Like the holiday season itself, the nostalgia that Christmas music evokes can be emotionally charged.It’s been a little over one year since the Backstreet Boys released their Christmas album, “A Very Backstreet Christmas,” and Francine Biondo has had it on repeat ever since.To be fair, Ms. Biondo, 39, a child care provider in Ontario, Canada, is a fan of Nick Carter and maybe even a bigger fan of Christmas music. The Christmas season was in full swing for her by mid-November, with plans to decorate a tree. Although she typically begins listening to holiday music after Halloween, she is known to sprinkle in a little Christmas cheer during the summer.“It just puts me in a happy, feel-good mood,” she said by phone of songs like Mariah Carey’s “All I Want for Christmas Is You,” adding that they invoked happy memories of her childhood.For Ms. Biondo, the songs do more than get her into the holiday spirit, they also boost her productivity. “To be honest, I need music to just get me through the day,” she said. “I need music when I’m cleaning the house and just doing the daily things, it kind of helps motivate me. Christmas music, especially around that time of year, it just’s more fun.”She might be on to something.Daniel Levitin, an author and musician in Los Angeles and a professor emeritus of psychology and neuroscience at McGill University in Montreal, said research has shown that most people in Western countries use music to self-soothe. “They know that there are certain kinds of music that will put them in a good mood,” he said. “Christmas music is a reliable one for a lot of people.”The healing effects of music have long been studied. Mr. Levitin participated in a 2013 study that concluded that music boosts the body’s immune system and reduces stress.Mr. Levitin said that listening to a song that has not been heard in a long time can transport a person back in time. “That’s the power of music to evoke a memory,” he said. “With those memories come emotions and possibly nostalgia, or anger, or frustration, depending on your childhood.”For the people who find joy in Christmas music, the brain may increase serotonin levels and may release prolactin a soothing and tranquilizing hormone that is released between mothers and infants during nursing, Mr. Levitin said.Conversely, if negative memories and feelings are associated with Christmas, the same songs could cause the brain to release cortisol, the stress hormone that increases the heart rate, and trigger the amygdala, the brain’s fear center. “There are a lot of people who, when Christmas time comes around, they just want to run home and put their head under the covers and wait it all out,” Mr. Levitin said.Christmas music, like all forms of music, is powerful. But this genre is perhaps more potent than other forms of music because the holiday season itself is emotionally charged. It represents the ideals that most humans strive for like equality, tolerance, love and tranquillity. “For some of us, that’s an inspiring message,” Mr. Levitin said. “For others of us, it just draws in stark relief how far we are from achieving that.”Yuletide music sung to celebrate the winter solstice has been around for thousands of years, some even predating Christianity, according to Alisa Clapp-Itnyre, an English professor at Indiana University East. These songs were sung in communal, secular settings and as early as the third century, Christianity adapted Yuletide festivals for celebrations of Jesus’ birth. Then, stories of Jesus were woven into carols, which were still sung in communal settings, even across class divides.“During the dark months of winter, it brought people together for celebration and generosity,” Professor Clapp-Itnyre said, adding that she thinks this still happens today in various forms, like the Salvation Army holding donation drives and carols being sung in nursing homes.By the 20th century, secular Christmas songs like “I’ll Be Home for Christmas” and “White Christmas” began reflecting the grief people were facing and brought solace, particularly to World War II soldiers who could not be home for Christmas. “These songs are becoming popular during the war because people are seeking something traditional, something that they used to know of family and peace and those good traditions, even as their whole world is being blown to smithereens,” Professor Clapp-Itnyre said.The positive feelings associated with Christmas music are something Vanessa Parvin, the owner of Manhattan Holiday Carolers, a holiday entertainment company, knows well. Ms. Parvin, 45, has been singing Christmas music professionally since 1999.Part of the joy, she said, is “adding to other people’s holiday magic experience and nostalgia,” which can mean honoring song requests that remind guests of their childhoods or relatives who have died.While she has a memorized repertoire of about 90 Christmas songs, there is one that invokes memories of her own family. “‘O Little Town of Bethlehem’ was my grandmother’s favorite, so that doesn’t make me think of caroling,” she said. “It makes me think of my grandmother and my mother.” More

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Raising the heat at the 48th annual American Music Awards is Jennifer Lopez, who takes the stage to offer sensual performances of ‘Pa Ti’ and ‘Lonely’ alongside Maluma while donning a sheer catsuit.

