My Parsifal Conductor opens October 11, 2018 for a limited engagement at the Marjorie S. Deane Little Theater at the West Side Y, 10 West 64th Street, New York, NY; presented by The Directors Company. Starring Eddie Korbich, Claire Brownwell, Geoffrey Cantor, Carlo Bosticco, Logan James Hall, Alison Cimmet, and Jazmin Gorsline, and directed by Robert Kalfin. About three weeks ago, I received an email from Matt Sicoli, a media marketer who is promoting a new, off-Broadway play entitled My Parsifal Conductor, written by the Emmy and Writer’s Guild Winner Allan Leicht. Mr. Sicoli generously offered tickets in exchange for advertising and promotion. I informed him that I am keeping both my Facebook and Patreon sites free of advertising (for now), but that I’d be happy to read the script and, pending an enthusiastic response, write about the play. I am most enthusiastic and thus this post. Here is a synopsis provided by Mr. Sicoli: “Musical genius Richard Wagner (Eddie Korbich) and his ever-faithful wife, Cosima (Claire Brownell), find themselves in a moral, political and musical dilemma when King Ludwig II of Bavaria (Carlo Bosticco) insists that Hermann Levi (Geoffrey Cantor), the son of a rabbi, conduct Wagner’s final masterpiece, […]
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Robert Greenberg
Historian, Composer, Pianist, Speaker, Author
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During the course of some correspondence, my Patron Cory-Paul Allen mentioned his love for the piano playing of Yeol Eum Son. For those of you who are not familiar with her, she is a 32 year-old miracle (born 1986) from South Korea. Here’s a link to a live performance of her playing Chopin’s Etudes Op. 25. Ignore, please, the handful of wrong notes she plays over the course of her 32-minute performance. This is the real world of live performance, a world in which mistakes are made. (Although based on her body language, Ms. Son is not so forgiving of herself.) The fluffs make no difference. Yeol Eum Son’s artistry is what counts, and her artistry is superb. And in this, she is not alone. For a country of 50 million people, Korean’s presently make up a disproportionate percentage of some of the best young pianists currently plying their trade. I discussed my friend, the wonderful Joyce Yang (born 1986) in my first Dr. Bob Prescribes post. I hired three pianists to perform the piano excerpts for my “23 Greatest Solo Piano Works” course made for The Great Courses. Two of the three are South Korean: Woo Bin Park (born […]
Continue Reading“Showing the Path”: Antonin Dvořák in America By 1891 – at the age of fifty – Antonin Dvořák was that rarest of living composers: successful, world famous, and not in financial need. Dvořák’s music has a distinctly Czech “flavor” to it, and it was Dvořák’s fame as a “nationalist” composer that made him an attractive catch for an American philanthropist named Jeanette Meyers Thurber, who had founded the National Conservatory of Music in New York City in 1885. On June 5, 1891, Thurber cabled Dvořák in Prague and offered him the Directorship her National Conservatory of Music. The moment was auspicious, as the following year – 1892 – marked the 400th anniversary of Columbus’ presumed “discovery of America.” At this signal moment in American history, Jeanette Thurber wanted Dvořák to help found – through his own example – an “American” school of composition at a time when almost every American composer wanted to sound like Brahms. Ms. Thurber made Mr. Dvořák an offer he could not refuse: come to New York, become the director of her conservatory, teach three hours a day, and put together some concerts. For this the National Conservatory was prepared to pay dearly: Dvořák was offered […]
Continue ReadingThis is a long piece. Its length is a function of intersecting thematic lines: a number of topics we’ve been discussing on the site – tempo and metronome markings in general; tempo and metronome markings in Beethoven’s symphonies; the piano, pianists, and the virtuosity of Franz Liszt (in particular) – all intersect in this post. Let’s start with my recommendation and move on from there. Cyprien Katsaris (born 1951) performing Beethoven’s Symphonies, transcribed for piano by Franz Liszt. While I write these words I’m listening to Katsaris’ performance of the breakneck fourth movement of Mr. B’s Symphony No. 4, and I’m doing everything I can to focus on typing and not jump out of my skin! In Katsaris’ hands, the symphony is easily as exciting, visceral, and slam-dunk powerful as it is when performed John Eliot Gardiner and his Orchestre Révolutionnaire et Romantic. Katsaris’ performances of these transcriptions have to be heard to be believed. I do not kid; I do not exaggerate; and I would never waste your time or money: you must have this recording. Stop reading, go on Amazon (or wherever), order it, and then come back. I’ll wait. I’m going to make a statement, for some […]
