Pages:
Categories:
Authors:
- Joe Horowitz (224)
Monthly:
- July 2020
- June 2020
- May 2020
- April 2020
- March 2020
- February 2020
- January 2020
- December 2019
- November 2019
- October 2019
- September 2019
- August 2019
- July 2019
- June 2019
- April 2019
- March 2019
- February 2019
- December 2018
- November 2018
- October 2018
- September 2018
- August 2018
- July 2018
- June 2018
- May 2018
- April 2018
- March 2018
- February 2018
- January 2018
- December 2017
- November 2017
- October 2017
- September 2017
- August 2017
- July 2017
- June 2017
- May 2017
- March 2017
- February 2017
- December 2016
- October 2016
- August 2016
- July 2016
- June 2016
- May 2016
- April 2016
- March 2016
- February 2016
- November 2015
- October 2015
- August 2015
- May 2015
- April 2015
- January 2015
- November 2014
- October 2014
- September 2014
- August 2014
- July 2014
- June 2014
- May 2014
- April 2014
- March 2014
- February 2014
- December 2013
- November 2013
- October 2013
- August 2013
- July 2013
- June 2013
- May 2013
- April 2013
- March 2013
- December 2012
- November 2012
- October 2012
- September 2012
- August 2012
- July 2012
- June 2012
- May 2012
- April 2012
- March 2012
- February 2012
- December 2011
- November 2011
- September 2011
- July 2011
- June 2011
- May 2011
- April 2011
- March 2011
- February 2011
- January 2011
- December 2010
- November 2010
- September 2010
- August 2010
- July 2010
- June 2010
- May 2010
- April 2010
- March 2010
- February 2010
- January 2010
- June 2006
Recent Posts:
- Porgy and the White Police
- The New Deal, the Arts, and Race — and Today
- Porgy Takes a Knee — “Porgy and Bess” and the American Experience of Race
- The Gershwin Threat/The Gershwin Moment
- Why Did Shostakovich Join the Party?
- Music in Wartime
- Shostakovich and the State
- Music in Challenging Times — An Opportunity
- Furtwangler, Shostakovich, Toscanini: Music in Adverse Times
- Music and Healing: An Armenian Odyssey
- Furtwangler and Shostakovich: Bearing Witness in Wartime
- Furtwangler in Wartime
- The Best of the “Black Symphonies”
- Allan Bloom, Identity Politics, and “Closed Minds”
- JFK’s Cold War Cultural Dogma — and Where It Came From
- “Best of the Year” — The Gamelan Experience: From Debussy to Lou Harrison
- “Pique Dame” at the Met — and at the Bolshoi
- America’s Forbidden Composer: Take Two — Listening to Arthur Farwell
- Porgy — Take Four
- America’s Forbidden Composer
- Solomon Volkov on Stalin and Shostakovich
- Is Porgy a “Stereotype”? — Take Three
- Is Porgy a “Stereotype”? — Take Two
- Why “Porgy and Bess” and the Met Need One Another
- Why Did American Classical Music “Stay White” — Take Two
- Why Did American Classical Music “Stay White”?
- What Happened Between Vladimir Horowitz and George Szell?
- Busoni, Kandinsky, Schoenberg — Instinct at the Cusp
- Harry Burleigh and Cultural Appropriation – Take Two
- “Heedlessly Controversial” — Remembering Oscar Levant
- A Vital New Book about Music and Race
- Re-Thinking Aaron Copland
- Ferruccio Busoni: “A Fresh Gust of Air”
- A Fidelio for Yesterday
- Who Was the American Bartok?
- Whitman and Music: A Fresh Discovery
- Why “Porgy and Bess” Is More than a “Period Piece”
- Music from Paradise
- Mark Twain, Charles Ives, and Race
- Did Wagner Exploit King Ludwig?
- Dvorak, Harry Burleigh, and Cultural Appropriation — a “PostClassical” Podcast
- Lou Harrison and The Great American Piano Concerto — Reprised
- Falla and Flamenco — “The Birth of Spanish Music”
- High Culture Without Apologies — What Orchestras Can Do
- How South Dakota Shows What Orchestras Are For
- Jonas Kaufmann vs. the Orchestra of St. Luke’s
- Stokowski and Ormandy — What Happened in Philadelphia?
- The Artist and His Audience
- Rachmaninoff Uncorked — Take Two: RCA, Ormandy, and the Cork
- Rachmaninoff Uncorked
- What Are Orchestral Musicians For?
- THE FUTURE OF ORCHESTRAS — Part Six: What’s an Orchestra For?
- On Rescuing a “Dead Art Form” — Take Two
- On Rescuing a “Dead Art Form” — A Landmark Book on Opera in Performance
- Bernstein at Brevard — Take Two: The Artist and Politics
- Bernstein the Educator
- Furtwangler and the Nazis — Take Two
- Furtwangler and the Nazis
- The Gershwin Moment — Part Five: Klemperer, Tibbett, Gerstein
- El Paso, Kurt Weill, and Tornillo’s Tent City
- VISCONTI’S FOUR-HOUR “LUDWIG” — A Momentous Wagnerian Film
- Shostakovich and the Cold War
- “The Great Composer You’ve Never Heard Of” — and how he was suppressed by Carlos Chavez
- Leonard Bernstein at 100: An American Archetype
- THE FUTURE OF ORCHESTRAS — Part Five: Kurt Weill, El Paso, and the National Mood
- “The Art and Alchemy of Conducting” — and Mahler’s Fourth
- Can Orchestras Be Re-Invented?
- Shostakovich and Film — Take Two
- Shostakovich and the Fool: Boris Godunov and King Lear
- Mieczyslaw Weinberg on Film
- It’s Not Over Yet: Babayan, Trifonov, Yuja Wang
- The Gershwin Moment
- Yannickâs Hollow Parsifal
- Rethinking “Classical Radio” — Part Two
- Another Cheap Shot at Wagner
- Exalting Bruckner at Carnegie Hall
- America’s Most Exceptional Orchestra
- The Case of James Levine: Taking Stock
- Schubert Uncorked
- Aida at the Met
- Music and WW II: Eisler, Schoenberg, Shostakovich, Stravinsky
- Arnold Schoenberg’s Musical Response to FDR
- The Most Under-Rated 20th Century American Composer — Take Two
- “The Difference Between Quality Art and Crap” Take Four
- “The Difference Between Quality Art and Crap” Take Three
- “The Difference Between Quality Art and Crap” Take Two
- “The Difference Between Quality Art and Crap”
- The Arts in the Age of Trump (continued)
- Copland and the Cold War
- Milstein vs. Szigeti
- Kurt Weill in 2017
- New Musical Venues for a New National Moment
- Rethinking “Classical Radio”
- Uncle Vanya Meets Porgy and Bess
- The Lou Harrison Centenary
- Arts Leadership in the Age of Trump
- AT THE BARRICADES: The Arts in the Age of Trump
- Are Orchestras Better than Ever? Why Riccardo Muti is Wrong
- Music and the National Mood
- Trifonov Plays Shostakovich
Recent Comments