Podcast appearances and mentions of Anthony Tommasini

SynopsisIn September 2001, American composer Elliott Carter was just a few months shy of his 93rd birthday, but still busy composing new works both large and small.On today's date that year, Carter's Cello Concerto received its premiere in Chicago with cellist Yo-Yo Ma and Daniel Barenboim conducting the Chicago Symphony.Now, Carter's music is technically challenging for performers, and its complexity can make it equally challenging for audiences, especially at first hearing. Despite all that, Carter's comments on his music were usually quite straightforward:“In this score I have tried to find meaningful, personal ways of revealing the cello's vast array of wonderful possibilities,” he wrote. “My Concerto is introduced by the soloist alone, playing a frequently interrupted cantilena that presents ideas later to be expanded into movements.”A month after its premiere, Ma, Barenboim, and the Chicago Symphony brought the new work to Carnegie Hall, and the New York Times reviewer Anthony Tommasini wrote:“For all its complexities … the cello part has a rhapsodic, improvisatory quality …. At its conclusion, when Mr. Carter, who is 92, climbed the steps to the stage with a cane to steady him, he received a prolonged standing ovation.”Music Played in Today's ProgramElliott Carter (1908 – 2012) Cello Concerto Alisa Weilerstein; Staatskapelle Berlin; Daniel Barenboim cond. Decca 478 2735

Suzanne Farrin is a composer and performer of the ondes Martenot, an early electronic instrument created by the engineer Maurice Martenot in the 1920s as a response to the simultaneous destruction and technological advances of WWI. Anthony Tommasini of the New York Times called her first opera, dolce la morte, a work of “shattering honesty.” Her debut recording, Corpo di Terra, was described in Timeout Chicago, “like field recordings from inside the cerebral cortex.” Her works are frequently performed at festivals around the world and she has performed in a wide range of film scores, and appeared as herself in an episode of Mozart in the Jungle. Matthew Dotson talks with her about several exciting upcoming projects.

Join us as we head to NYC to talk with the Chief Classical Music Critic of the New York Times, Anthony Tommasini, about his 20 year career with the Times, the joy of making music, but more importantly, how the pandemic has made us appreciate even more the experience of listening to live music. https://www.nytimes.com/by/anthony-tommasini   www.screamingdivas.com

In the first drafts of Beethoven's Symphony No. 3, there is a name that appeared as the subtitle before it was scribbled out and changed to 'Eroica'. Originally Beethoven dedicated this symphony to his personal hero, a man who would soon instigate his own demise when he crowned himself Emperor, Napoleon Bonaparte. Theme music is by Daryl Banner: https://darylbanner.bandcamp.com/ Beethoven Symphony No. 3 in E-flat major ('Eroica') manuscript title page: https://upload.wikimedia.org/wikipedia/commons/0/09/Eroica_Beethoven_title.jpg Sign up for Run the Town!: https://runsignup.com/Race/Register?raceId=107817&coupon=alexandrian&fbclid=IwAR22D6jPRj_XOVeDJuHbSgsaFZoPjXLlyYm6l9LvD7aquiKQvVyD1Gv4FqU Become a member of The Composer Chronicles on Patreon to get ad-free versions of all the episodes, early access to those ad-free versions, access to the member-only podcast Unscripted, and other things podcast related! https://www.patreon.com/thecomposerchronicles Sign up for Amazon Music Unlimited and get your first 30 days free: getamazonmusic.com/thecomposerchronicles Alexandrian Media Teespring: https://teespring.com/stores/alexandrianmedia Listen to The Composer Chronicles‘ Spotify Playlist: https://open.spotify.com/playlist/71QCS9qHoZqMMR6GMooqTR Music used in this episode: Into the Divide by Trevor Kowalski Symphony No. 3 in E-flat major ('Eroica'), Op. 55, Mvt. I. Allegro con brio and IV. Finale. Allegro Molto by Ludwig van Beethoven Sources used for this episode: Anthony Tommasini, The Indispensable Composers: A Personal Guide (New York: Penguin Press, 2018), 165-166. Corey Field, ed., The Musicians Guide to Symphonic Music: Essays from the Eulenberg Scores (Mainz: Schott Music Corporation, 1997), 41-44. --- Send in a voice message: https://anchor.fm/thecomposerchronicles/message

