by Allan Appel | Apr 14, 2014 11:38 am | Comments (2)
Mallory Pellegrino came for the jazz. She stayed for the people.
by Kathleen Cei | Apr 14, 2014 8:21 am
Not only did Neil Finn use a grand piano onstage at the Shubert Theater as a vehicle to deliver his catchy, layered, melodic pop songs. He also used it to make a grand entrance: Rather than walking around it after opening with “Impressions” (the first track off his latest release, Dizzy Heights) on piano, to assume his center stage, guitar-playing spot, he simply jumped right up on it and walked straight across the top to get there (and later, even rolled himself over it a couple times).
by Lucy Gellman | Apr 9, 2014 11:44 am | Comments (2)
“How can you unlock your mind? How can you expand your horizons in a way that gives you a distinctive musical voice?” Robert Blocker asked.
by Lucy Gellman | Apr 8, 2014 11:43 am
“Nonononono.” Aldo Parisot said with a sudden lowering of his hands, bringing a panoply of bows, all fiercely swinging to Antonio Vivaldi’s “Concerto No. 4 in F minor” (“Winter”) from The Four Seasons, to an abrupt halt.
“Somebody screwed it up. Was it you?”
A single finger pointed to the chest of a young cellist, who seemed to tighten his grip around the bow as he nodded solemnly.
by Staff | Apr 4, 2014 9:17 am
Stanton Wheeler’s jazz heart beats on.
by Chris Arnott | Mar 11, 2014 1:01 pm
Compared with the resources and ready audiences for the New Haven Symphony Orchestra and the numerous symphonic ensembles at Yale, Orchestra New England (ONE) comes off as the classical equivalent of a scrappy indie band.
And its main muse, Charles Ives, is the early 20th-century symphonic version of a Lou Reed or a Kanye West, who took familiar formats and themes and mutated them into darker, wilder, weirder and funnier new masterworks.
by Lucy Gellman | Mar 10, 2014 1:34 pm | Comments (1)
The members of the Music Haven string quartet lifted their bows, ready to begin the third movement of Mozart’s “String Quartet in G. Major, K. 387.” One note hanging in the air became three, then four, then five, frenetically overlapping as the musicians made quick eye contact and looked back to their stands in the low red light. Behind them, a scale model of the earth bounced into view and began to swell and spin.
by Lucy Gellman | Mar 3, 2014 2:57 pm
“Que es ser Latinoamericano?” Yovianna Garcia asked at the front of the music room at Christopher Columbus Family Academy, beaming as a show of small hands reached towards the ceiling.
Garcia, who had been complaining about the midday March chill only minutes before, seemed to drive away the cold as she explained that they all had something in common – she too is Latina, and was eager to share her Puerto Rican heritage with them.
by Chris Arnott | Mar 3, 2014 2:19 pm | Comments (3)
There was a time, not that many years ago, when if the New Haven Symphony Orchestra wanted to play a new work by a living composer, the music director had to sneak it onto the program, buttressed by the a slew of “greatest hits” stuff from well-known dead white guys like Bach and Beethoven.
by Lucy Gellman | Feb 26, 2014 3:18 pm
Gleb Kanasevich is a man of many talents. The extraordinary clarinet player of the local group Cantata Profana, he is also the master organizer of an exciting and ambitious new CD, Refractions Vol. 2. A collaborative venture that fuses referential strains of electronic, industrial, grind, grunge and more, the CD offers a glimpse into the lives of several Yale-trained musicians after Yale, and a pursuit that has reunited them.