“The Carnival of the Animals” at the Miller Theatre
by Steven Pisano (All photographs by Steven Pisano.) The Carnival of the Animals, a fanciful suite of brief musical portraits of different animals, was composed in 1886 by Camille Saint-Saens
classical music
A New Organ for New York: The Miller-Scott Organ at St. Thomas Church
"John taught me that… a pipe organ, breathing the living force of air, has a soul.” – Reverend Andrew C. Mead, former Rector, St. Thomas Church Look around, and you might
Bridget Kibbey & Friends at The Angel’s Share in Green-Wood Cemetery
by Steven Pisano (All photos by Steven Pisano.) In recent years, to prove that classical music is not dead, we have seen the canon, as well as contemporary works, presented
A Music Center for the 21st Century: Miami’s New World Symphony
MIAMI BEACH, FL – When most folks plan their vacation to South Beach, Florida, they likely dream of days spent lounging around pools in stylish art deco hotels, or sunning
Vienna Philharmonic at Carnegie Hall
by Nick Stubblefield and FoM Every year around this time, the Vienna Philharmonic makes their annual trip to NYC for a weekend of concerts. And, every year, I have the
Royal Concertgebouw Orchestra with Daniele Gatti at Carnegie Hall
“Music remains for me not sacred, but a spiritual moment. I’m devoted to God because I think I was gifted by him, and I know that my mission during
Daniil Trifonov at Carnegie Hall
by Steven Pisano In the Playbill for his solo concert at Carnegie Hall, the portrait of Russian pianist Daniil Trifonov taken by celebrity photographer Dario Acosta shows a groomed young
Birds and Music with Pierre-Laurent Aimard at Tanglewood
LENOX, MA – In the summer of 1949, Aaron Copland invited Olivier Messiaen, who at that time was little-known in the U.S., to be a composer-in-residence at Tanglewood, which was just then
New York Philharmonic Dazzles with Schoenberg and Beethoven
by Nick Stubblefield Last weekend, I was privileged to hear Alan Gilbert lead the fine musicians of the New York Philharmonic in a pair of Viennese choral works that, while radically different, shared