Aurelia Butler

Mr. Brown kept time for a group that combined funk, disco, R&B and jazz to create some of the most memorable pop songs of the 1970s.George Brown, a founding member and drummer of the group Kool & the Gang, who played on funk, disco and pop hits that featured prominently in movies and have been sampled numerous times, died on Thursday in Long Beach, Calif. He was 74.His death, at a hospital, was confirmed in a statement by the band’s publicist, who said the cause was cancer. Mr. Brown had said publicly that he had lung cancer.Mr. Brown, known as Funky, was a key contributor to several of the band’s biggest hits, including “Ladies Night,” “Jungle Boogie” and the party anthem “Celebration.”In a July interview with NPR, he described Kool & the Gang as “the sound of happiness.”In 1964, Mr. Brown linked up with Ricky Westfield and the brothers Ronald Khalis Bell and Robert “Kool” Bell, as well as other friends — Spike Mickens, Dennis “Dee Tee” Thomas and Charles Smith — to form a band that would combine jazz, funk, disco and R&B and create some of the most memorable pop songs of their era.Formed in Jersey City, N.J., the band first played jazz while members attended Lincoln High School. The band performed under several names, including the Jazziacs, but eventually settled on Kool & the Gang in the late 1960s.One of the band’s early names was Kool and the Flames but the group changed the Flames to the Gang to avoid confusion with James Brown’s group, the Famous Flames.Kool & the Gang in the 1970s. Michael Ochs Archives/Getty ImagesGeorge Brown was born on Jan. 15, 1949. His father, George Melvin Brown Sr., worked in the coal industry while his mother, Eleanor White Brown, was a maid in Fort Lee, N.J., and also worked as a key puncher.Both made music a constant part of Mr. Brown’s upbringing, Mr. Brown recalled in his memoir released this year, “Too Hot: Kool & the Gang & Me.”Mr. Brown, who took to drumming at a young age, wrote that he saved up from a newspaper delivery route to buy his first drum set.In a 2015 interview with Red Bull Music Academy, Mr. Brown described using butter knives as drum sticks when he first started playing.“Then I went down to a music store on Newark Avenue in Jersey City and took a $3 lesson from a gentleman who used to play with the Shirelles. He said, ‘Hey man, you’re a natural!’” Mr. Brown recalled. “So he gave me ‘Buddy Rich’s 16 Essential Snare Drum Rudiments’ book. I took one more lesson and never went back.”The band was signed by the producer Gene Redd to De-Lite Records 1969.The members were in an early recording session in New York for their instrumental debut album, “Kool and the Gang,” when Mr. Redd encouraged Mr. Brown and Ronald Bell to just “do something.” It led to a freewheeling recording session that produced songs like “Raw Hamburger” and the album opener, “Kool & the Gang.”“It just flowed. And we’re just grooving,” Mr. Brown told The New York Times in an interview last year.George Brown on drums in 1974.Getty ImagesThe sound carried over into the 1970s as the band found fame and added the vocalist J.T. Taylor.Songs like “Jungle Boogie” “Hollywood Swinging” and “Funky Stuff” became Billboard chart staples. “Celebration” — with its cheery chorus “Celebrate good times, come on!” — made it all the way to the top.The group would go on to release dozens of albums, tour worldwide and appeared on the “Saturday Night Fever” soundtrack, which won a Grammy Award for Album of the Year in 1978.The group’s songs have frequently appeared on film and television soundtracks, including for “Pulp Fiction” in 1994.In 2015, the band was awarded a star on the Hollywood Walk of Fame.Mr. Brown was a producer on an album that the band released this year, called “People Just Want To Have Fun” in anticipation of the group’s 60th anniversary.Kool & the Gang had a broad influence, particularly in hip-hop.According to the website WhoSampled, the band has been sampled in almost 2,000 songs, among the highest of all time. The band’s song “Summer Madness” accounts for 249 samples, by artists including Ice Cube, Snoop Dogg and Mary J. Blige.Ronald Khalis Bell, a singer, songwriter and saxophonist for the band, died in 2020. Mr. Thomas, who played saxophone, died in 2021.Mr. Brown is survived by his wife, Hanh Brown, and five children: Dorian Melvin Brown, Jorge Lewis Brown, Gregory Brown, Jordan Xuan Clarence Brown and Aaron Tien Joseph Brown.Three years ago, Mr. Brown was diagnosed with lung cancer, according to an interview broadcast with the television station KCAL in Los Angeles. After surgery and chemotherapy, Mr. Brown recovered and returned to touring in 2022. But this year, the cancer returned.“I didn’t plan on being in a band known around the world, but I welcomed it when it came,” Mr. Brown wrote in his book. “I didn’t know where the music would lead me, but I knew that if I remained focused and persevered, it would happen as God had intended. And it did.” More

