Sometimes I stop and ask myself, among the stacks of Chopin and Debussy and Bach and Beethoven (not to mention Scarlatti and Mussorgsky and Copland and Glass) I’ve been playing for most of my life, why every single one of the classical composers I’m familiar with is a man?
About 20 years ago I established my own chamber ensemble called The Urban Stress Trio, and a clarinet and flute player named Lawrence Feldman became my wind player.
The song “Suzanne” by Leonard Cohen is not the usual fare for GRAND PIANO PASSION™. Yet I found myself admiring the song’s seductive, haunting quality when I researched this mini-documentary on the making of The Cohen Variations.
My knowledge of music from the 60s is limited, and I usually don’t have much patience for repetitive melodies, but you can count me as a new fan of Leonard Cohen and his most popular song, “Suzanne.”
I enjoy the crossover appeal of Leonard Bernstein’s Suite from West Side Story. A popular musical within a classical structure, this piece can be equally appreciated by both the classical aficionado and the typical non-classical music listener.
I think the best definition of polyphony that I ever heard was from Arthur Jacobs, who defined it as “the simultaneous combination of two or more melodies to make musical sense.”
Directed by Dev Bondarin and choreographed by Wayne Williams, the show features Sarah Statler, Pierce Gidez, Brittany Silver, Greg Laucella, Lisa Lamothe and Jay Alan Zimmerman as himself.
Twentieth-century classical piano music, such as New Pictures at an Exhibition, for years intimidated Mark Cannon, a dedicated amateur pianist who is a psychiatrist by profession.