The New York Times', Anthony Tommasini describes today's guest as “the shimmering soprano”. She enjoys singing everything from opera's light lyric roles to oratorio to pops classics. A partial list of roles to her credit includes Juliette in Roméo et Juliette, Kathy in the Student Prince as well as roles in musical theater favorites like Sarah Brown in Guys and Dolls, Maria in West Side Story, Carrie in Carousel, Fiona in Brigadoon and Laurey in Oklahoma! On the concert stage, she has performed a broad spectrum of works, including Mozart's Coronation Mass and Requiem and Haydn's Mass in Time of War with the New England Symphonic Ensemble at Carnegie Hall. Enthusiastic about contemporary works, she has been active in many new operas at the prestigious Banff Centre for the Arts and in 2015 she created the role of Ruth Draper in Icarus Rising, a new dance opera about the life of Lauro DeBosis. It is my honor to introduce today's guest, Kristen Plumley

Rosy, Blaire, and Adam discuss the immediate and lasting impacts of the COVID-19 pandemic and the Black Lives Matter and #MeToo movements. The cast chats about how musicians are grappling with the sudden move to remote interactions, prompting the rapid embrace of livestream concerts, recording activities, online teaching and coaching, and social media projects. They also consider the many ways in which the music world must address racial inequality, investigating how artists can strive toward a more inclusive world through programming, commissioning, and improving access to educational opportunities. The team finishes the podcast with a discussion about the ongoing #MeToo movement and its impact on the music world more broadly. Soundweavers explores the triumphs and tribulations of the chamber music community through conversations with emerging and established performers, composers, and educators. Through dialogue, trialogue—and sometimes even tetralogue—with guest artists and ensembles, we delve into what it means to present contemporary and traditional classical, jazz, and folk music in today's ever-shifting gig economy. Resources discussed in today's episode: Chamber Music Connection June in Buffalo George Lewis, “A Small Act of Curation”, on-curating.org loadbang, “George Lewis”, loadbang's Power Chats, 29 June 2020 Sara Ahmed, On Being Included: Racism and Diversity in Institutional Life (Durham and London: Duke University Press, 2012). Community MusicWorks Castle of our Skins fivebyfive Anthony Tommasini, “To Make Orchestras More Diverse, End Blind Auditions,” New York Times, 16 July 2020. The BIT Collective Anastasia Tsioulcas, “Top Music School Finds Sexual Abuse Allegations from Violinist ‘Credible'” from National Public Radio on 23 September 2020. The transcript for this episode can be found here. For more information about Soundweavers, please visit them at their website, Facebook, Twitter, Instagram, and YouTube.

In September of 2001, the American composer Elliott Carter was just a few months shy of his 93rd birthday, but still busy composing new works both large and small. On today’s date that year, Carter’s Cello Concerto received its premiere in Chicago with cellist Yo-Yo Ma and Daniel Barenboim conducting the Chicago Symphony. Now, Carter’s music is technically challenging for performers, and its complexity can make it equally challenging for audiences, especially at first hearing. Despite all that, Carter’s comments on his music were usually quite straightforward: “In this score I have tried to find meaningful, personal ways of revealing the cello's vast array of wonderful possibilities,” he wrote. “My Concerto is introduced by the soloist alone, playing a frequently interrupted cantilena that presents ideas later to be expanded into movements.” A month after its premiere, Ma, Barenboim, and the Chicago Symphony brought the new work to Carnegie Hall, and The New York Times reviewer Anthony Tommasini wrote: “For all its complexities … the cello part has a rhapsodic, improvisatory quality …. At its conclusion, when Mr. Carter, who is 92, climbed the steps to the stage with a cane to steady him, he received a prolonged standing ovation.”

