Sunday, Nov. 24: Their latest material leans hard toward funk and soul – a kind of roots mashup that will strike some listeners are a somewhat scruffier and less conservatory-groomed version of Lake Street Dive, with whom they have toured.
Friday, Nov. 22: Clarinetist and tenor saxophonist Linus Wyrsch is a native of Switzerland who has been based in New York City for well over a decade, where he has become one of the most sought-after instrumentalists. His group features Turkish vocalist Gizem Gokoglu, accordionist Dallas Vietty and bassist Martin Pizzarelli (Bucky’s son).
Olivebridge resident Kate McGloughlin’s family goes back 12 generations in Ulster County, and her maternal ancestors were among the 2,000+ people displaced when the Ashokan Reservoir was constructed between 1907 and 1915. Twelve communities were inundated when a 12-mile stretch of the Esopus Creek was impounded and flooded to provide drinking water for New York City.
Saturday, Nov. 16: Conductor Randall Craig Fleischer leads the HVP in Copland’s evergreen classic of Americana, Appalachian Spring, as well as in Michael Daugherty’s 2015 Tales of Hemingway Cello Concerto, featuring the decorated cellist Zuill Bailey.
Friday, Nov. 8: A genuine iconoclast and musical outlier, Kinky Friedman’s Resurrection and the Merry Kinkster Tour makes its way to Marlboro.
Saturday, Nov. 9: A term that also means “black bile” is the Turkish word sevda, used nowadays to describe a style of folksong traditional to Bosnia and Herzegovina, known as sevdah music or sevdalinka. It’s quite appropriate, since sevdah is known for its melancholy-sounding minor modes and its lyrical themes of unfulfilled romantic longing.
Saturday, Nov. 9: Conductor Jonathan Handman and the orchestra present a program featuring Vasily Kalinnikov’s Overture to Tsar Boris and Intermezzo No. 2, Alexander Borodin’s Polovtsian Dances and Tchaikovsky’s classic Symphony No. 5.
Saturday, Nov. 9: As director of the Conservatory of Music Graduate Vocal Arts Program at Bard College, most of the time Stephanie Blythe’s concern is making sure her students become stageworthy. But once in a while, she gets to be in the Fisher Center spotlight herself for an evening.
A fascinating and underdiscussed consideration of popular music is how the compositional instrument – the instrument upon which a songwriter
Woodstock reading on Sunday, November 3: Many of the myths regarding Joplin read out like cautionary, puritanical sermons, luridly celebrating her passionate performances as something inspired and beyond her control, meanwhile excoriating her for her weakness, the demons and hedonism that ultimately defeated her. The standard line on Janis has allowed precious little acknowledgment of her personal agency, her seriousness of purpose and her accelerating artistic growth and self-determination, all of which are major and richly substantiated themes in George-Warren’s deeply engaging new biography.