On the approach of Halloween, that time of released spirits, Jenny Lin unveiled new work by William Bolcom in a concert for the ages. The pianist on Oct. 2 at Hudson Hall performed the Pulitzer-winning composer’s ‘Suite of Preludes’, composed during the pandemic. The evening doubled as a celebration of the work of Philip Glass, a seminal influence on Lin’s repertoire and career. The result is a remarkable tribute to two American composing legends, both of whom Lin has worked with extensively.

When I studied with Philippe Leroux in Paris, he said to me once that he knows three Israeli young composers (who have been in his class), and he finds it weird that we do not have a common musical language. At this time his observation sounded very weird to me - why should we have a common musical language just because we are Israelis? Leroux’s question makes a lot of sense when one is looking at a French composer (or maybe any European composer), since the long tradition of the French culture can be easily observed in different schools throughout history and even with younger composers today. Since Israel is a new country, with immigrants coming from everywhere (mainly Europe and north Africa), the musical identity of composers is definitely less clear, and was completely obscure to me at the point Leroux mentioned his observation.

More than the elite musicianship its contestants have already attained, more than note-perfect performance of difficult repertoire, a first-rate piano competition aims to deliver something a bit grittier than that capacity alone.

Carl Sandburg once said “nearly all the best things that came to me in life have been unexpected.” In your own life, consider that non-milestone birthday party which turned out one of your best ever. Or the new or vintage movie no one knows about that you absolutely love. Or that musician whose performance made you experience a Beethoven sonata in a new way.

While listening to soprano Laura Strickling’s latest album Confessions, I was reminded of a phrase she has said countless times in rehearsals, interviews, and performances: “Song matters.”

Everyone talks about the new normal in the era of COVID-19, and many business organizations like bars, restaurants, and sports teams have adjusted their operations to retain their audiences and stay in business.

Leeds Competition winner Eric Lu replaced pianist/composer Michael Brown at 92Y’s opening concert of its streamed summer series coined Time and Other Travel – wishing Michael a speedy recovery.

Question: can a concert ever contain too much Beethoven?

On October 28th, I had the rare opportunity to hear a performance by the Carr-Petrova Duo at Carnegie Hall’s Weill Recital Hall. I will state, most emphatically and on the record, that I found the performance to be categorically astonishing in its beauty, ensemble, artistry, quality of sound, and almost uncanny ability to draw into the music, despite the program’s unfamiliar choices in repertoire.

Presented by The Pittsburgh Jewish Music Festival (PJMF), clarinetist David Krakauer was featured in the concert "In the Footsteps of the Zimro Ensemble" marking the centenary of the virtuoso Zimro Ensemble’s landmark 1919 concert at Carnegie Hall. There, music inspired by Jewish tradition was premiered and projected onto the classical concert stage.

Music-loving Portlanders filled the pews at The Old Church Concert Hall for a noontime recital of riveting piano playing by young Georgian pianist Natalia Kazaryan. She dedicated her recital to the solo piano works of women composers, and credits these women – especially Clara Schumann, the first female concert pianist – with making her career possible and serving as great inspiration in her work as a pianist.

Everybody knows a Renaissance man or two—people with a lot of knowledge in a few subjects or guys with perfect scores on Buzztime. But the poster child for this term, Leonardo da Vinci, possessed not only what art historian Helen Gardner describes as “feverishly inventive imagination,” which led to his ground-breaking innovations in art, science and engineering, but the rounded approach to education that reflected the ideals of 15th century humanists.

Australian-Canadian composer Julian Darius Revie’s world premiere of Arise had New Yorkers spellbound at St. Thomas Church on Fifth Avenue last Saturday.

When you find yourself among great artists, it’s as if you’re on a beach with the sun in your face and margarita in-hand.

How much do you know about “No man’s Land?” Or what Bohemians are? Or what a “demi-mondaine” is?

Crucial to the story-lines of Silent Night, La Boheme, and La Traviata, ignorance of these concepts will not spoil your enjoyment of these opera icons. In fact, learning about these terms during a performance or afterwards may increase your appreciation. The same can be said for Joel Puckett (music) and Eric Simonson’s (libretto) The Fix which receives its world-wide premiere by the Minnesota Opera company at the Ordway Theater on Saturday, March 16th  (also March 19, 21, 23-24).

The Vienna Philharmonic Orchestra’s Carnegie Hall residency is nothing short of brilliant. They are embracing this opportunity to showcase their unparalleled ability to push boundaries and showcase its vast repertoire of Classical standards.

While other pianists hold back and don’t let their emotions run wild, Ching-Yun Hu casts reservations to the wind and pounces on the keys as if a lion devouring prey. It’s quite a sight to behold!

It’s unusual for classical music presenters to “reinvent the wheel” per se, but there’s a new kid on the block! MESS NYC (Mise en Scène Studios) is creating a new model for classical music concerts and doing a kick-ass job.

It’s hard to imagine a pianist’s performance that is so utterly polished, yet spontaneous and endlessly imaginative. Russian pianist Daniil Trifonov’s performance at Carnegie Hall wasn't just solid, it wasn’t just excellent. It was a performance of legends.

Leon Fleisher has been a superstar pianist since the 1950s recording and performing with all the best orchestras and conductors. Yet because of focal dystonia, his career was cut short and took a turn for performing with left hand only works and conducting.