Nov 23, 2020
AceShowbiz – The 2020 AMAs had the best performer line-up to help further give more excitement to the show. Among those who hit the stage at the event, which took place at the Microsoft Theater in Los Angeles on Sunday, November 22, were Justin Bieber and Shawn Mendes who debuted the live performance of their new song “Monster” at the award-giving event.
The song, which was off Shawn’s forthcoming fourth studio album “Wonder”, saw the pair singing about dealing with society’s expectations as a public figure. Prior to the performance, Justin kicked it off with a solo performance of his single “Lonely”. That night marked his return to the AMAs stage after skipping the event for four years.
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Raising the heat later that night was Jennifer Lopez. Donning a sheer catsuit, J.Lo took the stage to offer sensual performance of “Pa Ti”. The dimly lit stage intensified the sensuality of the performance as back dancers were trapped in cages. Maluma then joined her on stage to perform “Lonely” before the 51-year-old could be seen hopping on top of a table and getting hot and heavy with her collaborator.
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Billie Eilish also returned to the AMAs stage this year to perform her new track “Therefore I Am” alongside her brother Finneas. Staying true to her fashion, Billie donned a cardigan and long shorts. However, the young artist successfully made fans hot and bothered with her incredibly sexy and confident dance moves.
“BILLIE EILISH RUN ME OVER CHALLENGE #AMAs,” one fan reacted to her performance. Echoing the sentiment, another fan wrote on Twitter, “anyways billie eilish supremacy.”
Another notable performance that night was from Katy Perry. Instead of wearing her usual over-the-top costume, the new mom hit the stage while rather dressing down. Belting out “Only Love” with Darius Rucker at the 48th annual American Music Awards, the 36-year-old opted to wear an oversized faded blue jacket and matching jeans. That was her first awards show appearance since giving birth to her and fiance Orlando Bloom’s daughter Daisy.
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Hosted by Taraji P. Henson, the 2020 AMAs saw Taylor Swift, Doja Cat and BTS Bangtan Boys being among the winners.

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The “Will & Grace” star is unrecognizable in a Broadway biography of Oscar Levant: wit, pianist and “Eeyore in a cheap suit.”Oscar Levant, the troubled midcentury musician and wag, often said he’d erased “the fine line between genius and insanity.”He says it again, or a version of it, in “Good Night, Oscar,” the unconvincing biographical fantasia that opened Monday at the Belasco Theater. But on the evidence of the character as written, and especially as impersonated by Sean Hayes in a gloomy if accurate performance, Levant doesn’t erase the line so much as fudge it.Certainly the play, by Doug Wright, fails to make much of a case for the genius part of the joke. Instead, it offers a spray of Levant’s most famous quips, like the one about Elizabeth Taylor: “Always a bride, never a bridesmaid.” And instead of dramatizing how marvelous Levant was, it just says so repeatedly. “America’s greatest wit.” “A goddamn lion.” A Horowitz at the piano “with a grace and an ease that even Chopin might envy.”Fulsome praise, but what we see in the director Lisa Peterson’s production is a far cry from any of it. Mostly it’s just a cry; Levant doesn’t seem brilliant but ill.Pathos not being much of a dramatic engine, Wright works very hard, if fictionally, to crank up the stakes. It’s 1958, on the day during sweeps week when “The Tonight Show,” with its host, Jack Paar, will make its West Coast debut. Paar’s marquee guest, leading a lineup that also includes the sex symbol Jayne Mansfield and the ventriloquist Señor Wences, is Levant, who two hours before showtime hasn’t arrived. NBC’s president, Robert Sarnoff, threatens to replace him with the popular bandleader Xavier Cugat.But where Sarnoff (Peter Grosz) sees Levant as unreliably neurotic, and thus unappealing to the network and the audience, Paar (Ben Rappaport) sees him as an artist whose unreliability and neurosis are exactly his strengths. He’s the national id: the man Americans hope they’ll catch “saying something on television they know damn well that you can’t say on television.” He’s good for ratings; no wonder Paar calls him his favorite mental patient.That line is no joke. It is only thanks to the machinations of Levant’s wife, June (Emily Bergl, excellent), that Oscar has been sprung on a four-hour pass from the institution he currently calls home. When he finally arrives at the studio, with a miffed orderly (Marchánt Davis) in tow, he’s strung