Boston Celtic Music Festival celebrates its 15th anniversary next weekend in Harvard Square with expanded programming and new venues.
“It’s to pull together all our trad music and dance people, just because we can,” says BCMFest cofounder Shannon Heaton over the phone. “We need to be lifted up in the middle of the winter, when it’s really desperate and gray and dark. That’s the only reason to do it. It’s a nice side benefit then, that people come out and they find us. But even if nobody came to listen other than the musicians themselves, it would be a huge successful party.”
Read the rest at globe.com!
Six more women (five if you don’t count Fiona Allan, who previously spoke to the Boston Globe) have come forward with allegations against world-famous conductor Charles Dutoit, 81. The new allegations include one woman’s accusation of rape. This brings the total number of accusers to ten.
Shortly before Christmas, following the first allegations, Dutoit’s office issued a statement saying the allegations “have no basis in truth.”
There were many children in attendance at the Boston Symphony Orchestra’s first Saturday evening concert of 2018. The performance featured two key elements that could have been of special interest to them — or their parents. The soloist was the deft 25-year-old pianist Benjamin Grosvenor in Mozart’s Piano Concerto No. 21 in C, one of the composer’s most personable works. And the second half was Beethoven’s Symphony No. 5. Those quintessential four notes and what follows are pretty much synonymous with the word “symphony” in the public imagination. If you need further proof of that, just look at the name above the Symphony Hall stage.
Read more in the Globe.
Going forward, I’m planning to post some of my favorite musical discoveries here, under the tag “Now Listen Here!” From time to time, I may make @nightafternight-style playlists, but I’ve found that sharing things as I find them works better.
I found this gleeful jam thanks to my mom, who has tickets to Sam Reider’s CD release party. I’m jealous, to say the least. He handles that squeeze box with such ease and mischief.
“Immediately after her encounter with Dutoit, Allan alleged, the BSO’s orchestra manager called out to her to warn her — too late — about Dutoit. “Before you see maestro, I need to tell you something,” she recalled the manager saying. “Look, we advise, we’ve had some complaints, and I wouldn’t go in there alone.”
Allan believes that at the time, the manager thought he was doing her a favor.
“But the thing that always struck me afterwards was: They had a system in place,” she said. “And the system was called: Don’t go in there by yourself. Like, we’ve had complaints, therefore the way we get around that is that we send people in in pairs. Not: We don’t employ that person anymore.””
Read the full story in the Globe. Rebecca Ostriker and Malcolm Gay report.
Dutoit was a frequent guest conductor with the Boston Symphony Orchestra until the orchestra severed ties with him in late 2017, following the Associated Press’s publication of a story about four women who accused him of assault over a period spanning twenty years.
This comes less than two months after Andris Nelsons, the current music director of the BSO, stated on a Boston Public Radio interview that sexual harassment isn’t a problem in classical music. His comments seemed to not only put forth that sexual harassment isn’t a problem, but brush aside any need for self examination or interrogation of the culture that has permitted these things to happen. That said, English is Nelsons’s fourth language, and he often has trouble expressing himself clearly in interviews. He later released a statement through the orchestra to clarify his comments. It essentially boiled down to acknowledging that sexual harassment can happen in all fields, though he has not observed any in his. He then called for art and music inspiration to guide us to the “better angels” of our human natures.
Dutoit is the second conductor with BSO ties to be accused of sexual assault. The first was former music director James Levine, with whom the BSO has also discontinued its relationship.
…well, I’ve got a few, like this being the year I stop being scared of personal finance, biking to work once Boston ceases to be a salt-stained frozen waste, and updating this blog more!
But one resolution I have every year is to dive deeper into the endless musical kaleidoscope that is Bandcamp. For some of the most adventurous, thrilling music and alive music writing that the Internet has to offer, look no further.
Today I’m exploring this list, featuring a ton of excellent music I missed (and you probably missed as well) in 2017. Sites like Bandcamp are one reason why I never believe best songs/albums lists can be truly adequate snapshots of a time period’s music. There’s just so much more out there that you’re going to discover in a year, or two years, etcetera and so forth. (My best songs of 2017 list is still coming, though. Not to worry.)
If you’re already on Bandcamp, find me here. If you’re not, sign up, start collecting, and find me there!
When playing the music live, there’s no room to fall out of synch, Daugherty said. “The sound effects were designed to absolutely be synchronous with the music. We have to be exactly to the frame with it. And it’s fast, it’s very fast, and it’s wall to wall. We have an expression; there’s no slow movements in Looney Tunes.”
But it’s also a fun concert, he said. “I can’t tell you how many times I look into the orchestra — and I’m talking about the New York Philharmonic, the Los Angeles Philharmonic,” Daugherty said, “I see musicians mouthing the words “Oh Bwunnhilde, you’re so wuvwy. . .”
Read more here.