There's a magical moment in Peter Shaffer's play (and Milos Forman's film version) of Amadeus in which Antonio Salieri, cast very much as the villain, sits unnoticed and listens to a performance of this serenade. He describes the way the instruments enter, entwine, fall away and re-emerge — it's a masterly description of how music works, but above all, of how music enters our souls. Mozart's "Serenade" is one of his most sublime creations, the blend of wind instruments combining to create a euphony that cannot fail to create a sense of joy in its audience. The fast movements bubble with vigour and joie de vivre and the slow movements — as Shaffer's Salieri eloquently realised — achieve a magic that only a towering genius such as Mozart could have achieved. Michael Collins and his wind-playing colleagues give an exquisitely subtle and beautifully shaded performance.
By Justin Davidson on 01.16.15 in Features
She is no longer the goofy but serious alien girl with the long flowing hair; instead she’s a sage.
By Justin Davidson on 12.02.14 in Features
Justin Davidson examines the way recent solo cello albums by Alisa Weilerstein, Jeffrey Ziegler and Maya Beiser reinvent that wordless, eloquent voice.
By Ami Armstrong on 11.26.14 in Features
Stream the Punch Brothers documentary 'How to Grow a Band' this week.
By John Schaefer on 10.28.14 in Reviews
The interlocking rhythm patterns of Steve Reich, the micro-universe contained in the drones of La Monte Young, the hypnotic sounds of the German motorik bands of the '70s…these are a few of the straws I will grasp at in...