A monthly review of the arts and intellectual life. Interviews, poetry readings, musical criticism, and more.
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A monthly review of the arts and intellectual life. Interviews, poetry readings, musical criticism, and more.
newcriterion.com
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Roger Kimball, the Editor and Publisher of The New Criterion, discusses highlights of the September 2021 issue and reads from its opening pages.
It is characteristic of this podcast to contain a variety of music. But this episode is exceptionally diverse, with music by George Walker, Lili Boulanger, and Florence Price, to go with music by Mozart, Shostakovich, and Hindemith. Jay lays it out for you. Interesting and rewarding musical terrain. Walker, “Lyric for Strings” Shostakovich, Concerto No. 1 in C minor for Piano, Trumpet, and Strings, last movement Mozart, Serenade No. 10 in B flat for winds, “Gran Partita” Boulanger, Lili, “D’un vieux jardin,” from “Trois Morceaux” Price, “Ethiopia’s Shadow in America” Hindemith, “Symphonic Metamorphosis of Themes by Carl Maria von Weber,” March
“Care to romp around in some Romantic piano music?” asks Jay. “Virtuosic Romantic piano music? High-quality salon stuff? Well, that’s what we’re going to do.” Jay gives us a program of the talented, witty, dashing Moritz Moszkowski (1854–1925). The final piece is maybe Moszkowski’s best loved: “Étincelles,” or “Sparks.” Music of Moritz Moszkowski Étude de Virtuosité in F, Op. 72, No. 6 “Chanson bohème” “Caprice espagnole” Piano Concerto No. 2 in E, Op. 59 Étude de Virtuosité in A flat, Op. 72, No. 11 “Guitarre,” arr. Sarasate “Étincelles”
Jay has a piece by Bach, and one of his best. He has another piece once attributed to Bach. And he has a third piece that may or not be—by the master, that is. In any case, wonderful music, and a highly interesting program. Bach?-Stokowski, Toccata and Fugue in D minor, BWV 565 Stölzel (formerly attributed to Bach), “Bist du bei mir” Bach, Toccata and Fugue in D minor, BWV 538
When Jay says “just perfect,” in this episode, he is referring to Marilyn Horne’s singing of “At the River.” This is the piece that ends the podcast. It’s a little Independence Day nod. Elsewhere, Jay discusses and plays a Debussy song, two famous guitar pieces, and a piano piece by Frederic Rzewski, the American composer (also a political radical), recently deceased. A neat, varied, interesting, and enriching program. Debussy, “La mer est plus belle que les cathédrales” Villa-Lobos, Prelude No. 5 Rzewski, “Down by the Riverside” Barrios, “Julia Florida” Lowry, arr. Copland, “At the River”
Roger Kimball, the Editor and Publisher of The New Criterion, discusses highlights of the June 2021 issue and reads from its opening pages.
This episode begins with a poem, first published in The New Criterion, in 2002: Charles Tomlinson’s “If Bach had been a beekeeper.” It speaks of “the honey of C major.” We then duly hear some Bach in C major. We also hear a famous aria—an aria made famous by a movie. And “Estrellita,” in two different versions: the original song, plus what Heifetz did to it, or rather, for it. The podcast includes other appetizing items as well. A fine smorgasbord. Bach, Prelude and Fugue in C major, “The Well-Tempered Clavier,” Book 2 Catalani, “Ebben? Ne andrò lontana,” from “La Wally” Ponce-Heifetz, “Estrellita” Coleridge-Taylor, “You Lay So Still in Sunshine” Milhaud, “Love, My Heart” Shostakovich, Piano Concerto No. 2, first movement Ponce, “Estrellita”
On May 26, 2021, Mene Ukueberuwa addressed a gathering of the Young Friends of The New Criterion in New York. Listen to his remarks on the state of American journalism and what it means to do journalism well. Mene is introduced by Roger Kimball, Editor of The New Criterion, with prefatory remarks by Executive Editor James Panero. Mene works as an editorial writer at The Wall Street Journal, where he covers the economy, taxes and regulation, and other hot topics. He joined the Journal in 2018 after stints at City Journal and The New Criterion, where he was a Hilton Kramer Fellow.
Jay provides a program of songs and arias about spring: a variety of composers and languages. And performers. Maria Callas and Ella Fitzgerald are among them. This is a wonderful category of music: rhapsodic, hopeful, giddy, appreciative. Spring it up. Argento, “Spring,” from “Six Elizabethan Songs” Hahn, “Le printemps” Strauss, “Der Lenz” Wagner, “Du bist der Lenz,” from “Die Walküre” Rachmaninoff, “Spring Waters” Saint-Säens, “Printemps qui commence,” from “Samson et Dalila” Hoiby, “Always It’s Spring” Rodgers & Hammerstein, “It Might As Well Be Spring”
James Panero, the Executive Editor of The New Criterion, reads the essay “The right angle,” his reflections on Isaak Walton’s “The Compleat Angler” from the June issue of The New Criterion.