Ives, Master of the Exotic and the Old
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The old and the new go head to head in the music of Charles Ives, but conflict may not be the right word to describe it.
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After almost a decade, the famed music composer is back doing what he does best -- making beautiful music.
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The New York Philharmonicâs substantive program on Friday included a lot of bustling film music by John Williams and others that few of the musicians may ever have played before.
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Once again John Adamsâs âDoctor Atomic,â at the Lyric Opera of Chicago, came across as the most complex and inventive of his works.
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In the age of the short attention span, classical music matters more than ever.
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James Levine conducted the Juilliard Orchestra in the âSymphonia: sum fluxae pretieum speiâ and the Cello Concerto, a very large mouthful of Elliott Carterâs art.
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There is art, and there is money. The twain seldom meet. Or, to steal a line from David Thomson, author of the eminently useful reference work "The New Biographical Dictionary of Film" (Knopf, 1,008 pages, &#36;22.95), just out in paperback, there is "Chinatown," and then there are "umpteen possible future 'Mission: Impossibles."'
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Robert Altman was one of the most adventurous and influential American directors of the late 20th century.
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âJerry Springer: The Operaâ uncovers something grand within the small, squalid lives it portrays.
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The prolific and omnivorous composer Steve Reich is being honored with retrospectives this season, which are just a warmup for the 70th-birthday festivities next year.
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âNotes on Marie Menkenâ shines a welcome ray of light on a largely forgotten figure in the American avant-garde film scene.
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The Orpheus Chamber Orchestraâs first concert of the season at Carnegie Hall on Tuesday was a solid if commonplace program that danced around late Romanticism  and the first rumblings of modernism.
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A month ago I was introduced to the works of Michel Gondry.  In short, I was amazed and tantalized by his short films and music videos.  Even if you haven't heard of him, you've probably seen his many works in Gap commercials, various music videos, and the recent movie Eternal Sunshine of the Spotless Mind.    Many of his works explode with visual elements that, when taken alone, are simple and mundane.  However, under his masterful guidance, these elements come together to form a highly mesmerizing visual experience.  He never ceases to push visual technologies and challenge our ideas about the visual medium.
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Merce Cunningham and colleagues have presented a retrospective series of evenings about his choreography called âHistory Matters.â
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Tycho:  The memories of those who came of age in the eighties have become a kind of ghastly rummage sale, a tilled up cemetery where icons lay tilted over bones draped in ancient finery.  Pork caught a preview of Transformers on Monday, and he claims that it is not, in fact, heresy - but I don't know how calibrated our respective tastes are.  I was going to make a statement about how any constantly shifting image could entertain him, enthrall him, command him, until I realized that this viewing was late at night, in the twilight period we call Pork After Hours, when his medication wanes and his blood is frenzied by some dark moon.  For him to have focused on anything at any time after nine o'clock is actually high praise.
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Wes Andersonâs main characters share with him a passion for collecting rare objects and unusual experiences, all of which they handle with exquisite, jealous care.
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During the past two years, old tunes have breathed new life into the careers of Rod Stewart and Michael McDonald. Both artists return to the musical well this month for a new round of classics.