Music from behind a mask: Schell’s picks for 2020
Two years ago, the late Noah Creshevsky said “today’s best seats are in our own homes or wherever we may…
Two years ago, the late Noah Creshevsky said “today’s best seats are in our own homes or wherever we may…
When Michael Tippett composed The Ice Break, he was already in his early 70s. Set in a contemporary country (the…
Few composers have embraced the Webernian aesthetic of brevity more closely than the Hungarian György Kurtág (b.1926). Starting with his…
Though our decade technically has another year to go, the marketing appeal of “Hits of the XXs” type formulations tends…
It’s tough to say goodbye forever to Woody Vasulka, pioneer of experimental video and co-founder (with his widow Steina) of…
Seattle Symphony’s [untitled] series was inaugurated in 2012 by its newly arrived Music Director, Ludovic Morlot. Three Fridays a year,…
Destruction and reclamation, gimmick and avant-garde One of the odder fads bequeathed to us by the 1960s is the ritual…
Unlike those big-media favorites lists that appear in mid-December to grease the skids of the Great Shopping Season, my year-end…
[untitled] is the moniker given by Seattle Symphony to its thrice-annual Friday night new music events. Staged in the lobby…
One year ago the Pacific Northwest’s new music community was stunned by the suicide of Matt Shoemaker: painter and musician,…