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    <title>The Unanswered Question</title>
    <link rel="alternate" type="text/html" href="http://www.artsjournal.com/uq/" />
    <link rel="self" type="application/atom+xml" href="http://www.artsjournal.com/uq/atom.xml" />
    <id>tag:www.artsjournal.com,2008-02-19:/uq/56</id>
    <updated>2011-12-09T05:29:06Z</updated>
    <subtitle>Joe Horowitz on music</subtitle>
    <generator uri="http://www.sixapart.com/movabletype/">Movable Type 4.31-en</generator>

<entry>
    <title>Restoring the drama to El Amor Brujo</title>
    <link rel="alternate" type="text/html" href="http://www.artsjournal.com/uq/2011/12/restoring-the-drama-to-el-amor.html" />
    <id>tag:www.artsjournal.com,2011:/uq//56.48451</id>

    <published>2011-12-09T05:26:40Z</published>
    <updated>2011-12-09T05:29:06Z</updated>

    <summary> The two best-known scores by Manuel de Falla - El Amor Brujo and The Three-Cornered Hat - began as stage works. Today, however, we know them as symphonic suites. In the case of Amor Brujo, the loss is formidable:...</summary>
    <author>
        <name>Unanswered Question</name>
        <uri>http://www.artsjournal.com/uq</uri>
    </author>
    
    
    <content type="html" xml:lang="en-US" xml:base="http://www.artsjournal.com/uq/">
         The two best-known scores by Manuel de Falla - El Amor Brujo and The Three-Cornered Hat - began as stage works. Today, however, we know them as symphonic suites. In the case of Amor Brujo, the loss is formidable:...

    </content>
</entry>

<entry>
    <title>Siegfried at the Met</title>
    <link rel="alternate" type="text/html" href="http://www.artsjournal.com/uq/2011/11/siegfried-at-the-met.html" />
    <id>tag:www.artsjournal.com,2011:/uq//56.48315</id>

    <published>2011-11-30T05:03:12Z</published>
    <updated>2011-11-30T05:05:39Z</updated>

    <summary>The current Times Literary Supplement (UK) includes my review of Fabio Luisi conducting SIegfried and Don Giovanni at the Met, as follows: Notwithstanding its importance as a showplace for rich boxholders -- Mrs. Caroline Astor, who regularly came late and...</summary>
    <author>
        <name>Unanswered Question</name>
        <uri>http://www.artsjournal.com/uq</uri>
    </author>
    
    
    <content type="html" xml:lang="en-US" xml:base="http://www.artsjournal.com/uq/">
        The current Times Literary Supplement (UK) includes my review of Fabio Luisi conducting SIegfried and Don Giovanni at the Met, as follows: Notwithstanding its importance as a showplace for rich boxholders -- Mrs. Caroline Astor, who regularly came late and...

    </content>
</entry>

<entry>
    <title>Presenting Mahler&apos;s Marriage </title>
    <link rel="alternate" type="text/html" href="http://www.artsjournal.com/uq/2011/11/presenting-mahlers-marriage.html" />
    <id>tag:www.artsjournal.com,2011:/uq//56.48298</id>

    <published>2011-11-29T03:27:43Z</published>
    <updated>2011-11-29T03:45:03Z</updated>

    <summary>The most vivid writings about composers&apos; lives, I find, are the ones they produce themselves: letters, articles, books. A case in point is Gustav Mahler -- a copious and gifted correspondent. I have yet to find a Mahler biography that...</summary>
    <author>
        <name>Unanswered Question</name>
        <uri>http://www.artsjournal.com/uq</uri>
    </author>
    
    
    <content type="html" xml:lang="en-US" xml:base="http://www.artsjournal.com/uq/">
        The most vivid writings about composers&apos; lives, I find, are the ones they produce themselves: letters, articles, books. A case in point is Gustav Mahler -- a copious and gifted correspondent. I have yet to find a Mahler biography that...

