musician with a passion for historically informed performance practice. A violinist since the age of six, she plays several instruments, sings soprano, is continuing her musical education and performs at local venues.
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