By Cathy Fuller | Monday, January 3, 2011
One thing I love about Boston is that there are new sources of inspiration cropping up constantly. In November 2010, the Museum of Fine Arts added to those sources by opening its new Art of the Americas Wing, and it seems like a great opportunity to pair works that hang there with music that was written at the same time.
The extraordinary painter and printmaker Mary Cassatt was born in Pennsylvania and brought up in an environment that valued travel as a key part of education. She spent most of her adult life in France where she became a friend of Edgar Degas, and where she would later exhibit with the Impressionists.
She’s popularly known for her tender and warm portraits of women and was able to evoke the depth of the bond between mothers and children with a signature style. That style was apparent also in her visions of women in society, which you can see in "In the Loge" to the left.
I love this painting for its deep browns and the luminous pearl that sits on the woman’s ear. It’s one of many by Cassatt depicting women in theater boxes, seeing and being seen in Paris. The woman is perhaps peering at someone else in another loge, while a man at the upper left has his glasses trained directly on her.
This Cassatt comes from 1878, the year that George Whitefield Chadwick wrote his String Quartet No. 2. Like Cassatt, Chadwick was interested in a realistic vision of people’s lives. He comes from what has been called the New England School of American composers.
Born in Lowell in 1854, he studied at the New England Conservatory, where he would later become Director, establishing the school with many of the German conservatory features that he knew well. He also invited many of the Boston Symphony Orchestra members to join the faculty, establishing a relationship that thrives to this day.
Here is a part of that String Quartet No. 2, with the Portland String Quartet:
Chadwick: String Quartet No. 2, IV. Finale - Allegro Molto Vivace (excerpt)
Let me know what you think of these works—the painting, the music—or any thoughts on Boston’s cultural vitality.
(Image courtesy of the Museum of Fine Arts)
Tuesday, January 8, 2013
In this season's premiere of Antiques Roadshow, a gentleman brought in a violin he found that had been set out with the trash. Much to his surprise, the appraisers on the program informed him that the violin was from Cremona, Italy, home to many great violin makers in the 17th century. They estimated the value of his violin to be about $50,000. One man's trash really is another man's treasure!
Hear Managing Director Benjamin Roe discuss the find with Antiques Roadshow executive producer, Marsha Bemko.
At the end of their conversation, violinist Cecilya Arzewski performs the Prelude to the solo Partita No. 3 in E major by Johann Sebastian Bach. Arzewski is the concertmaster of the Atlanta Symphony Orchestra, and she plays on a 1714 Petrus Gaurneri, another of the many great violin makers from the area of Cremona, Italy.
If this makes you want to run to your attic and grab that old trumpet, don’t get too excited. Most items brought in to Antiques Roadshow are estimated to be worth less than $500, but if you do have an object you think might be worth a lot, take Ms. Bemko’s advice for how to get an accurate appraisal.
"If you are seeking information on the value of one of your antique items, take it to someone who isn't interested in buying it," she said.
You can also take your find to Antiques Roadshow during the 2013 tour:
June 1 - Detroit, MI
June 8 - Jacksonville, FL
June 22 - Anaheim, CA
June 29 - Boise, ID
July 13 - Knoxville, TN
July 27 - Baton Rouge, LA
August 10 - Kansas City, MO
August 17 - Richmond, VA
For more information visit Antiques Roadshow.
By Brian McCreath & WGBH News | Friday, December 23, 2011
Dec. 23, 2011
BOSTON — A mere eight months after a production that debuted on its stage won the 2011 Pulitzer Prize in Music, Opera Boston announced on Dec. 27 that it’s shutting down for good on Jan. 1 of the new year.
A terse, one-paragraph press release cited an “insurmountable budget deficit” and “lackluster fundraising in a tough economic climate.”
Lloyd Schwartz, classical music editor for the Boston Phoenix and classical music critic for NPR's “Fresh Air,” talked with Classical New England about what led to the collapse of the adventurous opera company and what it means for subscribers and opera in Boston.
“It was a surprise,” Schwartz said, sounding a little gobsmacked. “It sounded like things were going well.”
Boston Lyric Opera recently released a press release (pdf) saying it had had a banner year for fundraising. Schwartz couldn’t imagine that the BLO’s success didn’t hurt Opera Boston’s bottom line: “You probably wouldn’t support both of them.”
The remainder of the season has been canceled. Schwartz thought the subscribers would probably get their money back. “The people I feel the worst about are the musicians, who were certainly counting on a couple of good gigs — three performances of each opera plus rehearsals,” Schwartz said.
That said, Schwartz pointed out that Boston does have a somewhat checkered history of supporting the art form: “This is a city that tore down its great opera house” in the middle of the last century.
The company’s final performance will take place Dec. 31 as part of First Night Boston.
By Cathy Fuller | Wednesday, January 5, 2011
The Museum of Fine Arts opened their Art of the Americas Wing in November 2010, and out of sheer glee, I decided to feature one treasure from the new wing paired with music written in the same year.
Edward Hopper’s "Room in Brooklyn," (left) painted in 1932, is haunting. The signature sunlight which so intrigued Hopper is here given harsh geometry, and the woman seems starkly alone. Her isolation has emptied the city of its life.
This disconcerting canvas offers a vision of New York light years away from George Gershwin’s view. His is romantic, lush and complex -- full of the rhythms that he insisted “should be made to snap, and at times to crackle.”
In 1932 Gershwin’s publisher suggested that he write some keyboard versions of his own songs. "Playing my songs as frequently as I do at private parties," Gershwin said, "I have naturally been led to compose numerous variations upon them, and to indulge the desire for complication and variety that every composer feels when he manipulates the same material over and over again."
Here is a selection from Gershwin's songbook transcriptions for piano, played by William Bolcom:
Gershwin: Rialto Ripples (excerpt)
If you’re so moved, post a comment below about whether your vision of New York resonates with either of these masterpieces.