out, rumpled and morose. June calls him “Eeyore in a cheap suit.”Hayes and Emily Bergl as Levant’s wife, June.Sara Krulwich/The New York TimesHayes, no longer the adorable sprite from “Will and Grace,” has clearly made a careful study of Levant’s mannerisms, many of them the result of a longtime addiction to painkillers. The work is startling, but the performance is less an inhabitation of character than a nonstop loop of perfectly rendered facial tics, trembling hands and compulsive gestures. His speech is pressured, his mood explosive, his target anything that crosses his path — including himself. Past this stockade of behavior, little of an inner life can get out.To address the built-in problem of revealing such a locked-down soul, and in the manner of period psychiatric melodramas like “Now Voyager” and “Bigger Than Life,” Wright gives Levant occasional reality breaks and hallucinations. Most involve George Gershwin: Levant’s friend, benefactor and bête noire, dead 20 years yet still a kind of Oedipal rival. “I’m scared to death of failure,” Gershwin’s glamorous ghost (John Zdrojeski) says. “But you? You don’t mind it.”Whether or not Levant minded it, it’s true that by Gershwin standards he failed; few people today remember him. Huge swathes of dramaturgically suspicious exposition must thus be rolled out to cover the gaps. “I know the critics all say your greatest performance was in ‘An American in Paris,’” a young production assistant (Alex Wyse) tells Levant, and us. “That musical sequence — the Concerto in F — it’s a showstopper!”When characters start informing other characters of what they would obviously already know, and (as often happens here as well) braying madly at mild jokes, something is wrong.What that is becomes clearer when, in the second half of the 100-minute play, Levant finally sits down for the live broadcast, after proving himself merely tiresome for the first half. The music starts, the curtain rises, the lights come up, and he’s still tiresome. Firing off one-liners, especially nasty ones, is no mark of special genius; thousands of comedians do it. Nor does the fact that the one-liners come from a man who is obviously deeply troubled make them especially funny. For me, watching Hayes as Levant — like watching kinescopes of Levant himself — is excruciatingly sad.The weight of shoring up the point of the play thus falls heavily on Levant’s pianism — and Hayes’s. Peterson, the director, has been building up to it from the beginning. The nested shoeboxes of Rachel Hauck’s handsome set, representing Paar’s office and, when that breaks away, Levant’s dressing room, now disappear entirely to reveal a fully padded television studio with a Steinway center stage. Hayes steps up to it and, after a last, mortifying fight with Gershwin’s ghost, proceeds to play a seven-minute excerpt from “Rhapsody in Blue.”The playwright illuminates Levant’s inner world with occasional hallucinations, most involving Levant’s long-dead friend and rival George Gershwin (John Zdrojeski).Sara Krulwich/The New York TimesIt’s fine.Even if it had been mind-blowing, I don’t see how it would have given “Good Night, Oscar” a satisfying shape; issues raised in theatrical terms want to be resolved in them, too. Wright has followed that principle in “I Am My Own Wife,” his Pulitzer Prize-winning 2003 play, and in his book for the unconventional musical version of “Grey Gardens,” each of which uses the raw materials it was built from to fashion an organic conclusion.“Good Night, Oscar” can’t get there, but it understands the problem. A coda following the concerto may not tie up the larger themes of genius and insanity but does resolve some relationships in the way you would expect from a melodrama set in 1958. Selflessness and renunciation are involved. Jokes that were formerly just origami with words now become ways of slipping painful truths past the interpersonal censors.In those last few minutes only, you see into Levant’s soul. It is not a soul made for television, though that’s how most people of his time would have known him. Somehow they accepted him as he was, which may not have been a blessing. When asked, on a 1965 episode of “What’s My Line,” “Have you ever managed to make a great deal of use out of various illnesses that you’ve had?” he answered, “My health is the concern of the nation.” The blindfolded panel knew immediately who he was.I only wish after “Good Night, Oscar” we did.Good Night, OscarThrough Aug. 27 at the Belasco Theater, Manhattan; goodnightoscar.com. Running time: 1 hour 40 minutes. More

