Our guide to the city’s best classical music and opera happening this weekend and in the week ahead.DANISH STRING QUARTET at Alice Tully Hall (Feb. 7, 7:30 p.m.; Feb. 9, 5 p.m.; Feb. 11, 7:30 p.m.; through Feb. 18). “No quartet playing today has the Danish’s way with late Beethoven,” I wrote when naming this quartet’s most recent release as one of the best recordings of 2019. These concerts will more than likely bear that assessment out not just in terms of late Beethoven, but of his early work, too. Starting a complete survey of the Beethoven quartets that spans six concerts in the space of two weeks, these three young Danes and their Norwegian cellist play the first three Op. 18 quartets on Friday, the second three on Sunday and the “Razumovsky” quartets on Tuesday.212-875-5788, chambermusicsociety.org[embedded content]SIMONE DINNERSTEIN at Miller Theater (Feb. 13, 8 p.m.). In this second concert of a three-part all-Bach series that Dinnerstein has curated, she is at the piano for the Keyboard Concerto No. 1, the Brandenburg Concerto No. 5 and an arrangement of “Erbarm dich mein, o Herre Gott.” She performs all that with the Baroklyn ensemble, which also plays the Orchestral Suite No. 2. 212-854-7799, millertheatre.comNEW YORK PHILHARMONIC at the Appel Room (Feb. 10, 7:30 p.m.) and David Geffen Hall (Feb. 13, 7:30 p.m.; through Feb. 18). The Philharmonic’s valuable Project 19, which has commissioned 19 women composers in celebration of the centenary of the 19th Amendment, gets fully into its stride with premieres of pieces by Nicole Lizée, Joan La Barbara and Paola Prestini appearing in a Sound ON concert on Monday, and Tania Léon’s “Stride” accompanying the Brahms Violin Concerto and the suite from Strauss’s “Der Rosenkavalier” in subscription concerts starting later in the coming week. Jaap van Zweden conducts those, with Janine Jansen as the soloist.212-875-5656, nyphil.org[Read about the events that our other critics have chosen for the week ahead.]ORPHEUS CHAMBER ORCHESTRA at the 92nd Street Y (Feb. 9, 3 p.m.). Never mind Mendelssohn’s Octet, this concert deserves attention for its revival of the Nonet of Louise Farrenc, dating to 1849, a piece that shows the best of its remarkably fine composer, who taught at the Paris Conservatory and whose music is due for a revival. Also at the Y, Alexi Kenney performs a clever program of solo violin works by Bach and composers as diverse as Reich, Kurtag and Saariaho (Friday, 9 p.m.), and Sasha Cooke sings Schumann’s “Kerner Lieder” and “Frauenliebe und -leben” (Feb. 13, 7:30 p.m.).212-415-5500, 92y.orgSTILE ANTICO at Corpus Christi Church (Feb. 9, 4 p.m.). Appearing as part of the Music Before 1800 series, this extraordinarily thoughtful and accomplished British vocal ensemble sings music “by and for Renaissance women,” including compositions by Raffaella Aleotti, Leonora d’Este and Maddalena Casulana and works commissioned by female sovereigns such as Queen Mary I and Queen Elizabeth I from Tallis, Sheppard, Byrd and others.212-666-9266, mb1800.org More

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The proceeds from the upcoming festive fundraiser event will be donated to the musical community which has been hard hit by the ongoing coronavirus pandemic.

Dec 13, 2020
AceShowbiz – Jess Glynne and Jamie Cullum will perform at Amazon Music U.K.’s Festive Fundraiser event to help the musical community which has been hard hit by the Covid-19 pandemic.
The special concert – which will also feature Nina Nesbitt as well as Amazon’s Ones to Watch 2021 artists Griff and Girl In Red – will stream live for one night only from London’s Roundhouse on 18 December (20).
The artists will take to three stages at the iconic London venue, performing Amazon Original Christmas songs and answering questions from host Edith Bowman and viewers.
The concert will also feature highlights of Amazon Music programming from across the year, including the recent Holiday Plays concerts with Miley Cyrus, Lil Nas X, and Foo Fighters.
Patrick Clifton – Head of Music at Amazon Music U.K. – said in a press release, “We know it’s been an incredibly tough year for musicians…. We’re delighted to have these incredible artists take part in what we are sure will be a great night.”