    </content>
</entry>

<entry>
    <title>Ives the Man</title>
    <link rel="alternate" type="text/html" href="http://www.artsjournal.com/uq/2011/11/ives-the-man.html" />
    <id>tag:www.artsjournal.com,2011:/uq//56.48043</id>

    <published>2011-11-09T04:10:19Z</published>
    <updated>2011-11-09T04:12:23Z</updated>

    <summary> The central premise of Post-Classical Ensemble&apos;s three-day &quot;Ives Project&quot; at the Strathmore Music Center last week was that Charles Ives the composer was not a curmudgeonly modernist, but a wholesome and uplifting product of fin-de-siecle America. The central presentation,...</summary>
    <author>
        <name>Unanswered Question</name>
        <uri>http://www.artsjournal.com/uq</uri>
    </author>
    
    
    <content type="html" xml:lang="en-US" xml:base="http://www.artsjournal.com/uq/">
         The central premise of Post-Classical Ensemble&apos;s three-day &quot;Ives Project&quot; at the Strathmore Music Center last week was that Charles Ives the composer was not a curmudgeonly modernist, but a wholesome and uplifting product of fin-de-siecle America. The central presentation,...

    </content>
</entry>

<entry>
    <title>Gershwin Impurities</title>
    <link rel="alternate" type="text/html" href="http://www.artsjournal.com/uq/2011/09/gershwin-impurities.html" />
    <id>tag:www.artsjournal.com,2011:/uq//56.47088</id>

    <published>2011-09-06T04:47:34Z</published>
    <updated>2011-09-06T04:54:16Z</updated>

    <summary> The American Repertory Theatre&apos;s new Porgy and Bess, with its claims that Gershwin&apos;s is a crippled opera that needs fixing, is controversially in the news. I read that &quot;Gershwin purists&quot; are expected to thunder their objections. While I cannot...</summary>
    <author>
        <name>Unanswered Question</name>
        <uri>http://www.artsjournal.com/uq</uri>
    </author>
    
    
    <content type="html" xml:lang="en-US" xml:base="http://www.artsjournal.com/uq/">
         The American Repertory Theatre&apos;s new Porgy and Bess, with its claims that Gershwin&apos;s is a crippled opera that needs fixing, is controversially in the news. I read that &quot;Gershwin purists&quot; are expected to thunder their objections. While I cannot...

    </content>
</entry>

<entry>
    <title>The Ives Project</title>
    <link rel="alternate" type="text/html" href="http://www.artsjournal.com/uq/2011/07/the-ives-project.html" />
    <id>tag:www.artsjournal.com,2011:/uq//56.46318</id>

    <published>2011-07-11T03:51:25Z</published>
    <updated>2011-07-11T03:57:02Z</updated>

    <summary> In 1942, Edith Ives, age 28, wrote her father a 1,700-word letter for his 68th birthday -- decades after Charles Ives had ceased composing. It read in part: &quot;Dear Daddy, &quot;You are so very modest and sweet Daddy, that...</summary>
    <author>
        <name>Unanswered Question</name>
        <uri>http://www.artsjournal.com/uq</uri>
    </author>
    
    
    <content type="html" xml:lang="en-US" xml:base="http://www.artsjournal.com/uq/">
         In 1942, Edith Ives, age 28, wrote her father a 1,700-word letter for his 68th birthday -- decades after Charles Ives had ceased composing. It read in part: &quot;Dear Daddy, &quot;You are so very modest and sweet Daddy, that...

    </content>
</entry>

<entry>
    <title>Rachmaninoff in Texas</title>
    <link rel="alternate" type="text/html" href="http://www.artsjournal.com/uq/2011/07/rachmaninoff-in-texas.html" />
    <id>tag:www.artsjournal.com,2011:/uq//56.46276</id>

    <published>2011-07-07T03:44:49Z</published>
    <updated>2011-07-07T03:49:09Z</updated>

    <summary> In Twentieth Century Music, an admirable and much-used survey written in 1974, Eric Salzman devotes 13 pages to Stravinsky, 11 to Schoenberg, and 6 to Berg versus 2 for Ravel, 2 for Shostakovich, 1 for Sibelius, and 1 for...</summary>
    <author>
        <name>Unanswered Question</name>
        <uri>http://www.artsjournal.com/uq</uri>
    </author>
    
    
    <content type="html" xml:lang="en-US" xml:base="http://www.artsjournal.com/uq/">
         In Twentieth Century Music, an admirable and much-used survey written in 1974, Eric Salzman devotes 13 pages to Stravinsky, 11 to Schoenberg, and 6 to Berg versus 2 for Ravel, 2 for Shostakovich, 1 for Sibelius, and 1 for...

