Saturday, July 22: Vladimir Feltsman met Ilya Rashkovskiy two years ago at the Tchaikovsky Competition in Moscow and is lavish in his praise for the young Russian, whom he considers among the most promising pianists of his generation.
Sunday, July 23: This benefit for the Snyder Estate’s Century House features the ensemble Bash the Trash, the members of which will show the audience how to make musical instruments out of trash.
Friday, July 21: Embraced by hipsters as much as by oldsters, the girl-pop of the ’50 and ’60s represented a high point both in pop fun and in savvy writing and top-shelf arrangement.
Friday, July 21: Legends from different places and different times collide when the British superstar teams up with the great American pop eccentric.
Sunday, July 23: In a kind of musical history lesson, jazz guitarist Alex Wintz traces the lineage and progression of the art of the jazz guitar by focusing on the work of six pivotal innovators (nine, actually, as Wintz gets a little clever with his math). Wintz will examine legends Eddie Lang, Charlie Christian, Wes Montgomery, Django Reinhardt, the “Big Three” of the modern jazz guitar (Metheny, Scofield and Frisell) and, in a curious inclusion, the Brazilian nylon-string jazz guitarist and singer Toninho Horta.
Sunday, July 23: The program features Haydn’s String Quartet in G Major, Op. 76, No. 1, Brahms’ String Quartet No. 2 in A Minor, Op. 51, No. 2, and one new work: String Quartet No. 3, “River” (2015) by Aaron Jay Kernis.
Saturday, July 22: BSP continues its swanky, stylish and monthly series with a beginners’ swing dance lesson, included in the cost of admission.
Friday, July 28: Think of Dweezil Zappa not as someone riding on his father’s coattails, but rather as an apologist for and curator of his father’s formidable legacy.
A 195-foot stainless steel floating concert hall and gallery space created by modernist architect Louis Kahn may be making the voyage to Kingston.
On making abstract art: “What makes a difference is knowing how to draw .. to me, the difference shows in the ability for the painting to hold up over time. If you don’t know how to render an object in space in black and white, to draw the crumpled paper bag, the oval with light on it, the studies of light to dark — without this knowledge, the painting falls flat. Everything sits on the surface. It’s important to create a feeling of real space. Even if you’re looking at shapes and they’re not recognizable, it feels good because somewhere there’s depth to it.”