The R&B singer was poised for a big breakout after her 2006 hit song “Me & U.” But her second album never arrived.Cassie, the singer, model and actress who is suing the music mogul Sean Combs for physical and sexual abuse, was supposed to be the next Britney Spears or Janet Jackson.Such a high bar for success was set by Combs, who in addition to dating the singer for more than a decade beginning around 2007 was also her label boss at Bad Boy Records until 2019. “Those two great artists have paved the way,” Combs said in 2008, while hyping up the singer’s much-anticipated second album.But it never came.After a promising start to her career in pop and R&B — including an infectious debut single, “Me & U,” that peaked at No. 3 on the Billboard Hot 100 in 2006, and a well-reviewed first album — the singer, whose full name is Casandra Ventura, subsequently struggled for years to regain her footing as an artist. In pop music circles, she has long represented a “what if?” of unfulfilled artistic potential, even as she gained cult-favorite status among R&B obsessives and turned to releasing music independently.Ventura’s lawsuit, filed in Federal District Court in Manhattan on Thursday, may cast her abbreviated career in a different, darker light. According to Ventura’s claims, Combs, whom she met when she was 19, began a pattern of control and abuse that fused the singer’s personal and professional life as he plied her with drugs, beat her and forced her to have sex with male prostitutes while he watched and recorded. As their relationship was ending in 2018, the suit says, he raped her after pushing his way into her home.Through a lawyer, Combs, 54, has denied the accusations, calling the lawsuit “riddled with baseless and outrageous lies, aiming to tarnish Mr. Combs’s reputation and seeking a payday.”When they first became acquainted, Ventura, now 37, was an aspiring singer and sometime model from New London, Conn., while Combs was a larger-than-life hitmaker — known as Puff Daddy or Diddy — who was credited with developing the careers of the Notorious B.I.G., Mary J. Blige and more. In February 2006, according to the lawsuit, Ventura signed a 10-album deal with Bad Boy. That summer, her debut studio album was released, with writing and production from the R&B polymath Ryan Leslie.“Just what we need: a young singer and a young producer who want to be the next Aaliyah and Timbaland, or maybe the next Ciara and Jazze Pha,” the critic Kelefa Sanneh wrote in The New York Times, praising her minimalist R&B sound. “No, seriously: It is just what we need.”“Cassie,” released by Bad Boy and Atlantic Records, reached No. 4 on the Billboard chart, selling more than 100,000 copies in its first week. But promotional appearances on shows like MTV’s “Total Request Live” and BET’s “106 & Park” were rocky, with Ventura citing “significant performance anxiety” in her lawsuit.Combs, at the time, was her public defender, telling MTV, “It made me really appreciate what I really love about her: She’s a regular person.” He added, “You’ve got to understand that success for her is coming out of nowhere.”In the years that followed, despite singles featuring Lil Wayne (“Official Girl”) and Akon (“Let’s Go Crazy”), Ventura became known as much for her relationship and public appearances with Combs as for her music. A second album was routinely teased in the press — with Combs touting her artistic development: “she’s really cocooned into a butterfly” — but never materialized.Still, Cassie remained a pop culture presence. In 2008, she appeared as an actress and dancer in the film “Step Up 2: The Streets.” The following year, she signed a record deal with Interscope Records, in association with Bad Boy, but got even more attention for an experimental hairstyle in which she shaved half of her head. “I wanted to go all the way and kind of land in punk,” she said at the time.By 2012, with the release of the single “King of Hearts,” Ventura was still touting a comeback. “I’m just a laid-back person,” she told GQ of the six-year gap between albums. “Maybe laid-back to a fault.” She added, “It’s been too long, I know, but I got to start over and over again. It would be awesome to stay popular, but if I was only an underground artist, I would be OK with that.”In 2013, Ventura released a mixtape, “RockaByeBaby,” that was not promoted with the force of an official studio album, but was met with praise nonetheless. With appearances by the rappers Wiz Khalifa, Rick Ross and Meek Mill, the album showcased Ventura as “an on-mic presence