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And Help Musicians CEO James Ainscough added, “Music has been a unifying force that’s supported and entertained us all this year, more than ever before. But for tens of thousands of music creators across the U.K. the impact of lockdown and social distancing on their ability to earn, to create and to connect, has been disastrous for their finances and mental health…”
“We look forward to 2021 with hope, but also knowing the depth of work that is still needed to support musicians until they can thrive again doing what they do best – making the music that touches our hearts and souls.”
All donations generated from the event will go directly to the Help Musicians charity, which has been providing hardship funding to tens of thousands of musicians since March.
Amazon Music U.K. will also donate directly to the charity as part of the Festive Fundraiser.
Viewers of the stream will be able to watch and donate live on Twitch at twitch.tv/amazonmusicuk.

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The ‘Unfuccwitable’ femcee hints at the end of her friendship with the ‘Hot Summer Girl’ hitmaker after initially insisting they’re still cool despite her being snubbed by Meg on her debut album.

Dec 21, 2020
AceShowbiz – Did Asian Doll end her friendship with Megan Thee Stallion? The female rapper also known as Asian Da Brat was seemingly hurt as she wrote a now-deleted tweet, “Friendship ended NEXT!” after revealing that Megan replaced her with JT of City Girls.
The drama started when Asian played for her online followers her unreleased verse on “Do It on the Tip”, a song off Megan’s debut album that features the City Girls. As Megan was called out for ditching Asian, the “Unfuccwitable” star was quick to set the record straight. “Me & Megan still friends idgaf about no song I did in my sleep,” she wrote.
But in a follow-up tweet, she admitted that, while she was cool with the “Hot Girl Summer” hitmaker, she was indeed upset at first. She confessed, “I was (mad) but ima Sagittarius we get mad then 10mins later WE DON’T GIVE A F**K BOUT NUNNADET SH*T. (sic)”
While Megan kept mum, JT posted a series of cryptic messages that fans believed to be a response to Asian Doll’s tweets. “A real friend is something you bi***es really don’t know nothing about!” she penned. “I been doing good but ima bout to start laying y’all attention h**s out & I’m coming with FACTS!!!!! Sympathetic a** h**s are really starting to grind on my gears! FR!”
JT added, “Like if you know it’s gone draw attention & cause commotion … why speak on it? Mind you lying! But GO OFF!”

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While JT didn’t drop any names, Asian directly mention JT in her next tweet, insisting to keep a positive attitude as fans brought JT’s remarks to her attention. “If JT ain’t say my name then she wasn’t talking to me,” she tweeted before seemingly scolding fans for trying to pit her against the City Girls member, “Stop being messy cause what I said was between me & Megan!”
Asian went on, “This whole song getting out of hand! My intentions wasn’t bad when I played it I DON’T WANNA BE ON THE DELUXE I Don’t Wanna Put It Out I played it because ITS NEVER coming out! I don’t need to be a pick me b***h cause at the end of the day I’m having my way with this sh*t.”
“I was called & asked to do the song,” she explained why she sent her verse to Meg. “Some told me don’t do it anyways so I didn’t. Weeks later I was reminded to do it, so I DID It.”

Asian, who previously defended Megan against Tory Lanez, then seemingly called out Megan for being silent. “A lot of sh*t I don’t even deserve,” she wrote. “God knows my intentions but these b***es don’t make it no better. How you don’t defend a b***h that RUN to defend you [laughing crying emojis].”