Doc Severinsen hadn’t been able to practice his trumpet in a couple of days, and by his own admission, it was making him irritable. “I’m getting a little bit antsy,” he said one afternoon earlier this month.Were he not currently conducting a video interview from the kitchen of his home in Tennessee, he said, “By now, I’d have a trumpet in my hand, and I would be pretty much doing that the rest of the day.”Instead the 93-year-old Severinsen was sharing reflections from his life and career as a trumpeter and bandleader of “The Tonight Show” while his companion, Cathy Leach, sat nearby. As he occasionally, instinctually pursed his lips to practice the embouchure he uses on his mouthpiece, he explained that he was a different man when separated from his instrument. In his reedy, rumbling voice, he said, “I don’t become the most pleasant guy to live with.”Audiences got to know Severinsen best during his 30-year run on Johnny Carson’s “Tonight Show,” where he served not only as its musical frontman but also as a flashily attired comic foil to its host, who became a close friend behind the scenes. Carson died in 2005, and his announcer and sidekick, Ed McMahon, died in 2009, leaving Severinsen the most prominent surviving face of that influential late-night show.Over 30 years on “The Tonight Show” with Johnny Carson and Ed McMahon, Severinsen was both musical frontman and comic foil.Douglas C. Pizac/Associated PressNow, Severinsen is pulling back the curtain on his own life in a new documentary, “Never Too Late: The Doc Severinsen Story,” which will make its debut Friday on PBS’s “American Masters.”The film, which is directed by Kevin S. Bright and Jeff Consiglio, chronicles Severinsen’s upbringing in Arlington, Ore., where his father was the local dentist (thus earning his son, Carl, the lifelong nickname “Doc”). The documentary also explores his work as a musician, on “The Tonight Show” and off, and dives deeply into his personal life, his marriages and his family’s history with alcoholism.If the movie uncovers much that viewers didn’t know about him, Severinsen said, “I found out how much I didn’t know, too.”Severinsen spoke further about the making of “Never Too Late,” its revelations and his fulfilling, frustrating obsession with the trumpet. These are edited excerpts from that conversation.You’ve been off “The Tonight Show” now for almost as many years as you were on it. Does that experience seem distant to you now?It does. But at first — and I can’t tell you how long that went on for — I would wake up in the morning and think, Oh, God, I’ve got to get going or I’m going to be late for work. I’ve got to pick out a program of music. Oh, wait a minute — I don’t do that anymore.What keeps you occupied now?I’ve got that jealous bitch over in the corner — the trumpet. And if you don’t pick that baby up and treat it right, you’re going to have nothing but trouble.“All you know is you’ve got to pick out the right music, conduct the band and be ready to talk,” Severinsen said of his time on “The Tonight Show.”Ron Tom/NBCUniversal via Getty Images How were you persuaded to be the subject of a film about your life?Kevin Bright has had a working relationship with my eldest daughter, Nancy. They had renewed their friendship, and Kevin said: “How’s your dad? What’s he up to?” The next thing I know, Nancy’s calling me, saying, “Dad, I spoke to Kevin and he wants to do a documentary.” I laughed and said: “That’ll be the day. No thanks.”What changed your mind?Kevin knew how to handle me. One thing led to another, and all of a sudden we’re sitting in the kitchen, here in this house. I had this feeling of, Why am I doing this? What the hell is going on? Then we started talking and we never stopped.Are people surprised when they see you dressed casually, as you are today, instead of sporting some of your memorable apparel from “The Tonight Show”?The way you see me now, it’s the way I’ve always been. I’ve got a cowboy shirt on and jeans and cowboy boots. I thought I might go riding today — it turns out, that’s not going to happen, but I’ve still got the right clothes on for it.Severinsen, known for his garish outfits on “The Tonight Show,” opts for more muted attire these days.via Just Bright ProductionsSo all that eye-popping clothing you wore on the show was a kind of affectation?It was at first, yeah. It was a desperation kind of a thing. You don’t know when they’re going to talk to you or what they’re going to talk to you about. All you know is you’ve got to pick out the right music, conduct the band and be ready to talk. Because the one thing you don’t want to have happen is, you’re sitting there, [mindlessly] “Oh boy, I sure enjoyed that dinner last night,” and you hear Johnny say, “Isn’t that right, Doc?”Did Carson ever catch you off guard?One time, he asked me to hit a double high-C on trumpet. And I thought, Holy Christ. I knew I was capable of it if I had time to work on it. But somehow, from past experience, I hit that note and did a pretty doggone good job. And I thought, I’ve got to have a finish for this. So I did a take of great pain and reeling around and fell flat on the floor. I didn’t know I was going to do that! Neither did Johnny. It’s all about being in show business, I guess.Is it fair to say there was a kind of friendly one-upmanship in your on-camera relationship with Carson?Well, there was no one-upmanship because we knew who had the one-up. It was mostly me paying attention and trying to fit in. But Johnny, he was an artist. He could produce and write a script in his mind while he’s saying it.