Continue ReadingLast week I wrote about the Apollo Academy, a wonderful four-day retreat at a facility called “Ratna Ling” located in the coastal mountains of Northern California’s Sonoma County. The Academy – the brainchild of a surgeon and cellist named Bill Moores – focuses on “mind/body synchronization that enhances mental and physical health. Optional sessions include immersion in the natural environment, poetry-writing, yoga, and the role of seasonal foods.” Yes, lovely and all very well-and-good, though the heart and soul of the Academy is chamber music. Open to performers and non-musician auditors alike, this year’s program was entitled “String Quartet Masterpieces of Mendelssohn, Schumann and Brahms.” These quartet masterworks were performed by the Alexander String Quartet with yours truly acting as host and lecturer. Here’s how our concert-presentations worked: Each of our three sessions was delivered in two parts: for an hour before dinner (4:30pm-5:30pm) and hour-and-a-half after dinner (6:30pm-8:00pm). On day one (September 6), we presented a program entitled “The Mendelssohn Conundrum”, during which I discussed and the ASQ performed Mendelssohn’s String Quartets in A Minor, Op. 13 (of 1827); F Minor, Op. 80 (of 1847) and excerpts from his String Quartet in E Minor, Op. 44 (of 1837). […]
Continue ReadingIn the course of answering a question last week, I invoked my affection for certain period instrument recordings, particularly those of John Eliot Gardiner. I’d like to flesh that answer out and in doing so say why. The debate over “historically informed performances” (HIP) (or “authentic performances” or “period instrument performances”) is not a new one, but it’s worth revisiting, if only to allow me to add my point of view which, as you will soon enough realize, is not just the correct point but the one that matters most. (Yes, I have just spread my legs and said, “kick me”; keep reading, please.) The debate began during the second half of the twentieth century, when a movement emerged bent on performing music as it presumably had been performed at the time it was composed. To varying degrees, this meant using original instruments (or new instruments constructed on the lines of period instruments); proper numbers of instruments; using historically “correct” concert pitch (for example, A=415 for Baroque music rather than the modern A=440); and stripping away centuries of accumulated practice regarding everything from tempo and dynamics to bowings and phrasing. As recording technology didn’t exist until the very late nineteenth […]
Continue ReadingI returned on Sunday, September 9 from a four-day retreat called the “Apollo Academy for Health and Humanism.” It was held at a magnificent facility called “Ratna Ling” in the coastal mountains of northern Sonoma County, about three miles east of the Pacific Ocean. The following is going to sound like a sales pitch. IT IS NOT A SALES PITCH. It is, rather, an attempt to set the stage for what was, primarily, a musical retreat at one of the coolest places I’ve ever been privileged to visit. Ratna Ling means “land of jewels” in Tibetan, and was so-named by its founder, the Tibetan Buddhist teacher Tarthang Tulku Rinpoche because of his vision that the precious jewels of the teachings brought from Tibet would touch hearts and open minds. Visit their site at http://ratnaling.org Touch hearts and open minds his teachings have done, but the designation “precious jewel” applies equally to the facility itself. Set on 100 acres, Ratna Ling consists of the main lodge, which houses all of the retreat facilities; 14 two-bedroom “cabins” (which are, in fact, luxurious, beautifully furnished roughly 1200 square-foot homes with fully appointed kitchens, air conditioning, etc.); and a wellness center for massage […]
Continue ReadingLast week, in the process of recommending recordings of Claude Debussy’s Préludes for Piano, I brought up the pianist Roger Woodward, whose recording of the Préludes I adore. The response I received from many of you was not unexpected but still shivered my timbers: “Roger WHO?” Yes: when I introduced Roger Woodward last week, I did so by calling him: “the greatest pianist in the world that you have probably (and sadly) never heard of.” THIS MUST END, at least among those who are discriminating enough to follow me. So here’s my game plan. I’m going to spend the remainder of this post ruminating on the depth of the pianistic talent pool, the fickleness of fame, and yes, something having to do with brassieres. I will return next week to address two recording YOU CANNOT LIVE WITHOUT: Roger Woodward’s recording of Bach’s Well Tempered Clavier, Books 1 and 2 and Dmitri Shostakovich’s Preludes and Fugues. Let us begin by recognizing an almost terrifying truism: when it comes to wonderful pianists, the talent pool is deeper than the Marianas Trench. In last week’s post, I mentioned that – if I have to choose – my all-around favorite pianist is the Milan-born […]
Continue ReadingI have managed to dig up and digitize a television advertisement for the first edition of my Teaching Company/The Great Courses survey “How to Listen to and Understand Great Music” from 1993. It’s a bit painful for me to watch: I weighed 30 pounds less than I do now; I had all my hair (including a very large moustache); and I wore contacts. I looked good, but most painful of all, I looked young. When I recorded that first course in May of 1993, The Teaching Company had four full-time employees, including its founder, Tom Rollins. At the time, the company had just moved to its first “dedicated studio” in Springfield, Virginia, just south of Washington D.C.’s outer loop. Yes, it was a “dedicated studio”, but the company was still in its infancy, and the production values were crude (to put it mildly). I worked in front of a blue screen and a blackboard, read from a sheaf of notes in my hand, and used a small upright piano located on stage. The method by which we mastered the musical examples was particularly primitive. For that first course, our licensing agent sent me music on cassettes. I then dubbed the […]
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