Samuel Coleridge-Taylor, Maud Powell, Joseph Bologne, William Grant Still, and Jessie Montgomery. I find it encouraging that we, as an industry, are allowing these composers to be recognized and appreciated; however, there is still so much that we need to do. In an effort to continue to highlight these works, I feel that the best acronyms to focus on is none other than one of Aretha Franklin’s most iconic hits: R-E-S-P-E-C-T.Ever since last year's events surrounding the death of George Floyd and the Black Lives Matter Movement, I have seen a more conscious effort underway to feature works by BIPOC composers - that is, composers who are Black, indigenous and people of color. From orchestras to soloists, people are presenting works that would not have been heard prior to this past summer. Just this semester, my own Senior Recital featured works by
When I speak to my friends and colleagues about how the music industry needs to change to encourage diversity, equity, and inclusion, most people mention that, unintentionally, they focus on the "standard" repertoire in order to advance their career and lead them to become successful musicians. But we need to recognize that our list of "standards" is a "hand-me-down" version, and one that we can revise and improve. It’s up to us - as teachers, as players, as students, as amateur adults - to revise this list. For example, many ensembles are featuring works by Joseph Bologne alongside Mozart compositions because of the similarities and the intriguing programming that it provides. It is time to broaden the list of "standard" repertoire and include composers that are not as well known. Keep reading...Comments (3)
Brentano Quartet - which have been together since 1992 and were featured on the soundtrack of the movie "A Late Quartet," perform works by Haydn and Mendelssohn. Currently the Quartet-in-Residence at the Yale School of Music, they also have had residencies at Wigmore Hall in London and at Princeton University. The Quartet is named for Antonie Brentano, whom many scholars consider to be Beethoven’s “Immortal Beloved.”Watch below: The Comments (1)
Sunday is Mother's Day in the United States, and so Mom's on the mind.
Very often, it's Mom who deserves some credit for introducing a young child to music, and so I thought it would be fun to do a little vote and start a conversation about what that role was, for each of us. What was your mom's role in introducing you to music, if any? Please choose the answer that best describes her role or was the most memorable to you, and then tell us all about it in the comments!Comments (20)
Welcome to "For the Record," Violinist.com's weekly roundup of new releases of recordings by violinists, violists, cellists and other classical musicians. We hope it helps you keep track of your favorite artists, as well as find some new ones to add to your listening!
The Beethoven Violin Concerto is considered one of the greatest violin concertos, and for this recording, violinist Vadim Gluzman has chosen to use lesser-heard cadenzas by 20th century Soviet/German composer Alfred Schnittke. These cadenzas, which quote from violin concertos across the centuries including Bach, Beethoven, Brahms, Mozart, Ysaye, Schoenberg, Berg, and Schnittke himself - link the work to the other piece on the recording: Schnittke's Concerto No. 3 for violin and chamber orchestra. Check next week for our Violinist.com interview with Vadim. BELOW: Vadim Gluzman talks about recording the Beethoven and Schnittke Violin Concertos.
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