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The pianist, 92, has been hesitant to glance back: “I’m still evolving, whenever I sit down at the piano.”The first time Ahmad Jamal put out a live recording with his trio, it was an unexpected smash. “At the Pershing: But Not for Me,” from 1958, became one of the best-selling instrumental records of its time. Since then, in an extraordinary career spanning more than 75 years, this piano eminence has released dozens more live albums, a catalog sprinkled with gems.But what about the concerts he played that were captured on tape but never released? Ask him about digging those up for archival release, and he’ll almost certainly say “no, thanks.” Even at 92, Jamal resists glancing back. “I’m still evolving, whenever I sit down at the piano,” he said one recent afternoon, speaking by phone from his home in the Berkshires. “I still come up with some fresh ideas.”So when he got wind of a set of pristine old recordings, captured in the mid-to-late 1960s during performances at the Penthouse club in Seattle, he hesitated. It took some cajoling for Jamal to sign off on a release. Eventually, “I went along with it,” he said. “But it’s unusual for me.”His reluctance was thawed by Zev Feldman, the skillful and enthusiastic producer who unearthed the tapes, and by the quality of the performances themselves. Culled from half-hour radio broadcasts that had been caught on the Penthouse’s reel-to-reel tape machine, these recordings will see the light of day starting in November, with the release of two separate double-disc collections: “Emerald City Nights: Live at the Penthouse (1963-64)” and “(1965-66),” the first albums to arrive on Feldman’s new label, Jazz Detective. A third set, “(1966-68),” will be released soon after.Five-and-a-half hours of music in all, the albums arriving in November are a celebration of both the flexibility and the certitude of Jamal’s style — a modernist marvel, and nearly a genre unto itself. His music can sometimes scan as easygoing acoustic jazz with catchy hooks, which explains its broad appeal. But really it’s packed with combustive overlays of rhythm — and a connection to musical history so deep and expansive that, in fact, it foresaw the future.What to Watch, Listen to and See This FallHighlights from the arts world this coming season.Wolfgang Tillmans: The artist’s career retrospective at the Museum of Modern Art looks set to cement his position as one of the world’s most significant living artists.‘Monarch’: Starring Trace Adkins, Anna Friel and Susan Sarandon, Fox’s new TV series brings the dynastic drama genre to the world of country music.Ahmad Jamal: Two live albums capture this music innovator in his prime, celebrating both the flexibility and certitude of the pianist’s style.“I think when he was creating those grooves that became iconic, he was finding another way: It left funk music, it left soul music, it left jazz,” said the pianist Jason Moran, who as the Kennedy Center’s artistic director for jazz has presented Jamal multiple times in recent years. “He was phrasing for the future. He wasn’t just phrasing for the ’60s, he was phrasing for the ’90s.”The “Emerald City Nights” albums come from the period when Jamal had just returned to touring, and his piano playing was growing more lush.Don BronsteinJamal’s music with his trio — and then, in later years, a quartet with a hand percussionist added to the mix — reaches into a deep reserve of Black rhythmic practices, even as he wears the influence of Romantic piano music on his sleeve. In the process, as far back as the early 1950s he was sounding out grooves and feelings that would not catch on broadly until years later.Plenty has been made of his influence on Miles Davis, who declared Jamal his favorite piano player. But it goes beyond that. Before James Brown had helped invent funk, Jamal was rearranging the organization of time in jazz, adding a heavier emphasis on the downbeat — like Brown eventually would — and syncopating the heck out of the rest of the measure, as an Afro-Cuban musician might.“There are things that occur in your sound that you’ll never be able to trace, because they go too far back. And I feel like he is totally aware of that ancestral rhythmic connection,” Moran said. “Ahmad on the piano is one of the rare ones that figured out that sensibility that was gluing together so many decades, in the past and the future.”It’s little wonder that he became one of the most sampled musicians in hip-hop history. Jamal’s piano phrasing haunts iconic tracks like Nas’s “The World Is Yours” (the producer Pete Rock sampled his “I Love Music,” from 1970) and De La Soul’s “Stakes Is High” (J Dilla plucked a few bars from Jamal’s “Swahililand,” from 1974).He first sidled up to a piano at age 3, the year Franklin Delano Roosevelt was sworn in as president of the United States. He’s been playing ever since. At that time, when pianists still played the role that jukeboxes would soon take over, Pittsburgh was turning out future jazz stars as reliably as it was generating steel. Jamal was preceded at Westinghouse High School by Erroll Garner, Mary Lou Williams and Dodo Marmarosa — all future piano greats. The city was also full of Western classical music, a tradition Jamal learned from his piano teacher, Mary Cardwell Dawson, who would later found the National Negro Opera Company.“In Pittsburgh, we didn’t study just the American classical music, also sometimes referred to as jazz,” he said. (Jamal has always rejected the word “jazz,” calling it both imprecise and racially insensitive.) “We studied European classical music, and Duke Ellington, along with others. So that’s the difference.”He joined the local musicians’ union at 14, and headed out on tour three years later with the George Hudson Orchestra. While playing in Detroit, he was exposed to the growing Ahmadiyya Muslim movement. He converted and began studying Islam intensely — something that he credits with saving him from the snares of life on the road. It also fortified his conviction to abide by his own code.“I always tried to divest myself of the music business. I wasn’t too thrilled with the music business at any time,” he said. “So I have always sought to do other things.”Soon Jamal began traveling to Africa, and he began what he says was the first company to import greeting cards from Africa to the United States. (His first mention in The New York Times, from 1959, is in an article titled “Pianist-Investor Is a Hit in Cairo.”) He also briefly ran a music venue, the Alhambra, in Chicago, where he was living in the 1950s. And for a time he stopped performing publicly altogether, focusing instead on running a series of small record labels that put out LPs by musicians on both sides of the Atlantic.The “Emerald City Nights” albums come from the period when Jamal had just returned to touring, and his piano playing — always centered on finely wrought patterns and spare, interwoven phrases — was growing more lush. The Penthouse was one of his favorite clubs to play, so the new collections showcase Jamal in a number of different engagements, with a variety of trio lineups.The tracks include Jamal originals like “Minor Moods”; contributions from his bandmates; jazz standards by Cole Porter and Benny Golson; and pop ditties like “Feeling Good,” performed here just months before Nina Simone’s famous rendition was released. On “(1965-66),” one side features a particularly exciting (and rarely recorded) lineup: the drummer Vernel Fournier, whose famous beat had set the gamboling foundation for “Poinciana,” and the bassist Jamil Nasser, one of Jamal’s most consistent collaborators in the 1960s and ’70s.“He supervised every part of this production: listening to the music, ID-ing the tracks,” Feldman said of Jamal’s involvement in the archival release.“There are a few things that didn’t make it,” Feldman conceded. Then, with an artful touch of understatement, he explained: “He has a discerning ear.” More

