Volume 152 • Issue 1
The Newspaper of Amherst College Since 1868
Friday, December 2, 2022
Number of Articles: 6
First Article: September 21, 2011
Latest Article: November 9, 2011
By Lester Hu ’13
November 9, 2011
Last Friday, the Amherst Symphony Orchestra, conducted by Mark Swanson,
presented a full-length program to welcome Amherst parents for Family Weekend.
The program, entitled “From the New World,” opened with Richard Wagner’s prelude
to his opera “Die Meistersinger von Nurnberg” (“The Mastersingers of
Nuremberg”), followed by Wolfgang Mozart’s concerto for piano and orchestra No.
9 in E-flat major with Alissa Leiser as solo pianist. The second half of the
concert featured Antonin Dvorak’s Symphony
November 2, 2011
The Metropolitan Opera’s new production of “Don Giovanni,” Mozart’s second
collaboration with librettist Lorenzo da Ponte, was broadcast on Sat., Oct. 29
at the Cinemark in Hampshire Mall through the opera house’s Grammy-Award winning
MetOpera Live in HD series. Under the baton of Fabio Luisi, both the singers and
orchestral instrumentalists were competent at presenting a high-quality
performance of Mozart’s ingenious opera. The musical aspect of the performance
was more routine than particularl
October 26, 2011
Mozart’s “Don Giovanni,” one of the three celebrated Da Ponte operas, is
currently featured at the Metropolitan Opera in New York City; if you’re
interested, the Cinemark at Hampshire Mall is having a live screening of the
matinée performance on Oct. 29, starting at 1 p.m.
How would you dress yourself for such an opera, which is one of the most intense
musical experiences you can ever have? Or for a full-length concert with the San
Francisco Symphony at Davies Symphony Hall? The dress code migh
October 4, 2011
The Renaissance music of the 16th century is easily associated with sexual
dramas. Susan McClary, the most eminent scholar of feminist musicology, wrote a
whole book, “Modal Subjectivities,” to describe the various sexual scenes she
found in late Renaissance music during the final decades of the 16th century. To
understand such drama, it is necessary to trace the footprints of such music,
which was born out of a confusing and chaotic time.
The 16th century started as a Golden Age of musical cr
September 28, 2011
Writing poetry after Auschwitz is barbaric. — Theodor Adorno
Steve Reich, the American composer celebrated for minimalist compositions like
“Piano Phase” (1967), “Clapping Music” (1972) and “Different Trains” (1988),
just released a piece entitled WTC 9/11 for string quartet and prerecorded tape.
Commissioned by his long-term collaborator the Kronos Quartet, it premiered at
Duke Univ. this March as a musical tribute to the 10-Year memorial of the Sept.
The album reminds me of Arnol
September 21, 2011
“Is there a market for something like that?” asked an audience member of
Carnegie Hall soloist Jeremy Denk, after having heard him play several piano
études of the Hungarian-American composer György Ligeti (1923-2006) at a Seattle
Chamber Music Festival concert this summer.
Whether or not there is a market for Ligeti’s chaotic and complicated piano
études is quite complicated. On one hand, Denk’s concert featuring Ligeti and
Beethoven did manage to fill most of the seats in Buckley Recital Hall