that’s the equal to any of the rappers she’s recruited for features here,” a critic for Pitchfork wrote.It would be years before Ventura released music again. According to the singer’s lawsuit, on at least two occasions in 2009 and 2015, Combs beat her after seeing her speak to music managers at parties. “She had hoped speaking to this manager would allow her to further grow her career, and that Mr. Combs would be happy for her, but instead he became extremely angry,” the suit says of the 2009 incident.Following the filing of the lawsuit, two former Bad Boy artists expressed support for Ventura online. “Been trynna tell y’all for years,” the singer Aubrey O’Day, formerly of the Combs-backed group Danity Kane, wrote on Instagram. “Prayers up for this queen.” Dawn Richard, another former member of Danity Kane, wrote on X, “praying for Cassie and her family, for peace and healing. you are beautiful and brave.”In 2019, Ventura married the wellness consultant Alex Fine while pregnant with the couple’s first child; the “intimate backyard wedding,” with just 14 guests, was documented by Vogue. That year, Ventura also began releasing music again, putting singles online via her own Ventura Music label in what she called the Free Fridays Playlist.“I feel supported so I make decisions based on what’s best for me,” Cassie said in an interview about beginning a new creative phase as a mother. “I used to spend the most time overthinking the smallest things and always worrying about how people felt that I neglected how I really felt and what would make me happy. I wasn’t creating from the heart.”“The most valuable thing I’ve learned in starting a new chapter,” she added, “is that it’s OK to ask for help.” More

The music mogul, who was accused of sexual abuse by a former romantic partner, fueled the commercial success of rap over a 30-year career dotted by allegations of violence.Sean Combs, the hitmaking hip-hop mogul also known as Puff Daddy or Diddy, was sued this week in federal court by Cassie, an R&B singer who was once signed to his label and who had been his romantic partner. She accused Mr. Combs, 54, of rape, and of physical abuse over about a decade. A lawyer for Mr. Combs said he “vehemently denies these offensive and outrageous allegations.” A key driver of hip-hop’s takeover of mainstream pop, Mr. Combs has had a career in music, fashion and TV for more than 30 years that has been periodically interrupted by run-ins with the law.1991An Ambitious Intern’s Rocky AscentMr. Combs, a relatively unknown 22-year-old radio station intern, co-hosted a celebrity basketball game with the rapper Heavy D. A stampede erupted among the jammed crowd inside the oversold City College of New York gymnasium, killing nine people.A report commissioned by Mayor David N. Dinkins criticized Mr. Combs for allowing inexperienced underlings to plan the event and for tricking ticket buyers about the event’s charitable intentions.“City College is something I deal with every day of my life,” Mr. Combs said in 1998. “But the things that I deal with can in no way measure up to the pain that the families deal with. I just pray for the families and pray for the children who lost their lives every day.”A year later, as an intern at Uptown Records, Mr. Combs’s production on the remix of Jodeci’s “Come and Talk to Me” helped the single to sell 3 million copies, announcing him as a rising talent. He went on to help produce remixes for Heavy D, the reggae artist Super Cat, and “Real Love” by the R&B singer Mary J. Blige, which introduced the rapper the Notorious B.I.G.The aftermath of a 1991 stampede in which nine people were killed during a celebrity basketball game at City College.Sara Krulwich/The New York Times1994Starting Bad Boy RecordsMr. Combs’s Bad Boy Records, founded a year earlier after his termination from Uptown, scored its first major success, as the Notorious B.I.G.’s “Ready to Die” album peaked at No. 15 on the Billboard 200. The debut drew critical acclaim for its portrayal of “both the excitement of drug dealing and the stress caused by threats from other dealers, robbers, the police and parents,” as The New York Times wrote at the time, and spawned the hit records “Juicy,” “One More Chance” and “Big Poppa.” To date, the album has been certified six-times platinum.His work on Blige’s “My Life” album that year garnered his first Grammy nomination (for best R&B album).1997Missing the Notorious B.I.G.Mr. Combs charted some of the most notable accolades of his career before and after the death of B.I.G., born Christopher Wallace, who was killed in a drive-by shooting on March 9, six months after the killing of his rival Tupac Shakur.Opening the year with the release of “Can’t Nobody Hold Me Down,” Mr. Combs’s