'Baby, It's Cold Outside,' but the would-be seducer is dismissed along with his ardor

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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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A playlist for the Donald Trump campaign: Why quarrel with rock stars when you can avail yourself of a dead Austrian's output?

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This is supposed to be a performing-arts blog, but I seem to return time and again to the phenomenon of Donald Trump. I can't help it: it's like a tongue probing a sore tooth. My only excuse is that Trump commentary has gone way out of proportion with all sorts of social-media commentators. No one else can help it, either. It's too late to make amends, except insofar as I can tie the Republican nominee to a matter of artistic importance. That's what I will now do. I've been wondering why candidates, particularly Republican, run into so much trouble choosing recorded music for their rallies and other campaign appearances. The musicians unwillingly selected to have their music blasted at crowds eventually object. This goes back at least to the predilection of t he Ronald Reagan 1984 campaign for Bruce Springsteen's "Born in the U.S.A ." The Boss told the Great Communicator to cut it out. Anton Bruckner's music could be put to an unexpected cont...
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