Author Archives: Alan Rich

Ï€[*] laby2;p1205. By Alan Rich [B] Daily News Music Critic [B] TO JIM JOHNSON: NO OTHER ART AVAILABLE; GO WITH COPLAND [F/L]As the final event in its month-long celebration of Aaron Copland, underwritten by the E. Nakamichi Foundation — meant … Continue reading →

So vast is the expanse of Gustav Mahler’s Ninth Symphony, so audience- involving its outlay of violent, palpable emotion, that any performance that gets through the work unscathed is bound to seem at least skillful. Even so, the performance by … Continue reading →

The history of serious progressive music in the Soviet Union is only now coming into focus. It’s a history of oppression, of composers harrassed by official governmental forces, denied access to music from the West, and commanded to straitjacket their … Continue reading →

Michael Milenski has done it again.On paper, the opening offering of Milenski’s Long Beach Opera’s 13th season, introduced on Wednesday night and repeated next Sunday afternoon, may have looked like marking time. Given the company’s reputation for innovative fare, a … Continue reading →

Aaron Copland turned 90 on November 14, and the event has been widely and wisely celebrated. It is doubtful, however, whether a more loving and imaginative tribute has been staged anywhere than this week’s Monday Evening Concert at the County … Continue reading →

It didn’t take much imagination to predict that the stars would be in their proper places for this past weekend’s Los Angeles Philharmonic concerts. With Murray Perahia, our most serious romantic pianist, on hand to play Brahms, and Kurt Sanderling, … Continue reading →

A small office building stands at the corner of Tampa Ave. and Roscoe Blvd. in Northridge. From its half-timbered, archaic look, it might have been designed by and for a gang of Munchkins. Instead, it houses the headquarters of DCC … Continue reading →

The Los Angeles Philharmonic is many kinds of orchestra, depending on the circumstances. For the young conductors, it is quirky and edgy; under Andre Previn, it matches his grayness; for Kurt Sanderling, it is somehow transformed into a noble, resonant … Continue reading →

The ultimate test of quality for any chamber-music ensemble, and for its audience as well, is the slow movement from any of Beethoven’s mature string quartet. The sublime blend of vision, passion and mystery, the way Beethoven combines so few … Continue reading →

The Leningrad marvel continues. Thursday night’s concert at the Music Center, the second of four by the visiting Leningrad Philharmonic, once again drew a capacity crowd and gave it plenty to cheer. Mariss Jansons, the orchestra’s associate conductor was in … Continue reading →