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Daily Noon Briefing

Login or register to start creating your own playlist! Fostering connection, deepening knowledge, and encouraging support for a diverse constituency of new music practitioners and appreciators in the United States. I often have the feeling that when people talk about authenticity in music, they are trying to justify their own work by linking it to a certain part of history.

Depending on which part of the past you choose, you can rationalize just about anything. This has had horrifying consequences in the political arena.

String Quartet No. 1, "American Dreams": I. Opening Diptych

But how do you define a genre like klezmer? Perhaps if we want to talk about the intersections of klezmer and new music, the definitions are less meaningful. Certainly there is the cultural heritage of the music, which has led to intense and valuable personal odysseys for many. There are the references to certain scales and certain instruments.

Maybe most of all there is the bittersweet sense of humor combined with aching sadness. How many elements, if any, need to be present for us to recognize a connection? How do we feel about people using klezmer classics as the basis for further explorations that may result in music with a tenuous connection at best? And does ethnicity provide any justification one way or the other?

Acoustic Quartet, Anya Tchaykovska. Krosna. /premium, digi-pack/. (Hoop) // eranelnota.tk

Do we need a definition of authenticity and if so what is it? Are there any limits on acceptable practice? And who is the arbiter? By being specific about musical genre, do we sacrifice universality and the ability to speak to everyone? How many clerks have given you the idiot treatment or, alternately, sent you off on a wild goose chase down Aisle 87?

Finally through the line, you wobble out to the door — only to have your foot creamed by the idiot careening through the lane in a motorized cart.


  • In Service;
  • Managing the Kidney when the Heart is Failing.
  • The Ethnic Universality Quartet;
  • The legal and moral legitimation of war in Shakespeare’s Henry V.

Why oh why oh why me? Have you noticed? And if you have some wrinkles that need smoothing, may I recommend the glorious music in store for you at the 74th season of the San Antonio Chamber Music Society? You really should get your season tickets now to avoid the rush. Just go back to the web site where you found me, sacms. I really look forward to seeing you there. Plus, tickets are interchangeable. Just imagine: months of our elected and wanna-be elected officials blathering on about issues they actually understand but little, nevertheless expounding wonderful awesome?

Just imagine!

Acoustic Quartet, Anya Tchaykovska. Krosna. /premium, digi-pack/. (Hoop)

But if you prefer not to imagine, I have some escape suggestions. A little vicarious dessert will not expand your waistline nor affect your cardiac function and might even help you retain any vestige of sanity you may have left. Such a talented person.

Things are a little trickier if The Other happens to be your spouse — but still not impossible. Did you say something? I guess we could just call the appliance repairman. Of course, we were all taught never, never, never to discuss religion or politics, right? If not, and you find yourself unable to extricate yourself gracefully, try this:.


  1. Blue Fig Restaurant Amman.
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  6. Try it. If chamber music quartets came with trophies, this group would already have a room full. They have so much sparkle, so much perfection that my crystal ball is in overdrive. Be sure to remember the name Dover String Quartet. You will certainly see more of it in the years to come.

    My crystal ball sees them alongside the greats of classical quartets.

    Playing to a different tune

    Wanna know what else my crystal ball sees? Considered one of the most remarkably talented string quartets ever to emerge at such a young age, the Dover Quartet catapulted to international stardom following a stunning sweep of the Banff International String Quartet Competition, becoming one of the most in-demand ensembles in the world.

    The Quartet has been mentored extensively by Shmuel Ashkenasi, James Dunham, Norman Fischer, Kenneth Goldsmith, Joseph Silverstein, Arnold Steinhardt, Michael Tree, and Peter Wiley, and is dedicated to sharing their music with underserved communities and is an active member of Music for Food, an initiative to help musicians fight hunger in their home communities.

    Expert musicianship, razor-sharp ensemble, deep musical feeling and a palpable commitment to communication made their performances satisfying on many levels. You can almost hum along if you can hit that second note without your voice cracking.

    Why would anyone write such sounds and subject classical music audiences to them? The great classical composers of the distant past wrote music that was predictable. The line goes up, the line goes down. The phrase repeats, then repeats again in a slightly different form.

    About this book

    Keys change abruptly, scales are altered, what goes up may just stay up. Strings screech sometimes, and you wonder if they will suddenly break. The audience is uncomfortable, not soothed.