“You get out of the trumpet exactly what you put into the trumpet,” Severinsen said.via Just Bright ProductionsCarson had a behind-the-scenes reputation, even among people who worked for him, for being enigmatic or elusive. Was that your experience with him?Well, the only person who could answer that is Johnny. He knows if he’s thinking in his mind about some friend who’s passed away or a secret desire he has to do this or that, or God, I wish I’d had a hamburger for lunch. But he was an extremely bright man. He was friends with Carl Sagan, and he used to love to get together with him and talk about the universe. I’d go out with him on his boat, and we’re sitting there, looking up at night, and he’s explaining the whole damn works up there. There was a lot more to him than he ever let on.You felt you saw a side of him that he didn’t necessarily share with others?I did, and I can tell you right now, I ain’t going to talk about it. [Chuckles.] Us guys, sometimes, when we have real pain — Oh, I wish I hadn’t done that, or I wish I had done that — you don’t get the whole thing.You’re candid in the film about your history with alcoholism — how it ran in your family and how your first wife’s problems with it led to the dissolution of your marriage to her. Were you nervous about sharing this with people?No, I wasn’t nervous because it’s fact. If you’re an alcoholic, you should be one of the first ones to know. Well, I wasn’t one of the first ones to know that I was an alcoholic. My wife at that time, I’ll tell you, I feel sorry for her. I’m not angry over any of it. There I was with three little kids — I’ve got to be Dad, I’ve got to be Mom, I’ve got to be the maid. I’ve got to do it all. And then I have to go over to the police department and say to the guy at the des:, “Listen, if your patrolmen see my wife driving our car — and especially if there’s little kids in there, would you do me a favor? Would you pull her over? And if she’s been drinking at all, take the car from her, take her home and make the kids safe.”“If you don’t pick that baby up and treat it right,” Severinsen said about his trumpet, “you’re going to have nothing but trouble.”Kristine Potter for The New York TimesThere was often a lot of joking about drinking on “The Tonight Show.” Did that make it hard to maintain your sobriety?I didn’t come to work and say, “Now, Johnny, there’s something I’ve got to tell you — I’m an alcoholic, so look out now.” Quite the opposite. And about the time I was just starting out on “The Tonight Show,” I also became aware that if you’re an alcoholic, you’re probably a drug addict also. And I found out that I was. And I said, “Whoa, boy, they’re taking away all my toys.”But you’re better for it.I’ll put it to you this way, I’m alive.What drugs were you using?I don’t even want to discuss it. None of the rock-hard stuff. But close. Very close.Your third wife, Emily, is an on-camera subject in the documentary, and she speaks frankly about how your marriage to her unraveled after your time on “The Tonight Show” ended. Were you concerned about including her in the film?No, I had to trust Kevin on that. If you’re doing something that’s extremely revealing, about private matters, there’s a producer that will make that decision and you’d better figure out how you’re going to live with it. Emily, she’s a very bright person, and fair. She’s — well, I’m in a much better place.You’re happy in your life with Cathy Leach, who is a professor emeritus of trumpet at the University of Tennessee?I don’t know how to describe it. But when I pull the covers up under my chin at night and she reaches over and makes sure that I got my arms covered and I’m all settled and everything’s OK — I don’t want to get into religion, but I thank God she came into my life.Are you still discovering new things about the trumpet?Oh, yeah. But when you pick up a trumpet, don’t think it’s going to be a bouquet of roses the rest of your life. You get out of the trumpet exactly what you put into the trumpet. If you put bad timing and a bad attitude, anything negative at all into the trumpet, it comes right back to hit you in the face.Do you ever have days when you think, I can’t play that damned thing for another minute?Yes, but I don’t call it a “damned thing.” Because the trumpet has the last word. I try to remain respectful of that damned thing. More