first single as the artist Puff Daddy, the song spent six weeks at No. 1 ahead of the anticipated release of a full-length album. Four months after Wallace’s death, “No Way Out,” credited to Puff Daddy & the Family, debuted at No. 1 on the Billboard 200, selling 561,000 copies in its first week and spawning multiple chart-topping singles. The biggest of those, “I’ll Be Missing You,” featured Wallace’s widow, Faith Evans, and the R&B group 112. The requiem, which samples the Police’s “Every Breath You Take,” spent 11 weeks atop Billboard’s Hot 100 chart. The LP earned Combs Grammy wins for best rap album and best rap performance by a duo or group.That year, four of the 10 songs that reached No. 1 on the Hot 100 belonged to Bad Boy Records.1999Arrests for Allegations of Public ViolenceAfter a dispute over the use of footage in a music video, the record producer Steve Stoute claimed Mr. Combs and his bodyguards beat him with a champagne bottle, a telephone, a chair and their fists during an April incident.Mr. Combs faced up to seven years in prison had he been convicted of felony assault. Instead, Mr. Stoute asked the Manhattan district attorney to drop the charges after Mr. Combs publicly apologized. Mr. Combs had said he was upset that Mr. Stoute, an Interscope Records executive, used footage of him being crucified on a cross in the video for the rapper Nas’s “Hate Me Now.”“Puff soaked Interscope offices with champagne bottles on Steve/And Steve thought the drama is on me,” Nas wrote in a 2002 song that immortalized the altercation.That December, an argument broke out at a Manhattan nightclub where Mr. Combs was spending a night out with the actress and singer Jennifer Lopez, his girlfriend at the time.At least two people were injured by gunfire. The details and timeline of the interaction remained muddled throughout a highly publicized trial. The famed attorney Johnnie L. Cochran Jr. defended Mr. Combs and multiple witnesses testified that the music executive had held a gun. Mr. Combs was charged with gun possession and bribery but found not guilty. His one-time protégé, the rapper Shyne, born Jamal Barrow, received a 10-year prison sentence for assault, gun possession and reckless endangerment.2002Making the Band by Making DemandsIn 2002, Mr. Combs took over MTV’s “Making the Band,” a reality show aimed at assembling budding rappers and singers into performing groups. The seasons produced the ensemble acts Da Band and Danity Kane, and portrayed Mr. Combs as a demanding boss, who famously made members walk from Manhattan to Brooklyn to secure him cheesecake.In recent years, multiple band members have spoken out against what they described as mistreatment from Mr. Combs and bad contracts. Da Band’s Freddy P described Mr. Combs as the reason he “hates” life in an Instagram post last year.That summer, Mr. Combs terminated the label’s joint venture with Arista, leaving the deal with full ownership of Bad Boy Records and its back catalog. Despite the label’s run of R&B hits and attempts to find a rap act of the magnitude of the Notorious B.I.G., Puff Daddy remained its most reliable star.2003Back at No. 1“Shake Ya Tailfeather,” a single from the “Bad Boys II” soundtrack performed by Nelly, Murphy Lee and P. Diddy, as Mr. Combs was then known, hit No. 1 on the Billboard 100 and garnered Mr. Combs’s second Grammy Award for best rap performance by a duo or group (and third overall).2004-2013Building an Empire Beyond MusicMr. Combs expanded his business empire beyond the record industry, earning top men’s wear designer honors from the Council of Fashion Designers of America for his Sean John clothing brand (2004), forging a partnership to release Ciroc vodka (2009) and founding Revolt TV (2013). His portfolio in 2022 is estimated by Forbes to be worth $1 billion.2015Another Arrest on Assault ChargesIn 2015, Mr. Combs was arrested and charged with assault with a deadly weapon, making terrorist threats and battery after an altercation with a U.C.L.A. football coach. In a news release, the university described the weapon as a kettlebell. Justin Combs, Mr. Combs’s son, began playing football at the university in 2012.The Los Angeles County district attorney’s office said that prosecutors decided against pursuing felony charges after the incident, according to The Washington Post.2023Cassie Accuses Mr. Combs of Rape in LawsuitAmid the commemorations of the 50th anniversary of hip-hop, Mr. Combs was honored for his pioneering role in the expansion of the genre with a citation as a global icon at the MTV Video Music Awards in September, on the heels of being recognized with a lifetime achievement honor at the BET Awards in 2022.In November, Mr. Combs’s “The Love Album: Off the Grid” was nominated for a Grammy