Chynna, the hip-hop artist who first turned heads on the modeling runway and then with her talent as a rapper, died on Wednesday in her native Philadelphia, her manager said. She was 25.The cause of death was not immediately known, John Miller, the hip-hop artist’s manager, said in an email on Wednesday night.The rapper, whose full name was Chynna Rogers and who lived in both Manhattan and Philadelphia, was known for her solo recordings and her collaborations with the hip-hop collective ASAP Mob. Death was a recurring theme in Chynna’s music, including in her album, “in case i die first,” which was also the name of one of her tours.“I think there’s too many soundtracks to our lives,” Chynna said in an Instagram video that she shared on Tuesday, her final post. “I need music to die to.”Her family said, “Chynna was deeply loved and will be sorely missed,” according to a statement provided by Mr. Miller.Word of Chynna’s death stunned the hip-hop world, which has grappled with the loss of a number of young rappers, including Juice WRLD, who died in December of an accidental drug overdose at 21, and ASAP Yams, one of Chynna’s mentors, who died at 26 in 2015 of accidental drug intoxication.“She was an extremely inspirational and unique artist and person,” Mr. Miller said.At 14, Chynna was discovered by a Ford Models scout during an outing at the amusement park Six Flags Great Adventure in Jackson, N.J. She did catalog work for the agency for three years and appeared in a runway show for DKNY, which featured Chynna in its denim campaign.When she was 15, Chynna approached the rapper ASAP Yams on Twitter and asked to be his intern. They ultimately became friends. He encouraged her to write her own rhymes and she began releasing singles and performing with ASAP Mob, including at the South by Southwest music festival.“He probably felt cool that this little high school girl wanted to follow him around,” Chynna told The New York Times in 2015.Music platforms like SoundCloud and Spotify have streamed Chynna’s songs millions of times. Her viral hits included “Selfie” and “Glen Coco.”In 2017, Chynna’s mother, Wendy Payne, died at 51. Chynna is survived by her father, Michael Magness; two brothers, Jeremy Payne and Michael Magness; and a sister Nala Magness. More