The first thing one sees in Gwendolyn Toth’s apartment on the west side of Manhattan, above Lincoln Center, is the keyboards: Three of them wrapped up and standing on their ends inside the front door. In the living room, there are several more, some ready to travel, some available to play—seven in all, including a […]
Author Archives: George Grella
Complete Illusion
When opera house directors and administrators go to the movies, what do they think about (and if they don’t go to the movies, what are they thinking)? Do they consider the box office receipts, the number of people cycling through the theater that day, the number of theaters showing that same movie across the globe? […]
Imaginary Places
If music is about sounds coordinated in time, moving from the present moment to the future until there is nothing left, then perhaps ambient music is the archetypal music. At stake are not notes or rhythms, but time and space. Sound simply unfolds; the abstract structures it defines are not fleeting musical forms, but entire […]
Soul Connection
When Jaap van Zweden mounts the podium in front of the New York Philharmonic at David Geffen Hall, the orchestra’s new music director gives off a palpable, dynamic energy—he has a commanding presence that stands out among his peers. Sitting behind the desk in his office on a December morning shortly after a rehearsal, clad […]
Adams 2.0
Thanks to John Adams, I am no longer a snob. When I was studying composition in graduate school, I was possessed by a young man’s certainty about his own knowledge and taste. Still, I was exposed to enough contradictory opinions and ideas that I began to— fortunately—entertain doubts. What if I didn’t know everything? One […]
Indigo Moods
All music is mood music. There is party music, from Parliament to “Eine kleine Nachtmusik,” there is music, like Air Cushion Finish and Mompou, to induce waking dreams and soothe the savage breast, and there is music, like Boduf Songs and Lustmord, that expresses foul, dark moods. For me the latter can seem permanent. Because […]