In the first of a series of essays looking at important pieces whose existence we’re certain of but which have disappeared over the centuries, Noah Charney considers Rogier van der Weyden’s The Justice of Trajan and Herkinbald in the Golden Chamber (circa 1435-50).
Unless you’ve toured the orchestra’s archives, you cannot fully appreciate its scope. Stored in the lower levels of Severance Hall are thousands of recordings on every medium from wax pressings and reel-to-reel tape to digital formats and video, preserving events of all types from almost every year of the orchestra’s now 100-year existence. And that’s just the audio collection. In addition to recordings, the trove also includes a wealth of physical objects and artwork as well as print material such as program books, photos, musical scores, and historical documents.
How did a few interviews about the play turn into a book? The authors: “We kept getting so much amazing stuff. Every single person we talked to would tell us the kind of story you tell about the defining artistic and intellectual moment of your life. No one was like, ‘Oh yeah, it was great. I don’t remember much about it.'” Then there was the Robert Altman movie idea.
Why haven’t those kids – and his own children – seen any money yet? It’s an ugly story, “chock-full of accusations of bigamy and corruption, racism and the fraternity of the South Carolina legal and political establishment. ‘This is a mini-series,’ said Jay Cooper, a lawyer who handles estates and has represented Katy Perry, Jerry Seinfeld and Etta James. ‘You really need a map to go through this whole thing.'”
The artist (of course) fell in love with The Lord of the Rings books when he was 11 or so. “To start his maps, Bell says that he works from an open source Ordnance Survey map, and begins drawing by hand. ‘I try to emulate his typeface as closely as possible, but have modified his mountains in an effort to develop a little bit of my own style.’ He adds in additional details, such as forests, Hobbit holes, towers, and castles.”
It’s time – during the celebrations of a century since his birth – to reevaluate the women who anchored Bergman’s films (and, often, his romantic and sexual life as well).
Slate’s Aisha Harris explains how to know – and why we’re so satisfied when we can “expose music fakery.”
Another Cheap Shot at Wagner
Was Richard Wagner a “monster”? No so far as I can tell. Here’s my book review of Simon Callow’s opportunistic “Being Wagner” in this weekend’s “Wall Street Journal”: In 1866, a Munich newspaper reported that … read more
AJBlog: Unanswered QuestionPublished 2018-02-03
Recent Listening In Brief: James Hall
As I may have mentioned no more than a hundred times, it is impossible to keep up with the flow of new albums that keep coming even as we continue to hear … read more
AJBlog: RiffTidesPublished 2018-02-03
James P. Johnson And “Carolina Shout”
Today, February 2, is the birthday of James P. Johnson (1894-1955), who developed stride piano as an art form within an art form. In his time, piano cutting contests were proving grounds—most … read more
AJBlog: RiffTidesPublished 2018-02-02
They can do better
“Welcome,” says the Philadelphia Orchestra, “to a season of incomparable reach and breadth.” That’s in a press release they emailed, announcing what they’re doing next season. So, really…incomparable? So good that it can’t be compared … read more
AJBlog: SandowPublished 2018-02-01
Artist Dora De Larios, RIP
UNDERSUNG but widely respected, the sculptor Dora De Larios has been working in around Los Angeles for six decades now. I was pleased to be asked to write about her for Los Angeles magazine, … read more
AJBlog: CultureCrashPublished 2018-02-01