for best progressive R&B album.That month, the R&B singer Cassie, who was once signed to Bad Boy and who had a lengthy romantic partnership with Mr. Combs, filed a lawsuit in federal court that accused him of rape, and of repeated physical abuse over about a decade.Cassie, whose full name is Casandra Ventura, says in the suit that not long after she met Mr. Combs in 2005, when she was 19, he began a pattern of control and abuse that included plying her with drugs, beating her and forcing her to have sex with a succession of male prostitutes while he filmed the encounters. In 2018, the suit says, near the end of their relationship, Mr. Combs forced his way into her home and raped her.Through a lawyer, Mr. Combs, “vehemently denies these offensive and outrageous allegations.” More

He isn’t rapping on his new LP. But he showed his skills on these tracks.Amber Fouts for The New York TimesDear listeners,After announcing a new album just a few days ago, André 3000 has released his solo debut, “New Blue Sun.” Coming nearly two decades into his rap duo Outkast’s long hiatus, the album’s mere existence is surprising enough. But here’s an understatement: It is not what most people were expecting from the man behind hits as disparately brilliant as “Ms. Jackson,” “B.O.B.” and “Hey Ya!,” who is arguably one of the most skilled and beloved rappers of his generation. It’s actually not a rap album at all. It is, in fact, an 88-minute instrumental album of ambient woodwind compositions.Seriously.If you do not believe me, consider the title of the 12-minute opening track, which is at once a mea culpa and a statement of purpose: “I Swear, I Really Wanted to Make a ‘Rap’ Album But This Is Literally the Way the Wind Blew Me This Time.” And then listen to it, because it’s crystalline and beautiful in a way that recalls Laraaji, Brian Eno and Philip Glass — all cited as influences on the album.“New Blue Sun” is a genuine left turn in an all-too-predictable musical world, and it’s definitely worth spending some quality time with this weekend. But for today’s playlist, I wanted to turn back the clock and consider André’s prowess as a rapper by highlighting some of his greatest guest verses.Since Outkast released its sixth (and seemingly final) studio album, “Idlewild,” in 2006, Big Boi has released three solo albums, while André’s musical output has largely been limited to a smattering of guest verses. But oh, what verses they’ve been.André has played the wise sensei on two era-defining Frank Ocean albums and duetted poetically with his baby’s mother, Erykah Badu. He’s lent some extraterrestrial flair to tracks from superstars like Beyoncé and Drake, and teamed up with underground favorites like Devin the Dude and Killer Mike. His verses still feel like special events, though, because he doesn’t just lend them out to anybody. His co-signs feel personally curated, because they’re still relatively rare.Dré can be funny, poignant, incisive, revealing and obfuscating — often within the span of a single verse. He has a canted and utterly idiosyncratic approach to rhythm; he always seems to hop on the offbeat and then hit the ground running. More than most of his contemporaries, he manages to be both lustful and self-aware about his own lust. He’s an otherworldly ATLien and he’s down to earth. He is cooler than cool. He’s ice-cold.So if an instrumental flute album wasn’t what you were hoping to get from André 3000, give it a moment. And listen to this playlist to appreciate all the razor-sharp bars he’s given us in the meantime.Listen along on Spotify as you read.1. UGK featuring Outkast: “Int’l Players Anthem (I Choose You)”Regal, occasionally crass and thoroughly tender, this 2007 stone-cold classic is one of hip-hop’s great odes to monogamy. André’s plain-spoken, feelings-forward verse opens the track and sets the tone: “Hate to see y’all frown,” he says of the women with whom he’s broken it off to go exclusive with another, “but I’d rather see her smiling.” (Listen on YouTube)2. Frank Ocean: “Solo (Reprise)”André bursts into the world of Frank Ocean’s 2016 opus “Blonde” in a gust of rapid-fire wordiness. Accompanied by James Blake’s sparse piano, he experiments with some inspired “solo”/“so low” wordplay (“so now I’m so low that I can see under the skirt of an ant”) as his flow careens around corners and suddenly — as if to assert the control he always has over his rhythm — yanks the emergency brake. That it’s the most prominent feature on Ocean’s deeply personal album attests to the respect the younger artist has for 3000’s artistry. (Listen on YouTube)3. Beyoncé featuring André 3000: “Party”On this verse, featured on a single from Beyoncé’s 2011 album “4,” André indulges in some light braggadocio, makes up