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Stuck in a world where regular shopping was rare and live performances extinct, the right path seemed to be the curls and swirls of mentions and references that led to surprising new or little-known artists and fascinating new levels of famous ones.
On first impression, John Williams’ second violin concerto didn’t strike me as an instant classic, but there’s more than a little here to warrant repeated listening.
Translator Dan Veach invites us to “pull up a bench in the mead hall, grab a brew, and enjoy a jazzy new performance.”
As the age of COVID-19 wanes, Arts Fuse critics have come up with a guide to film, dance, visual art, theater, and music. Please check with venues about whether the event is available by streaming or is in person. More offerings will be added as they come in.
This re-release features 72 minutes of unreleased music. Nearly every track on the two-hour set pushes the 20-minute range, with results more exhilarating than exhausting.
This disc from the London-based Kaleidoscope Chamber Collective pairs piano quintets by Amy Beach and Florence Price with Samuel Barber’s haunting “Dover Beach.”
Recently, a number of public artworks have been charged with memorializing ghosts or “specters” of the past.
It is about time that the filmmaking industry is forced to seriously grapple with issues of sustainability.
This is a disc that begs for a sequel (or a whole series).
Author Interview: “Of Thee I Sing” — Ben Railton on the Cycles of American Patriotism
“If you are more critical or try to highlight some of the worst things that happen in America, then you are un-American or anti-American.”
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