Originally published on Wed April 18, 2012 9:40 am
I'm sorry. Just as you've breathed a sigh of relief that it's finally over ... here comes another Titanic story! But this is irresistible for several reasons. Partly because, with 100 years of separation from the tragedy, certain elements of this story today just seem charming.
Originally published on Mon April 16, 2012 6:38 pm
New York-based composer and Peabody Institute faculty member Kevin Puts has won the Pulitizer Prize for music with Silent Night, his first opera. The work received its world premiere in November in at Minnesota Opera in St. Paul.
Pulitzer officials described Silent Night as "a stirring opera that recounts the true story of a spontaneous cease-fire among Scottish, French and Germans during World War I, displaying versatility of style and cutting straight to the heart."
Originally published on Tue September 18, 2012 5:05 pm
Tomorrow is the income tax filing deadline in the U.S., and jazz musicians in particular know it. The overwhelming majority of jazz musicians are freelance performers (and often freelance teachers, composers and other music-related service providers). But the informal aesthetics of the jazz world often extend to its business practices as well, with its handshake deals and cash payments. That makes it quite difficult to keep track of income and expenses when it comes time to report to the Internal Revenue Service.
Originally published on Mon April 16, 2012 11:56 am
The new issue of The Economist's bimonthly (and rather self-besottedly titled) magazine Intelligent Life carries an essay by chief Times of London music critic Richard Morrison. He's asking a big and probably unanswerable question: Of all the musical instruments that have ever been invented, which is the best?
Today in "They Pay Us To Do This": a performance by South Africa's Soweto Gospel Choir, which managed to tie the all-time record for most musicians squashed behind Bob Boilen's desk for a single performance in the NPR Music offices.
Amnon Weinstein first encountered a violin from the Holocaust 50 years ago. He was a young violin maker in Israel, and a customer brought him an old instrument in terrible condition and wanted it restored.
The customer had played on the violin on the way to the gas chamber, but he survived because the Germans needed him for their death camp orchestra. He hadn't played on it since.
"So I opened the violin, and there inside there [were] ashes," Weinstein says.