Listen to music that shows off the golden, mellow sunshine of “the cello of the brass section.”In the past we’ve chosen the five minutes or so we would play to make our friends fall in love with classical music, piano, opera, cello, Mozart, 21st-century composers, violin, Baroque music, sopranos, Beethoven, flute, string quartets, tenors, Brahms, choral music, percussion, symphonies, Stravinsky, trumpet, Maria Callas, Bach, the organ, mezzo-sopranos, music for dance, Wagner and Renaissance music.Now we want to convince those curious friends to love the golden, mellow sunshine of the horn. We hope you find lots here to discover and enjoy; leave your favorites in the comments.◆ ◆ ◆Sarah Willis, Berlin Philharmonic hornistThe French horn is so versatile. Heroic, romantic, scary, mysterious — you name it, the horn can play that part. And it’s a sociable instrument: We love to play together. In the third movement of Richard Strauss’s Horn Concerto No. 2, the horn is a virtuosic and passionate hero, which the horns in the orchestra join at the end of the movement for a final fanfare. These last moments always lift my heart and make me proud to be a horn player.Strauss’s Horn Concerto No. 2Norbert Hauptmann, horn; Berlin Philharmonic; Herbert von Karajan, conductor (Deutsche Grammophon)◆ ◆ ◆Akshaya Avril Tucker, composerGive me a long, quiet note on the horn and I feel like I’ve entered a place of timelessness. It’s an incredibly soothing, supportive sound — the best sonic cuddle buddy. In orchestration classes, I’ve heard the horn referred to as “glue”; it cushions and supports its neighbors in the orchestra like no other instrument. Jonathan Dove’s “Susanna in the Rain,” from his “Figures in the Garden,” is utter comfort. A small ensemble of woodwinds provides a gentle pitter-patter of rain, while the horn — first one, then two — soars above. When I listen on the drought-stricken West Coast to these yearning melodies, they sound like a nourishing downpour.Dove’s “Susanna in the Rain”Orchestra of the Age of Enlightenment; Antony Pay, conductor (Warner)◆ ◆ ◆Paquito D’Rivera, saxophonist and composerThe French horn — a rather exotic instrument in the history of jazz — has among its most creative practitioners Willie Ruff, John Graas, David Amram, Gunther Schuller, John Clark and Chris Komer; I just composed a piece for Komer and the New Jersey Symphony Orchestra. But we always have to mention Julius Watkins, considered by many the father of the modern jazz French horn, and a good example of his masterful work — transcribed by the Brazilian hornist-composer Victor Prado — is this interesting improvised solo on “Phantom’s Blues,” recorded with the Quincy Jones Orchestra in 1960.“Phantom’s Blues”Julius Watkins, horn; Quincy Jones Orchestra◆ ◆ ◆Franz Welser-Möst, Cleveland Orchestra conductorThe horn has this beautiful, warm, singing sound, which resembles the middle register of the human voice; that is why it is so easy to connect to. The horn is sort of the cello of the brass section. The violins, trumpet and flute are in a high register, and not many people can sing that high, while the register in which the horn plays is accessible to anybody.I chose the opening of the third movement of Mahler’s Fifth Symphony, simply because people usually think of the horn as a hunting instrument. The horn here represents the crying out of the human soul, sort of lost in the ocean of an overwhelming world. In this section, the horn is an individual human voice surrounded by a crazy, dancing universe of other instruments. Mahler was a contemporary of Sigmund Freud, so his music is always about the psyche — of an individual and of humanity.Mahler’s Fifth SymphonyVienna Philharmonic; Leonard Bernstein, conductor (Deutsche Grammophon)◆ ◆ ◆Zachary Woolfe, Times classical music criticBrahms’s mother died early in 1865; later that year, he wrote a trio for violin, piano and horn, an instrument he had learned as a child. The result — for which he specified the affably rustic, if difficult to control, valveless horn, rather than the newer valved variety — is by turns serene, agitated, mournful and joyful, with the horn throughout evoking walks in nature and an ineffable nostalgia.Brahms’s Horn TrioMyron Bloom, horn; Rudolf Serkin, piano; Michael Tree, violin (Sony)◆ ◆ ◆Seth Colter Walls, Times writerThe horn, with its mellow colors, doesn’t always conjure pure relaxation; it can be regal even in passages of tranquillity. The composer William Bolcom uses this simultaneously lyrical and potent quality during stretches of his Trio for Horn, Violin and Piano, created in response to Brahms’s famous trio. But in the final movement — which he