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“Once people hear this music they do indeed come back for it – it is pleasing on so many levels: it soars, it soothes, it excites, it transports.”
It is April in New England and for local music that means one thing, it’s time to RUMBLE!.
This week the Cunningham Dance Foundation released The Legacy Plan, a series of steps to document and preserve Merce Cunningham’s choreographies.
The once proudly and authentically counter-cultural paper The Boston Phoenix went out ugly, fawning on mobster Whitey Bulger.
The Boston Camerata proffers a constant sense of discovery and rediscovery, of unusually lively musicianship and scholarship, and a sprightly sense of the humanity – and the snarly complexity – behind the music it performs.
If we are not diligent in maintaining high editorial standards, arts coverage will morph into misshapen forms of infotainment and advertising. Once those monstrosities are set in profitable stone, quality arts criticism and the arts will face a problematic future.
All is not well with the classical music scene in Boston. Boston’s Church of St. John the Evangelist has pulled funding from its Wednesday Concert Series.
“Henrik Nordbrandt now holds a unique place in his homeland as its most celebrated national poet, who happens to have spent most of his adult life outside Denmark.”
The Slide Brothers fuse steel with gospel, Etana brings the roots back to reggae, Duke Levine steps out on his own, and much, much more this month.
Anyone interested in figurative art ought to rush over to Boston University’s Stone Gallery before “Teaching the Body” ends this Sunday.
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