MARY CONWAY revels in a powerful reminder that human lives are not defined by physical perfection
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Suspicion over motives in classical music responses to September 11
IAN PACE posits the question whether works explicitly thematising traumatic events amount to a meaningful response
QUANTITY OVER QUALITY: Classical music responses to 9/11
[Michael Foran/Creative Commons]
PAUL DONOVAN recommends the fine performances in this account of the pre-war meeting between the US president and the British king
TECLYN AROD relishes an intimate celebration of jazz improvisation that mixes local and national musicians
The missing sister, the vengeful WAG, cruise ship claustrophobia, and reanimated Avengers
Three great releases of lost concerts by Duke Ellington Orchestra, John Taylor & Stan Sulzman, and Joe Henderson
To rescue Kahlo from the clutches of the corporate art market, we need to acknowledge the overt and covert political dimensions of the work, demands GAVIN O’TOOLE
FROM natural disasters to war, classical composers have long responded to traumatic events with their music, especially in the 20th century.
The Danish composer Carl Nielsen composed Paraphrase on Nearer My God to Thee (1912) following the sinking of the Titanic.
Two years later, a range of composers including Claude Debussy and Edward Elgar contributed to King Albert’s Book, a collection assembled by the Daily Telegraph in tribute to Albert I of Belgium, and the invasion of his country.
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Re-releases from Bobby Wellins/Kenny Wheeler Quintet, Larry Stabbins/Keith Tippet/Louis Moholo-Moholo, and Charles Mingus Quintet