In September of 2001, the American composer Elliott Carter was just a few months shy of his 93rd birthday, but still busy composing new works both large and small. On today’s date that year, Carter’s Cello Concerto received its premiere in Chicago with cellist Yo-Yo Ma and Daniel Barenboim conducting the Chicago Symphony. Now, Carter’s music is technically challenging for performers, and its complexity can make it equally challenging for audiences, especially at first hearing. Despite all that, Carter’s comments on his music were usually quite straightforward: “In this score I have tried to find meaningful, personal ways of revealing the cello's vast array of wonderful possibilities,” he wrote. “My Concerto is introduced by the soloist alone, playing a frequently interrupted cantilena that presents ideas later to be expanded into movements.” A month after its premiere, Ma, Barenboim, and the Chicago Symphony brought the new work to Carnegie Hall, and The New York Times reviewer Anthony Tommasini wrote: “For all its complexities … the cello part has a rhapsodic, improvisatory quality …. At its conclusion, when Mr. Carter, who is 92, climbed the steps to the stage with a cane to steady him, he received a prolonged standing ovation.”

One of Wolfgang Amadeus Mozart's greatest operatic achievements, Le nozze di Figaro (The Marriage of Figaro) may not have been possible without the approval of Emperor Joseph II of Austria. The play it was based on by Pierre Beaumarchais was banned from theaters all around the world for its radical political statements and the poor outlook on aristocracy. Fortunately for audiences today, Mozart and his librettist, Lorenzo Da Ponte, managed to cut enough scandalous material to set and stage an opera. Become a member of The Composer Chronicles on Patreon: https://patreon.com/thecomposerchronicles Music for today's episode is all music by Mozart: Eine kleine Nachtmusik (Serenade No. 13 for Strings in G major), K. 525 March from Le nozze di Figaro, K. 492 String Quartet No. 19 in C major, K. 465 ("Dissonance"), Mvt. I: Adagio - Allegro Minuet from Don Giovanni, K. 527 Divertimento in F major, K. 138, Mvt. II: Andante Sources for this episode: Mozart: A Life by Paul Johnson: https://www.amazon.com/Mozart-Life-Paul-Johnson/dp/0143126067/ref=sr_1_2?crid=3EDMG8JQTEXSM&dchild=1&keywords=mozart+a+life+by+paul+johnson&qid=1595361315&sprefix=Mozart+a+life+%2Caps%2C254&sr=8-2 The Indispensable Composers: A Personal Guide by Anthony Tommasini: https://www.amazon.com/Indispensable-Composers-Personal-Guide/dp/0143111086/ref=sr_1_1?crid=3P0QTRS2FRICZ&dchild=1&keywords=the+indispensable+composers&qid=1595361363&sprefix=The+Indespensable+Composer%2Caps%2C147&sr=8-1 A History of Opera (Updated Edition) by Carolyn Abbate and Roger Parker: https://www.amazon.com/History-Opera-Carolyn-Abbate/dp/0393348954/ref=sr_1_1?dchild=1&keywords=A+History+of+Opera&qid=1595361441&sr=8-1 --- Send in a voice message: https://anchor.fm/thecomposerchronicles/message

