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- Joe Horowitz (242)
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Recent Posts:
- A Gripping New Version of The Rite of Spring
- Savage Beauty
- How Do You Play a Flower Pot?
- A “Unique Addition” to the Whitman Repertoire
- Aaron Copland: “One Red to Another”
- “An Act of Empathy” — a Dvorak Radio Documentary
- The Erasure of the Arts
- FDR, Radio, and What’s Wrong Today
- The Pandemic and the Arts: A “Climate of Fear” and “Radical Upheaval”
- Bernard Herrmann’s “Whitman” — A Subversive Yet Inspirational Entertainment for Today
- “Nothing Left to Lose” — My First Orchestra Job, etc.
- Dvorak and the American Experience of Race — An Antidote to “Checkbox Diversity”
- On “Wagnerism” by Alex Ross
- “Porgy” and Race — continued
- The Artist and the State: Mexico and “Engineers of the Soul”
- Are Orchestras “Better than Ever”? — What Not to Tell a Young Musician
- “Redes” Lives! — The Iconic Film of the Mexican Revolution and what it says to us today
- The Arts in America — Is the Pandemic a Perfect Storm?
- 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
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