his own memorable pronunciation of “gyro,” and, approaching his late 30s, expresses ambivalence about his evolving status as an elder statesman of hip-hop: “Kiddo say he looks up to me, this just makes me feel old.” (Listen on YouTube)4. Rick Ross featuring André 3000: “Sixteen”This eight-minute track from Rick Ross’s 2012 album “God Forgives, I Don’t” is a meta-meditation on what happens when “16 ain’t enough” — or how difficult it is to condense one’s life into a standard, 16-bar rap verse. Both Ross and 3000 manage to cram multitudes into their rhymes here. André’s feature in particular is an absolute tour de force, beginning with a vivid flashback to his youth (when he was just “drawin’ LL Cool J album covers with Crayolas on construction paper”) and somehow shifting into another gear toward the end, as he offers some clear-eyed reportage from the other side of one’s childhood dream coming true. (Listen on YouTube)5. Drake featuring Lil Wayne and André 3000: “The Real Her”From way back in 2011, when Drake was still trying to sound like a genuine romantic, André 3000 slid onto this “Take Care” track to show him how it was done, name-dropping Adele and laying his soul bare. “Everybody has an addiction,” he raps with arresting simplicity. “Mine happens to be you.” (Listen on YouTube)6. Devin the Dude: “What a Job”Another meta-ode to a musician’s creative process, this song from Devin the Dude’s gloriously named 2007 album “Waitin’ to Inhale” finds the Houston rapper — along with Snoop Dogg and André 3000 — offering perspective on and gratitude for his chosen profession. André uses part of his verse to make an argument against then-rampant piracy: “If I come to your job, take your corn on the cob,” he asks, “and take a couple kernels off it, that would be all right with you?” (Listen on YouTube)7. Killer Mike and André 3000 featuring Future and Eryn Allen Kane, “Scientists & Engineers”André proves he’s still got bars in the present tense on this track from Killer Mike’s 2023 album “Michael,” which just last week scored Grammy nominations for best rap performance and best rap song. Amid some evocative bleeps and bloops, André sounds like an alien visitor beaming in from another galaxy, though his verse is also imbued with plenty of human vulnerability: “Too much that I can’t communicate with all of them,” he raps. “I do wish I had scientists to engineer friends.” Later on, though, he’s more optimistic when considering the future: “Hope I’m 80 when I get my second wind.” We should all hope so, too. (Listen on YouTube)Keep your heart, Three Stacks, keep your heart,LindsayThe Amplifier PlaylistListen on Spotify. We update this playlist with each new newsletter.“7 Great André 3000 Guest Verses” track listTrack 1: UGK featuring Outkast, “Int’l Players Anthem (I Choose You)”Track 2: Frank Ocean, “Solo (Reprise)”Track 3: Beyoncé featuring André 3000, “Party”Track 4: Rick Ross featuring André 3000, “Sixteen”Track 5: Drake featuring Lil Wayne and André 3000, “The Real Her”Track 6: Devin the Dude, “What a Job”Track 7: Killer Mike and André 3000 featuring Future and Eryn Allen Kane, “Scientists & Engineers”Bonus TracksIf you ever find yourself in Brussels (as I did on vacation last week), I cannot recommend highly enough a visit to the Musical Instruments Museum. The M.I.M. boasts a huge collection of instruments new, old and even older, including some wonderful curiosities. I got to see one of Adolphe Sax’s seven-bell trumpets (which was not as successful as one of his other inventions, the saxophone), a notorious glass harmonica and a collection of woodwinds extensive enough to have satisfied André 3000.Also, on this week’s Friday Playlist, we have new music from Drake, Dua Lipa, Julia Holter and more. Listen here. More

In back-to-back programs, the orchestra presented concertos by Beethoven and Benjamin Britten.The violin concertos by Beethoven and Benjamin Britten are as alike as they are different, and over the past week, the New York Philharmonic presented them in back-to-back programs that gestured at their beauties without digging into them.Both concertos begin with a rumbling in the timpani, barely the outline of a rhythm, but enough of a motif to inspire developments in the orchestral and violin parts that build to strenuous emotional heights. Both tax the soloist’s endurance with a series of technical hurdles, and challenge the orchestra to step up its musical partnership.The Philharmonic nestled each concerto into the middle of programs that began with a brief curtain-raiser and ended with expansive, idiosyncratic symphonies. Last week, Stéphane Denève conducted the Beethoven in between Carlos Simon’s “Fate Now Conquers” and Saint-Saëns’s Third Symphony. Then, on Thursday, Paavo Järvi led