In Aldous Huxley’s Point Counter Point (1928) a character attempts to use Beethoven’s String Quartet no. 15, Opus 132 as a scientific proof of God’s existence. Characters huddle around a gramophone and imagine heaven itself in the elongated notes simultaneously “hanging” and “floating” in and out of time: “Long notes, a chord repeated, protracted, bright and pure, hanging, floating, effortlessly soaring on and on” the narrator tells us.
Hearing the Elias Quartet perform this last night (I previewed it at Houstonia), I finally understood why Huxley was obsessed enough with this work to use it as an analogy for God’s existence in his novel. A stunning performance.
Ars Lyrica is putting on a rare concert of early French chamber operas Nov 20. A collaboration with the New York Baroque Dance Company, it’s a show we won’t see again soon in Houston. Read my preview at Houstonia.
Katie Van Kooten as Tatyana. Photo by Lynn Lane
A beautiful Onegin at Houston Grand Opera this weekend, and Beethoven’s String Quartet No. 15, Opus 132 on the horizon at Da Camera. November looks promising. Read my Onegin review at Bachtrack and my Elias String Quartet preview at Houstonia Magazine.
Houston Grand Opera opens its season with a stunner. Read my review at Bachtrack.
A quietly revolutionary performance of Brahms’ second piano concerto, in which ensemble reigned uniquely. Who even remembers the Ives’ symphony that was first on the program? Read my review at Bachtrack.
Houston Grand Opera’s 2015-2016 season starts in just one week with Tosca and Eugene Onegin, and it sounds like it’s going to begin bombastically. Read my preview at Houstonia Magazine.
Image: Mike Hogan
Read my behind-the-scenes blog about Houston Grand Opera’s costume gurus Norma Cortez and Clair Hummel at Houstonia Magazine.
…At Houston Symphony Orchestra last Thursday night. Read my review at Bachtrack.
I had a lovely chat with composer Gregory Spears about his new opera O Columbia, which you can read at Houstonia Magazine. His first opera–a 2009 premiere I wish I had been at–was based on Willa Cather’s short story “Paul’s Case.” As a Cather scholar myself (and a big fan of her own opera criticism in the early 1900s), I think it’s marvelously appropriate she get an opera about one of her stories, too.
A saucy excerpt from her music criticism: Writing for the Courier in 1900, Cather reviews a recital given by contralto Clara Butt: “I cannot say just why this young woman gives one a creepy feeling as she does. She made me think of all the verses of all the Degenerates, and sometimes I thought she was more terrible and pessimistic than Yvette Guilbert herself…” And later: “The girl has absolutely no musical intelligence; no musical memory, no musical taste. The brain cells are not fashioned the right way, the nerve tissue is not of the right fibre, and Miss Butt will never while time endures be an artist.”
I was so excited to hear Joshua Bell perform, but Stravinsky ended up out-shining him. Read my review at Bachtrack.