    </content>
</entry>

<entry>
    <title>Mahler in Texas</title>
    <link rel="alternate" type="text/html" href="http://www.artsjournal.com/uq/2011/06/mahler-in-texas.html" />
    <id>tag:www.artsjournal.com,2011:/uq//56.46111</id>

    <published>2011-06-28T03:32:44Z</published>
    <updated>2011-06-28T03:43:15Z</updated>

    <summary>For last Saturday&apos;s performance of Mahler&apos;s Ninth Symphony at the Round Top Music Festival, an orchestra of 88 gifted young musicians rehearsed for 22 hours over the course of six days; there were also more than four hours of sectional...</summary>
    <author>
        <name>Unanswered Question</name>
        <uri>http://www.artsjournal.com/uq</uri>
    </author>
    
    
    <content type="html" xml:lang="en-US" xml:base="http://www.artsjournal.com/uq/">
        For last Saturday&apos;s performance of Mahler&apos;s Ninth Symphony at the Round Top Music Festival, an orchestra of 88 gifted young musicians rehearsed for 22 hours over the course of six days; there were also more than four hours of sectional...

    </content>
</entry>

<entry>
    <title>Improvising Stravinsky</title>
    <link rel="alternate" type="text/html" href="http://www.artsjournal.com/uq/2011/06/improvising-stravinsky.html" />
    <id>tag:www.artsjournal.com,2011:/uq//56.45979</id>

    <published>2011-06-18T04:56:29Z</published>
    <updated>2011-06-18T15:22:23Z</updated>

    <summary>One of my standard rants - typically inflicted on young pianists - is called &quot;The Piano in the 21st Century.&quot;I begin by asking if anyone can name an important pianist before 1900 who was not also a composer and/or conductor....</summary>
    <author>
        <name>Unanswered Question</name>
        <uri>http://www.artsjournal.com/uq</uri>
    </author>
    
    
    <content type="html" xml:lang="en-US" xml:base="http://www.artsjournal.com/uq/">
        One of my standard rants - typically inflicted on young pianists - is called &quot;The Piano in the 21st Century.&quot;I begin by asking if anyone can name an important pianist before 1900 who was not also a composer and/or conductor....

    </content>
</entry>

<entry>
    <title>Something New and Necessary for Orchestras</title>
    <link rel="alternate" type="text/html" href="http://www.artsjournal.com/uq/2011/05/something-new-and-necessary-fo.html" />
    <id>tag:www.artsjournal.com,2011:/uq//56.45704</id>

    <published>2011-05-31T04:51:32Z</published>
    <updated>2011-05-31T04:55:40Z</updated>

    <summary> With the fate of American orchestras in the news, the National Endowment of the Humanities has recently awarded $300,000 for a symphonic project -- &quot;Music Unwound&quot; -- that dramatically explores new templates for concerts and new missions for institutions...</summary>
    <author>
        <name>Unanswered Question</name>
        <uri>http://www.artsjournal.com/uq</uri>
    </author>
    
    
    <content type="html" xml:lang="en-US" xml:base="http://www.artsjournal.com/uq/">
         With the fate of American orchestras in the news, the National Endowment of the Humanities has recently awarded $300,000 for a symphonic project -- &quot;Music Unwound&quot; -- that dramatically explores new templates for concerts and new missions for institutions...

    </content>
</entry>

<entry>
    <title>Schubert on the Trombone</title>
    <link rel="alternate" type="text/html" href="http://www.artsjournal.com/uq/2011/05/schubert-on-the-trombone.html" />
    <id>tag:www.artsjournal.com,2011:/uq//56.45291</id>

    <published>2011-05-02T03:56:50Z</published>
    <updated>2011-05-02T04:03:48Z</updated>

    <summary> Among his colleagues, the unclassifiable bass trombonist David Taylor is both famous and notorious. I happen to have known him for something like 25 years. We occasionally play together in my living room. David sight-reads Beethoven cello sonatas and...</summary>
    <author>
        <name>Unanswered Question</name>
        <uri>http://www.artsjournal.com/uq</uri>
    </author>
    
    
    <content type="html" xml:lang="en-US" xml:base="http://www.artsjournal.com/uq/">
         Among his colleagues, the unclassifiable bass trombonist David Taylor is both famous and notorious. I happen to have known him for something like 25 years. We occasionally play together in my living room. David sight-reads Beethoven cello sonatas and...