a more strongly conceived program that framed the Britten with Veljo Tormis’s Overture No. 2 and Prokofiev’s Sixth Symphony.If the concerts had similar setups, they had similar problems too. The Philharmonic, perhaps a bit on autopilot, began the concertos tentatively, smoothed out the drama of the symphonies and locked into isolated moments of dynamism. The openers, particularly the Tormis, emerged as effectively crafted short stories: internally coherent, absorbing, satisfying.The unabashed emotionality of Britten’s concerto, which the pacifist composer completed after the outbreak of World War II, shows up in the solo writing in two ways: urgent, long-lined melodies of sweet despair; and raw plucking and feverishly cascading stops. Alena Baeva, making her Philharmonic debut, played the piece with assertive beauty and vibrato so quick, at times, that it seemed to disappear. With her understated legato and handsomely voiced harmonies, she made things sound easy. In guttural passages, she indicated Britten’s intentions without compromising her ability to return to lyricism.Baeva, so facile in surmounting technical obstacles, had trouble turning up the temperature. The exquisite, full-throated lament at the center of the second movement gets volleyed between soloist and orchestra, and Järvi didn’t build a compelling progression out of the straightforward yet potent musical scenario. Baeva’s final re-entry was anticlimactic. In the cadenza, she dispatched technical challenges — the duetting of held notes and plucked ones was finely handled — without tapping into the writing’s existential anguish. She sounded more aligned with the tranquillity of the third movement.Stéphane Denève, left, leading the Philharmonic and the violinist Nikolaj Szeps-Znaider in Beethoven’s Violin Concerto last week.Chris LeeIn 1801, a few years before completing his Violin Concerto, Beethoven wrote in a letter of his encroaching deafness, “From a distance I do not hear the high notes of the instruments and the singers’ voices.” And yet he ended up producing a sprawling concerto that keeps the violin in the tippy top of its range as it leaps continually through intervals.The violinist Nikolaj Szeps-Znaider’s solo playing, decisive in bold passages and tender in soft ones, sometimes turned brittle. Quiet moments emerged like beautiful whispers that evaporated as they tapered off, and he sounded more at ease in stepwise passages than leaping ones.Saint-Saëns’s Third, nicknamed the “Organ Symphony” for its prominent use of that instrument, is full of theatrical string writing that Denève shortchanged. The work came alive in its final stretch when he made the Maestoso section, which derives its power from majestically broad time signatures, sound like a king’s procession marching down the aisles of David Geffen Hall. The four-hand piano playing was simple yet magical, and the organist Kent Tritle seemed to be having a ball with his forte passages after teasing out the subtler beauties of earlier sections and their woozy prism of colors.Prokofiev’s Sixth Symphony, like Britten’s Violin Concerto, can be considered a response to the horrors of World War II; at times you can almost hear the sound of an individual’s spirit writhing out of the grasp of a conflict that would snuff it out. And, as with the Saint-Saëns, the Philharmonic snapped into focus in the work’s final minutes.Up until that finale, when he drove the Vivace at a thrilling clip into a climax of overwhelming impact, Järvi walked the middle of the road. The conductor Yevgeny Mravinsky, chosen by Prokofiev for the symphony’s world premiere, left behind a gripping recording full of specific choices: a stiff, percussive celesta; ear-clearing winds screeching on high, blowzy brasses with something sinister to say. By contrast, Järvi’s adherence to conventional beauties sounded strange.But he found Prokofiev’s individuality in the Vivace, where the violins sounded clean yet somehow breathless, and the clarinet, warm yet sharply etched. A threat bubbled up from the percussion section. The final moments of cataclysm arrived suddenly and all at once. It was almost worth the wait. More

