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 [...]
Itzhak Perlman, a comedian? He was on Sesame Street.
Peter Schickele, whom most of us know better in the rumpled persona of P.D.Q. Bach, has been focusing on his “serious music” of late. With that in mind, The Grove Dictionary of Music and Musicians is hosting a contest for lies.
This week, we’ll hear Bach played on an unusual 8-string guitar by Paul Galbraith as well as the Modern Mandolin Quartet and guitarist John Williams.
Saturday evening on Fretworks will feature the great Spanish guitar quartet Los Romeros with music of Vivaldi and Manuel de Falla, and we’ll have music of the 17th century by Francesco Corbetta for Baroque guitar in the mix. Listen at 7 pm on Classical 101.
The six-string classical guitar, an instrument beguiling and lovely in its soft and intimate tones, and exuberant and lively in more outgoing music.Â In the hands ofÂ one with great skill and artistry, the guitar can express many moods in a surprising variety of tone colors.Â Andres Segovia, one of its greatest practitioners, called the [...]
Legendary guitarist Andres Segovia transformed the guitar into a classical music instrument.
Ann Hobson Pilot was radiant on the stage of Symphony Hall, Boston; She is retiring after a long and very distinguished tenure as principal harp of the Boston Symphony.
Boyce Lancaster talks with Maestro Albert-George Schram, the resident staff conductor of the Columbus Symphony Orchestra, about John Williams, who left the Boston Pops and has become synonymous with George Lucas and Stephan Spielberg movies.
Boyce Lancaster talks with Maestro Albert-George Schram, former staff conductor of the Columbus Symphony Orchestra, about making music that lasts. Schram confesses that what he thinks is profound music may not correspond to audiences’ expectations, and that sometimes orchestras need to supply escapism.