    </content>
</entry>

<entry>
    <title>Interpreting Stravinsky (continued)</title>
    <link rel="alternate" type="text/html" href="http://www.artsjournal.com/uq/2011/04/interpreting-stravinsky-contin.html" />
    <id>tag:www.artsjournal.com,2011:/uq//56.45148</id>

    <published>2011-04-25T04:29:33Z</published>
    <updated>2011-04-25T04:51:34Z</updated>

    <summary> Igor Stravinsky, in his polemics, preached &quot;against interpretation.&quot; He insisted that his music be performed as written, and as he himself had performed and recorded it. He idealized mechanical instruments. But in 1978 -- seven years after his father&apos;s...</summary>
    <author>
        <name>Unanswered Question</name>
        <uri>http://www.artsjournal.com/uq</uri>
    </author>
    
    
    <content type="html" xml:lang="en-US" xml:base="http://www.artsjournal.com/uq/">
         Igor Stravinsky, in his polemics, preached &quot;against interpretation.&quot; He insisted that his music be performed as written, and as he himself had performed and recorded it. He idealized mechanical instruments. But in 1978 -- seven years after his father&apos;s...

    </content>
</entry>

<entry>
    <title>Lou Harrison and the Great American Piano Concerto</title>
    <link rel="alternate" type="text/html" href="http://www.artsjournal.com/uq/2011/03/lou-harrison-and-the-great-ame.html" />
    <id>tag:www.artsjournal.com,2011:/uq//56.44172</id>

    <published>2011-03-08T04:46:40Z</published>
    <updated>2011-03-08T05:00:10Z</updated>

    <summary>The music of Lou Harrison represents a rare opportunity for advocacy. To begin with, he is unquestionably a major late 20th century composer, and yet little-known. Also, he is both highly accessible and stupendously original. And he is the composer...</summary>
    <author>
        <name>Unanswered Question</name>
        <uri>http://www.artsjournal.com/uq</uri>
    </author>
    
    
    <content type="html" xml:lang="en-US" xml:base="http://www.artsjournal.com/uq/">
        The music of Lou Harrison represents a rare opportunity for advocacy. To begin with, he is unquestionably a major late 20th century composer, and yet little-known. Also, he is both highly accessible and stupendously original. And he is the composer...

    </content>
</entry>

<entry>
    <title>Bruckner and Religion</title>
    <link rel="alternate" type="text/html" href="http://www.artsjournal.com/uq/2011/02/bruckner-and-religion.html" />
    <id>tag:www.artsjournal.com,2011:/uq//56.43973</id>

    <published>2011-02-28T05:55:19Z</published>
    <updated>2011-02-28T06:03:18Z</updated>

    <summary>For the second time in two weeks, I&apos;ve heard an unforgettable symphonic performance fortified by intense religious conviction. In Pittsburgh, Manfred Honeck delivered Tchaikovsky&apos;s Fifth Symphony as a profession of faith in God and mankind (see my blog of Feb....</summary>
    <author>
        <name>Unanswered Question</name>
        <uri>http://www.artsjournal.com/uq</uri>
    </author>
    
    
    <content type="html" xml:lang="en-US" xml:base="http://www.artsjournal.com/uq/">
        For the second time in two weeks, I&apos;ve heard an unforgettable symphonic performance fortified by intense religious conviction. In Pittsburgh, Manfred Honeck delivered Tchaikovsky&apos;s Fifth Symphony as a profession of faith in God and mankind (see my blog of Feb....

    </content>
</entry>

<entry>
    <title>Nixon in China at the Met</title>
    <link rel="alternate" type="text/html" href="http://www.artsjournal.com/uq/2011/02/nixon-in-china-at-the-met.html" />
    <id>tag:www.artsjournal.com,2011:/uq//56.43848</id>

    <published>2011-02-21T03:35:47Z</published>
    <updated>2011-02-21T03:39:45Z</updated>

    <summary> I first saw John Adams&apos; Nixon in China at BAM in 1987, weeks after my son was born. The opera was as brand-new as Bernie. I connected with its breathless exhilaration - the Nixons&apos; discovery of a new world,...</summary>
    <author>
        <name>Unanswered Question</name>
        <uri>http://www.artsjournal.com/uq</uri>
    </author>
    
    
    <content type="html" xml:lang="en-US" xml:base="http://www.artsjournal.com/uq/">
         I first saw John Adams&apos; Nixon in China at BAM in 1987, weeks after my son was born. The opera was as brand-new as Bernie. I connected with its breathless exhilaration - the Nixons&apos; discovery of a new world,...

    </content>
</entry>

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