has described as a “resolute march of resistance,” written in the wake of the 2016 election — Bolcom lets the instrument strut, with some raucous pressurized notes, drawing it closer to its more jazz-associated cousins in the brass section.Bolcom’s Horn TrioSteven Gross, horn; Philip Ficsor; violin; Constantine Finehouse, piano (Naxos)◆ ◆ ◆Kevin Newton, Imani Winds hornist“Ecos oníricos de la Basílica de San Marcos” was written for me by the Argentine composer José Manuel Serrano. The piece, for a soloist and prerecorded horns, transforms the sound of the horn into ghostly echoes in a cathedral, requiring the player to access a wide range of textures and microtones.For me, the horn has always been an extension of the voice. My childhood was filled with many a long car ride in which my mother would teach me to sing harmony, as well as choir rehearsals and weekend mornings at the piano working out hymns or whatever else of her songbooks I could get my hands on. When I first heard the horn, I wished that my voice could produce those sounds, and a love for the instrument was born. Its flexibility has freed me from the limitations of my own voice, and this piece is a wonderful space to explore that freedom.Serrano’s “Ecos oníricos de la Basílica de San Marcos”Kevin Newton◆ ◆ ◆Mei-Ann Chen, Chicago Sinfonietta conductorI knew Erich Wolfgang Korngold’s granddaughter, Katy Korngold Hubbard, before I knew his music. Once, driving in the rain, I had to pull over to the side of the road because I was so incredibly moved by the sublime music on the radio. I didn’t know the composer. The last movement of the mystery work — it turned out to be Korngold’s “Much Ado About Nothing” Suite — was so joyful and witty, featuring the horns prominently, that I was transported to a different world. I became a huge Korngold fan. This rarely performed work should be better known.Korngold’s “Much Ado About Nothing” SuiteOrchestre Philharmonique de Strasbourg; Marc Albrecht, conductor (Pentatone)◆ ◆ ◆Bernard Labadie, Orchestra of St. Luke’s conductorDeep in the German psyche, the horn is closely associated with the forest — not only in relation to hunting but also to the romantic idea of night, moonlight and starry skies. No piece of music epitomizes this connection like Schubert’s “Nachtgesang im Walde” (“Nighttime Song in the Forest”), written for a four-part men’s choir and four horns. This highly unusual formation explains why this little masterpiece is a rare guest on concert stages. And yet what fabulous music this is, with Schubert’s unmistakable mixture of harmonic magic and deep connection with text. Never has the sound of the horn felt so simultaneously grounded and ethereal.Schubert’s “Nachtgesang im Walde”Monteverdi Choir; John Eliot Gardiner, conductor (Philips)◆ ◆ ◆Mark Almond, San Francisco Symphony hornistConductors and fellow musicians never seem to mind how loudly you can blow the horn, but they really, really care about how softly you can play; in fact, your career depends on it. As the natural harmonics of the instrument are very close together in the high register, playing pianissimo in that range requires laser focus and surgical precision. Next time you’re at the symphony, imagine the hornists as darts players, having to throw bull’s-eyes every 20 seconds for 45 minutes. Then imagine the conductor standing next to the dart board, silently urging the player to throw each dart as gently as possible, but still demanding that the bull’s-eye be hit every time.The flip side: It’s incredibly liberating to play pieces in which you can just let it rip and go for it, as loudly as (tastefully) possible, like in this exciting recording of Haydn’s “Hornsignal” Symphony, performed by the natural horn players — no valves! — of the Concentus Musicus Wien.Haydn’s “Hornsignal” SymphonyConcentus Musicus Wien; Nikolaus Harnoncourt, conductor (Warner)◆ ◆ ◆David Allen, Times writerDeep into Strauss’s last opera, “Capriccio,” comes one of the most magical moments that ever flowed from his pen. A countess has to choose between the love of a poet and a composer — between the primacy of words and music. She never quite makes a selection, but before the final scene, in which she wrestles with her fate, Strauss makes his own feelings clear. As evening falls and the moon lights the scene, a horn glows in the dusk.It’s a profoundly moving interlude, and this is a profoundly moving account, a tribute from one horn player of distinction, Alan Civil, to a colleague who was arguably the greatest of them all: Dennis Brain, the principal horn of the Philharmonia Orchestra, who was killed in a car crash in 1957, two days before the sessions for this first recording of the work.Strauss’s “Capriccio”Philharmonia Orchestra; Wolfgang Sawallisch, conductor (Warner)◆ ◆ ◆ More