Filter by Category
with Andy Viruleg
June 29 - Gustav Mahler and Franz Liszt, two Austro-Bohemian Composers: Mahler Symphony #1,”Titan”, and Liszt, Tone Poem, “Les Preludes”
July 6 - Nikolai Rimsky-Korsakov and Igor Stravinsky, two Russian Composers, teacher and pupil: Rimsky-Korsakov tone poem, “Scheherazade” and “Russian Easter Overture”; Stravinsky, ballet suite, “L'Oiseau de Feu” (“Firebird”)
July 13 - Dimitri Shostakovich and Aram Khachaturian, two Russians censured by Joseph Stalin: Shostakovich, Symphony #5 and “Second Waltz Khachaturian” from the ballet “Spartacus and Phrygia”, Bacchanal & Adagio
July 20 - Aaron Copeland and Leonard Bernstein, two American composers: Copeland, suite from ballet “Appalachian Spring” and suite from ballet, “Billy the Kid”; Bernstein, Symphonic Dances from “West Side Story”.
July 27 - Wolfgang A. Mozart and Karl Jenkins, two composers’ approaches to the requiem
Andy will draw on his musical background as an instrumentalist, band leader and conductor, but mostly on his lifelong love of music and his appreciation both for its complexity and its charm. Andy has studied music and theatre at Catholic University of America and at New York University.
The Beatles in the Studio: The Making of Strawberry Fields Forever
with Allan Kozinn
After they gave up touring, in the summer of 1966, the Beatles decided to focus on recording, which had become the real focus of their creativity over the previous couple of years. Allan will be looking at Strawberry Fields Forever, the first song the group recorded after their 1966 tour. Using a number of unreleased recordings, Allan will show how the song developed, both as a composition and as a recording -- starting from John Lennon's very first demo of the song, which had some of the chords and only a couple of lines of the lyrics, through a series of home recordings in which he tried to capture the feel he wanted using multitracking, to EMI Studios, where he first demonstrated the song by just singing it with an acoustic guitar backing before the Beatles began recording. Even at that stage, their ideas kept changing, and they put down three versions, one with an orchestration by George Martin, before Lennon chose two and asked Martin to edit them together - despite the fact that they were at different speeds and in different keys. Martin accomplished this, creating the recording we know today.
Allan Kozinn was a classical music critic - and also, in effect, the “Beatles desk” - at the New York Times from 1977 through 2014. He moved to Portland in 2015, and covered classical music for the Portland Press Herald from 2015 to 2020. He has written several books, including "The Guitar - The History, the Players, the Music," "Mischa Elman and the Romantic Style," "The Beatles: From the Cavern to the Rooftop," "Got That Something: How the Beatles' 'I Want to Hold Your Hand' Changed Everything," and "Spoleto USA 40." He is currently at work on a multi-volume biography of Paul McCartney, focusing on McCartney's post-Beatles career, in collaboration with the British author Adrian Sinclair.