Notes From Underground

Then I should have cho­sen a career for myself, I should have been a slug­gard and a glut­ton, not a sim­ple one, but, for instance, one with sym­pa­thies for every­thing sub­lime and beau­ti­ful. The new disc from Henry Thread­g­ill and Zooid is out this week, give it a first lis­ten at NPR. Call it jazz,(…)

Debussy Forever

In his inter­view for the Invis­i­ble Juke­box fea­ture in Wire mag­a­zine, Steve Reich casu­ally and know­ingly dropped the notion that the his­tory of music in the 20th cen­tury was an argu­ment between Schoen­berg and Debussy, and Debussy won. The results may seem obvi­ous in the grow­ing (and now dom­i­nant) preva­lence of tonal­ity in new composed(…)

Debussy: Orchestral Works Vols. 5 and 6

Debussy, not only one of the great­est but one of the very most impor­tant com­posers in the his­tory of West­ern clas­si­cal music, wrote a rel­a­tively small num­ber of orches­tral works. Of those, the most famous ones like La Mer and Pre­lude d’apres-midi d’une faune, are pro­grammed and recorded so fre­quently that they drown out consciousness(…)

Hotter Than July Grant Green, Idle Moments Robert Rich, Below Zero Orches­tra Baobab, Spe­cial­ists In All Styles Weather Report, Domino The­ory Pierre Boulez, Anne Sofie von Otter, The Cleve­land Orches­tra, Ravel: Shéhérazade, Le Tombeau de Couperin, Debussy; Bal­lades de Vil­lon Mark John­son, The Sound of Sum­mer Run­ning Ste­vie Won­der, Hot­ter Than July  

The Week in Concerts, Day 4

Final day, and a real indul­gence for me — the Vienna Phil­har­monic led by Valery Gergiev in music form Berlioz’s Romeo et Juli­ette, the Pre­lude und Liebestod from Tris­tan und Isolde and La Mer. What can I say? It was glo­ri­ous in all the expected ways, and in some unex­pected ways too. That Vienna sound(…)