Curator Melissa Wolfe talks about the inspiration we can all take away from the Columbus Museum of Arts newest exhibition showcasing the work of home town hero George Bellows. George Bellows and the American Experience through January 4, 2014. This exhibition follows on the heels of a major retrospective of the artist organized by the [...]
An Ohio native, Classical 101′s Jennifer Hambrick doesn’t know about mountain climbing. But she does know about the effect that mountains can have on you – and it is unlike anything else.
Composer Michael Tippett (1905-1998) wrote music of quantity and quality. Seek out A Child of Our Time
This Saturday evening on Fretworks, I’ll have the Guitar Concerto from Brazil’s best-known composer, Heitor Villa-Lobos. This piece was written for Andres Segovia, who gave the first performance of this popular work in 1956. We’ll hear the Uruguayan guitarist Eduardo Fernandez in a recording with the English Chamber Orchestra.
Danish composer Carl Nielsen spoke of the first movement of his Sinfonia espansiva as “a gust of energy and life-affirmation blown out into the wide world,” and called the finale of his Third Symphony “a hymn to work and the healthy activity of everyday life.”
Young people are burning out studying music. Must one study music to love music?
Listen to Classical 101’s newest program, Concierto, Saturday nights at 8. It’s a weekly celebration of the Latin contribution to classical music. And you can hear it each week in English and in Spanish. This week in anticipation of a historic visit to the US by the National Symphony Orchestra of Cuba, hear the orchestra [...]
Call it the can-do spirit run amok, or call it an extra dose of chutzpah – whatever name you give it, a thread of defiance has always run through the American psyche.
From the circular ground bass patterns of Baroque music, to the Guggenheim Museum’s sloping, spiraling floors, Classical 101′s Jennifer Hambrick explains how Henry Purcell transformed pain into pleasure – and into some of the most satisfying music ever composed.
You’d think an opera composer as great as Mozart was would write an opera role as demanding as that of Fiordiligi in Cosi fan tutte only for a top-notch singer. But did he?