Debussy dreamed about composing a theatrical work that was as mysterious and reserved as the life he contrived for himself. When a play by Maurice Maeterlinck came along, titled Pelléas et Mélisande, his dream would become a reality. Become a member of The Composer Chronicles and stephenjtrygar.com on Patreon: https://patreon.com/thecomposerchronicles To purchase a copy of my book, Beyond the Doorway: The Operas of Claude Debussy, Paul Dukas, and Maurice Ravel, go to stephenjtrygar.com/books Music for this episode: The Five Times I Loved You by Cora Zea: https://open.spotify.com/track/0W4RUo3m0jL0wHADS0PLme?si=i-u2Sbs9R0KfK3T4Hjuuug A Walk in the Clouds by Howard Harper-Barnes: https://open.spotify.com/track/1pEhkBpnscVRyUCicNbNXS?si=TYvJgzEaTaWziqmOTgCUgg Evening Imagery by Trevor Kowalski: https://open.spotify.com/track/2umFBHTWtzBPYYy7WgK8bF?si=zP90Nv_qT6KotlPW_JHKvQ Changing Outlook by Trevor Kowalski: https://open.spotify.com/track/5ue8ogOGWBVn8ea8AwuMVf?si=03Vg5ynbS-GlNKIzCNWfsg Fool Me Once by Spectacles Wallet and Watch: https://open.spotify.com/track/0w6uF6seH10zbtWlgbzZFI?si=vY3jMIIxQmOBiC5IZ64mKQ Frontiers Are Where You Find Them by Trevor Kowalski: https://open.spotify.com/track/4JHBDESS5rxMXjMXaKGYHf?si=WBd6lOctSpC50xavMhSMXA Firefly Trail by Trevor Kowalski: https://open.spotify.com/track/4SUPWzR8WY6i83Gtv8pUZG?si=x-zzTStSSb6EmbZEBbX2qw Sources: The Indispensable Composers by Anthony Tommasini: https://www.amazon.com/dp/B079WNQWTC/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1 A History of Opera by Carolyn Abbate and Roger Parker: https://www.amazon.com/History-Opera-Carolyn-Abbate/dp/0393348954/ref=tmm_pap_swatch_0?_encoding=UTF8&qid=1590524773&sr=8-1 Debussy by Eric Frederick Jensen: https://www.amazon.com/Debussy-Master-Musicians-Frederick-Jensen/dp/0199730059/ref=sr_1_1?dchild=1&keywords=9780199912865&linkCode=qs&qid=1590524983&s=books&sr=1-1 --- Send in a voice message: https://anchor.fm/thecomposerchronicles/message

David takes a call from Anthony Tommasini, Chief Classical Music Critic for the New York Times and author of the new book, THE INDISPENSABLE COMPOSERS: A PERSONAL GUIDE and talk about the nature of lists, personal connections to music, and the exciting orchestral music being written in the 21st Century. Originally aired on February 14th 2019.

Covering orchestras, opera, major international festivals, and a wide variety of contemporary music, Anthony Tommasini is the chief classical music critic for The New York Times. His books include a biography of the composer and critic Virgil Thomson and The New York Times Essential Library: Opera: A Critic's Guide to the 100 Most Important Works and the Best Recordings. He also has covered musical theater, done Times Talks with musical celebrities, earned a Doctorate of Musical Arts at Boston University, and recorded two albums of music by Thomson. In The Indispensable Composers, Tommasini offers a very personal perspective on the canon of classical composers. Watch the video here. (recorded 11/8/2018)

Works by Brahms and Beethoven performed by Daniel Lebhardt on March 12, 2017. Brahms, Johannes: Six Pieces, Op. 118 Beethoven, Ludwig van: Sonata No. 18 in E-Flat Major, Op. 31, No. 3, "The Hunt" Hungarian pianist Daniel Lebhardt is one of a long line of Young Concert Artists competition winners to make their Boston debut at the Gardner, and on this podcast, we’ll hear two recordings from the 24-year-old’s recent recital: Brahms’ Six Pieces, opus 118 and Beethoven’s Sonata No. 18 in E-flat Major, sometimes called “The Hunt.” A student at the Royal Academy in London, the young pianist has swept a number of competitions in recent years, claiming first prizes all across Europe, including in Italy, Slovakia, Romania, and the UK. His 2016 New York debut earned a rave from the Times critic Anthony Tommasini, who wrote that Lebhardt “dispatched the [Beethoven sonata] with scintillating crispness and conveyed its brash humor.”

Tonight, we reach into our Listener Mailbag, answering the question: “What would be the handful of operas, from the nineteenth century to the present, that you would consider the most representative if you were tracking an evolution of the form?” Check out our team's thoughts... Then, last month in the New York Times, Anthony Tommasini called it “the best opera recording ever”. We’ll tell you what is, and what we think of it... And then, it’s the Two Minute Drill. You get all your opera headlines from the past week and our hot takes on them... www.facebook.com/OBSCHI1/

