The Administration states its basic immigration policy: We hear you knocking, but you can't come in

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ISO musically conquers Europe's storied mountain range to launch the Strauss sesquicentennial

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It's little wonder that "An Alpine Symphony" doesn't come up often on symphony orchestra programs. The huge forces Richard Strauss calls for militate against busting the budget to program the 50-minute work. And, frankly, descriptive music so elaborate does not enjoy the greatest prestige among music-lovers. Yet perhaps the huge body of evocative film music composed since the work's premiere in 1915 contributes to "An Alpine Symphony"'s favorable reception on the rare occasions it's performed. Another unspoken obstacle: If you want to worship nature in symphonic music, you've got to be more explicit about the spiritual payoff, as in several symphonies by the composer's contemporary, Gustav Mahler. Strauss (1864-1949) simply applies his genius at orchestration to a day in the Alps, devoid of resonance any larger than one man's encounter with a mountain. But what resonance that is! Krzysztof Urbanski reaches for the summit with ...
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Trombonissimo: My choice of 10 great trombone moments from the orchestral literature

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I can't let the memory of last weekend's final measures from the Indianapolis Symphony Orchestra fade any further without lifting up the wonderful trombone glissando — a French/Spanish version of Walt Whitman's "barbaric yawp" if ever there was one — in " Feria," the festive conclusion of Maurice Ravel's "Rapsodie espagnole." As I said in my review, just a couple of raucous smears evokes the suggestion that collective good times are about to get out of hand — as they often do when people pour into the streets to party. Then the piece ends, at just the right time. Cologne Cathedral: Musically, it calls for trombones. As a former trombonist, I count this moment among ten touchstones for my instrument in the orchestral literature.  I offer here nine others to suggest the marvelous ways composers characterize the trombone. Its voice is essential to so many pieces, though trombonists typically make do without the near omnipresence of the...
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Finally, a jazz tribute album that doesn't try to put arms on the Venus de Milo

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  Kevin Sun calls his all-absorbing take on the music of Charlie Parker "<3 Bird," which I guess has to be said, with pun fully intended, "Love Bird" ( Endectomorph Music ). Kevin Sun digs deep into Bird. The love is certainly in place. Bandleader Sun has come up with new compositions based on Parker originals as well as on aspects of recorded Bird solos, sometimes blended. His study of the pioneering alto saxophonist dives deep. In putting a band together with slight shifts of personnel, he is clearly well beyond simply updating the sound and performance styles of early bebop masterpieces. Parker's centennial was last year, but the pandemic has somewhat delayed many big-round-number observances. Sun has not made a survey of Bird compositions explicit, though he tells which parts of the legacy he draws upon in liner notes. Fortunately  a tenor saxophonist (thus muting copycat pushback), Sun draws compatible performances throughout from bassist Walter Stinson ...
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