Karol G, Shakira and Natalia Lafourcade took the top prizes at the awards’ first ceremony outside the United States.Spain tried to share the cultural clout of its former colonies at the 24th annual Latin Grammy Awards, which were broadcast worldwide on Thursday night from the Fibes convention center in Seville. It was the first Latin Grammy ceremony to take place outside the United States.Even with the trans-Atlantic move, the top awards went to women from Latin America. Karol G, from Colombia, won album of the year for “Mañana Será Bonito.” Shakira, from Colombia, shared song of the year, a songwriting award, for her collaboration with the Argentine producer Bizarrap, “Bzrp Music Sessions, Vol. 53.” They performed it on the show, with Shakira dancing sinuously and defiantly.Karol G became the first woman to win a Latin Grammy for música urbana album; “How cool is it for a woman to win this?” she exulted. And “TQG,” her duet with Shakira from that album, was named best urban/fusion performance.Record of the year, an award for a single, was by Natalia Lafourcade from Mexico: “De Todas las Flores,” the title track of a richly retro album that was named best singer-songwriter album. “This is the most personal album I made at a time when I felt completely broken,” she said while accepting an award at the preshow. “I didn’t even know where to start, and music once again taught me its power, its medicinal power.”Joaquina, an introspective 19-year-old songwriter from Venezuela, won as best new artist. “They told me I wouldn’t make it if I recorded my own songs, but here I am,” she said in a tearful speech. “Music is always worth the pain.”For the Latin Recording Academy, which gives the awards, Latin music isn’t defined by geography or history. It’s simply a matter of what language the lyrics are in: Spanish, Portuguese or Indigenous languages of the Americas. This year’s award for person of the year, a lifetime achievement award, went to Laura Pausini, an Italian singer who has spent much of her three-decade career performing in Spanish.The Latin Grammys’ venture to Spain was supported by a $24 million grant, for this year’s Latin Grammys and other musical events in Andalusia, from the European Union and the government of the region of Andalusia, the cradle of flamenco.The awards took place on the annual International Day of Flamenco, commemorating UNESCO’s 2010 recognition of flamenco as an “intangible cultural heritage.” While Caribbean reggaeton and regional Mexican music are the styles that have spearheaded Latin music’s new worldwide popularity, the awards show played up the influence of Spain and flamenco.The preshow awards webcast began with the clang of a martillo — an anvil, harking back to a flamenco tradition of using rhythms from Roma blacksmiths — and a medley from the nominees in the flamenco category including Niña Pastori, the winner. She called flamenco “music of purity” and congratulated her fellow nominees, urging them to “keep fighting for this flamenco, which is the most beautiful music there is.”The main awards ceremony began with the Spanish songwriter Rosalía, whose “Motomami” was named album of the year in 2022. She sang “Se Nos Rompió el Amor” (“We Destroyed Our Love)” — a dramatic hit by Rocío Jurado, a Spanish singer who died in 2006 — in a stark crescendo surrounded by flamenco guitarists and hand-clappers. The raspy-voiced Spanish songwriter Alejandro Sanz performed amid 30 flamenco dancers. With orchestral backing, the popera tenor Andrea Bocelli sang a vibrato-charged “Granada,” the Mexican songwriter Agustín Lara’s tribute to the Spanish city.Where Latin American songwriters had collaborated with Spaniards, those songs were featured. Pablo Alborán, from Spain — who has had 24 Latin Grammy nominations without a win — was joined by the Argentine songwriter Maria Becerra for their duet, “Amigos,” before she went on to sing a fierce solo version of her bitter, wrathful post-breakup song “Ojalá” (“I Hope”). The Spanish songwriter Manuel Carrasco sang with the Colombian songwriter Camilo before they were also joined by the Brazilian singer Iza and by Camilo’s longtime collaborator Edgar Barrera, who was named producer of the year and songwriter of the year. Barrera also shared the songwriting award for regional Mexican song, the hit “Un x100to” (“One Percent”) by Bad Bunny and Grupo Frontera.The show offered a little recognition for the regional Mexican music that has been a growing international force in recent years. “Ella Baila Sola” (“She Dances Alone”) — a speedy, horn-pumped waltz about winning over a beautiful woman — became a blockbuster international single this year, and it got its first onstage performance in Seville from its studio and video collaborators, Peso Pluma and Eslabon Armado.The Mexican songwriter Christian Nodal, who won awards for both norteño album and ranchero/mariachi album, shared a vehement lovers’-quarrel duet, “La Siguiente” (“The Next One”), with Kany García from Puerto Rico. The Mexican songwriter Carín Leon got two performing slots, on his own and with the Colombian singer Maluma.Cross-genre, cross-border collaborations increasingly define pop both within and beyond the United States, and no music awards show can quite keep up. But the Latin Grammys’ excursion to Spain came across as a field trip, not an advance. More