„Naujienų pulse“: spalio 2 d. Vilniaus universiteto Šv. Jonų bažnyčioje prasideda Muzikų rėmimo fondo koncertų ciklo „Ama mater musicalis“ naujais sezonas; baritonas Eugenijus Chrebtovas rugpjūtį su LNOBT paramos fondo „Orfėjaus lyra“ parama savaitę stažavosi Milane, kur turėjo galimybę padirbėti su žymiu vokalo pedagogu Massimiliano Bullo; estų kompozitoriui Arvo Partui skiriama Vatikano Ratzingerio premija; iš Kelno radijo orkestro naktį pavogti keli brangūs muzikos instrumentai; žymus amerikiečių dirigentas Leonardas Slatkinas savo memuarų knygoje meta iššūkį ne mažiau žymiam „The New York Times“ muzikos kritikui Anthony Tommasini. Po to su rubrika „Retro“ prisiminsime garsius pianistus Glenną Gouldą ir Alfredą Cortot jų jubiliejų proga, o paskutinis pusvalandis prabėgs skambant kibirkščiuojantiems, blizgiems lenkų tenoro Piotro Beczalos atliekamų operečių dainų iš kino filmų įrašams.

„Naujienų pulse“: spalio 2 d. Vilniaus universiteto Šv. Jonų bažnyčioje prasideda Muzikų rėmimo fondo koncertų ciklo „Ama mater musicalis“ naujais sezonas; baritonas Eugenijus Chrebtovas rugpjūtį su LNOBT paramos fondo „Orfėjaus lyra“ parama savaitę stažavosi Milane, kur turėjo galimybę padirbėti su žymiu vokalo pedagogu Massimiliano Bullo; estų kompozitoriui Arvo Partui skiriama Vatikano Ratzingerio premija; iš Kelno radijo orkestro naktį pavogti keli brangūs muzikos instrumentai; žymus amerikiečių dirigentas Leonardas Slatkinas savo memuarų knygoje meta iššūkį ne mažiau žymiam „The New York Times“ muzikos kritikui Anthony Tommasini. Po to su rubrika „Retro“ prisiminsime garsius pianistus Glenną Gouldą ir Alfredą Cortot jų jubiliejų proga, o paskutinis pusvalandis prabėgs skambant kibirkščiuojantiems, blizgiems lenkų tenoro Piotro Beczalos atliekamų operečių dainų iš kino filmų įrašams.

Rugsėjo 16-ąją sukako 40 metų nuo legendinės graikų operos divos Marios Callas mirties. Lygiai tiek pat laiko kuriamos naujos jos legendos versijos ir ieškoma naujų jos genialumo įrodymų. Šiandien maždaug po pusvalandžio pakartosime operos istoriko, „The New York Times“ kritiko Anthony Tommasini prieš 20 metų iškeltą klausimą: kodėl mums vis dar tęsiasi Callas hipnozės seansas? Šiandien susidomėjimas operos menu nebėra toks kaip jos laikais, tačiau nerasite operos mėgėjo, kuris nebūtų girdėjęs apie Marią Callas. 40-ųjų mirties metinių proga vėl leidžiami jos įrašai, vėl rengiamos jos asmeninių daiktų ir scenos kostiumų parodos. O netrukus studijoje sulauksime svečio – Lietuvos nacionalinės kultūros ir meno premijos laureato, dirigento Gintaro Rinkevičiaus, kuris ne tik pristatys savo vadovaujamo LVSO naująjį sezoną, bet ir prisistatys kaip naujasis Liepojos simfoninio orkestro vyriausiasis dirigentas.

Rugsėjo 16-ąją sukako 40 metų nuo legendinės graikų operos divos Marios Callas mirties. Lygiai tiek pat laiko kuriamos naujos jos legendos versijos ir ieškoma naujų jos genialumo įrodymų. Šiandien maždaug po pusvalandžio pakartosime operos istoriko, „The New York Times“ kritiko Anthony Tommasini prieš 20 metų iškeltą klausimą: kodėl mums vis dar tęsiasi Callas hipnozės seansas? Šiandien susidomėjimas operos menu nebėra toks kaip jos laikais, tačiau nerasite operos mėgėjo, kuris nebūtų girdėjęs apie Marią Callas. 40-ųjų mirties metinių proga vėl leidžiami jos įrašai, vėl rengiamos jos asmeninių daiktų ir scenos kostiumų parodos. O netrukus studijoje sulauksime svečio – Lietuvos nacionalinės kultūros ir meno premijos laureato, dirigento Gintaro Rinkevičiaus, kuris ne tik pristatys savo vadovaujamo LVSO naująjį sezoną, bet ir prisistatys kaip naujasis Liepojos simfoninio orkestro vyriausiasis dirigentas.

Dennis Tobenski is a composer of acoustic new music whose work has been described by Anthony Tommasini of The New York Times as “distinctive and engaging”. He is also a vocalist and a strong advocate for new music and for the interests of living composers. Dennis also hosts two music business-centered podcasts aimed at helping composers and performers to learn more about the practical aspects of their careers: the Music Publishing Podcast, a weekly, hour-long conversation with other professionals in the field of concert music, and The Composer’s Guide to Doing Business, where he answers questions and discusses current issues the new music community. Links to check out: Music Publishing Podcast Dennis' website The Freelancer’s Survival Guide (book recommendation from Dennis) Jason's appearance on MPP episodes of MPP to check out: episode 1 - Alex Shapiro - thinking of your carer as a business episode 7 - Dale Trumbore - taking a methodical approach to your career, being strategic in your career episode 12 - Thomas Deneuville - social networking, email marketing - the why and the how episode 35 - Scott Tegge - diversified income streams Contrabass Conversations is sponsored by: The Upton Bass String Instrument Company.  Upton's Karr Model Upton Double Bass represents an evolution of our popular first Karr model, refined and enhanced with further input from Gary Karr.  Since its introduction, the Karr Model with its combination of comfort and tone has gained a loyal following with jazz and roots players. The slim, long “Karr neck” has even become a favorite of crossover electric players. Bass Violin Shop -  Offers the Southeast's largest inventory of laminate, hybrid and carved double basses. Whether you are in search of the best entry-level laminate, or a fine pedigree instrument, there is always a unique selection ready for you to try. Trade-ins and consignments welcome! Check out what people are saying about the Bass Violin Shop on Facebook. Subscribe to the podcast to get these interviews delivered to you automatically!

Adam Tendler shared an ambitious program of works that provoke, challenge, thrill, and ultimately move the listener. The program included works by Nico Muhly, Earle Brown, Marina Poleukhina, Charlie Sdraulig, Morton Feldman, and Philip Glass. About Adam Tendler: Adam Tendler has been called "an exuberantly expressive pianist" who "vividly displayed his enthusiasm for every phrase" by The Los Angeles Times, a “quietly charismatic...intrepid...outstanding...maverick pianist” by The New Yorker, a "modern-music evangelist" by Time Out New York, and a pianist who "has managed to get behind and underneath the notes, living inside the music and making poetic sense of it all," by The Baltimore Sun, which continued, "if they gave medals for musical bravery, dexterity and perseverance, Adam Tendler would earn them all." London critic Frances Wilson described Tendler's memorized performance of Morton Feldman's Palais de Mari as "a concentrated listening experience...meditative, intense and beautifully poised." And New York Times critic Anthony Tommasini wrote that Tendler played an outdoor performance of John Cage's music "captivatingly," and that "the wondrously subdued sounds silenced many, who listened closely even as street bustle and chirping birds blended in." Tendler lives in New York City and serves on the faculty of Third Street Music School Settlement, the country’s first community music school.

New Yorker article takes a deeper look at what is happening at The Met and the board responds...Anthony Tommasini hints that Domingo should "just back away"...LA Opera has a costume sale...High School seniors in Mobile Opera chorus. This Week in part 2 of Oliver's look into Dead Man Walking:  Helen and Joseph go together like peas and carrots. Guess Who Died? This week features Michael, The OC and Doug Dodson.

Anthony Tommasini, Chief Classical Music Critic of the New York Times, discusses the lack of performance of contemporary compositions today. (May 14, 2008)

Let’s explore further a topic that we discussed a few months back, inspired by a recent article in the New York Times by the eminent music critic Anthony Tommasini on the nature of bel canto.  Does this elusive Italian term describe a style of musical composition, especially in terms of melodic direction, or a composer’s sensitivity to words?  Or both?  You be the judge!