Music

Subterms

    More stories

    • 75 Shares99 Views

      in Music

      A Playlist Packed With Crossword Clues

      by

      Sia! Abba! ELO! Let us help you solve some puzzles with this compilation of songs by crossword-famous musicians.Sia, pictured without cheap thrills.Kevin Winter/BBMA2020, via Getty ImagesDear listeners,In 2012, shortly after the death of the legendary blues musician Etta James, the writer Matt Gaffney provided a somewhat unconventional eulogy on the website Slate, remembering James as “a woman whose handy, four-letter first name has gotten us out of many tough corners and spared us countless painful rewrites.”Gaffney is a crossword puzzle writer, and in this article he amusingly defined a specific type of renown: James was a perfect example of someone who was “crossword-famous.”If you do enough crossword puzzles (as I certainly do; shout out to my esteemed colleagues in The New York Times Games department for enabling my habit), you start to see certain names over and over. (Brian) Eno. (Yoko) Ono. And yes, Etta (James). Why these and not others? Gaffney explained, “short groupings of common letters are the lifeblood of crosswords, and you’ll need a lot of them if you want to make things work. For that reason, crossword-famous names are likely to be three, four or five letters long, with as many 1-point Scrabble letters as possible.”Today’s playlist is a compilation of songs by crossword-famous musicians. You’ll hear the aforementioned Eno, Ono and Etta, as well as a few more recent entrants into the pantheon of crossword fame: Sia, Adele and Ariana Grande. A certain Guthrie is also on this playlist, though avid crossword solvers know that the most famous folk singer with that last name is not necessarily the most crossword-famous.If you’re new to the art of solving crossword puzzles, I hope today’s playlist gives you some pointers — along with some enjoyable tunes. And if you’re more of an advanced puzzler who doesn’t pay much attention to popular music, this playlist should teach you a thing or two. Grab a pencil (or if you’re feeling especially confident, a pen), load up today’s New York Times crossword and press play.I feel like I win when I lose,LindsayWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 125 Shares119 Views

      in Music

      Seong-Jin Cho Tackles a Ravel Piano Marathon in New York

      by

      Performing in New York, Seong-Jin Cho presented a marathon survey of Ravel’s solo piano works and appeared in Prokofiev’s Second Piano Concerto.A skilled musician can play pretty much anything. But notes on the page of a score are just a starting point. Beyond that, what makes an artist well suited to a specific sound or style? Age? Personality? Experience?These are complicated, elusive questions that loomed over the young pianist Seong-Jin Cho’s recent appearances in New York. Earlier this month, he played a marathon of Ravel’s complete solo piano works at Carnegie Hall, and on Thursday he joined the New York Philharmonic at David Geffen Hall as the soloist in Prokofiev’s Second Piano Concerto. (The program continues through Saturday.)If these concerts share anything, it’s sheer athleticism. The Ravel survey makes for a three-hour evening of intense focus and finger work; the Prokofiev concerto probably crams the same amount of notes into about 35 minutes.The similarities end there, though. And it’s in the differences that Cho revealed the state of his artistry at 30, a decade on from his career-making first prize at the International Chopin Piano Competition.There was a remarkable difference, too, between his readings of the Ravel works in concert and his recording of the same material, released on Deutsche Grammophon last month to celebrate the 150th anniversary of the composer’s birth. (A related album of his, of Ravel’s two piano concertos with the Boston Symphony Orchestra, came out on Friday.) His interpretations of these wide-ranging pieces were freer and more expressive at Carnegie; it would be interesting to hear Cho revisit them again.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 113 Shares149 Views

      in Music

      Review: Vikingur Olafsson and Yuja Wang, Side by Side

      by

      Vikingur Olafsson and Yuja Wang appeared at Carnegie Hall with a unified approach to works by Schubert, John Adams, Rachmaninoff and more.When two pianists appear together in concert, the usual setup is for the curves of their instruments to hug in a yin-yang formation. The musicians face off across the expanse, some nine feet apart.But when Vikingur Olafsson and Yuja Wang brought their starry duo tour to Carnegie Hall on Wednesday evening, just inches separated them. They sat side by side, their pianos splayed out in opposite directions like the wings of a butterfly, with the players in the middle.Olafsson and Wang didn’t look at each other much during the performance, and Wang, who was closer to the audience throughout, did feel like the dominant presence and sound in this duet. But their physical closeness registered in a consistently unified approach to their richly enjoyable program.There was balanced transparency in even the most fiery moments of Schubert’s Fantasy in F minor. Olafsson and Wang’s rubato — their expressive flexibility with tempo — felt both spontaneously poetic and precisely shared in the passage when serenity takes over in the first movement of Rachmaninoff’s “Symphonic Dances,” with the yearning melody that’s given to the alto saxophone in the work’s fully orchestrated version.Their styles were distinguishable, even if subtly. In sumptuously vibrating chords in the first movement of Schubert’s Fantasy, Olafsson’s touch was a little wetter and more muted, Wang’s percussive and as coolly etched as a polygraph. Cool, yes, but she could also be lyrical, as in the delicate beginning of Luciano Berio’s “Wasserklavier,” which opened the concert.Short, gentle, spare pieces by Berio, John Cage (the early “Experiences No. 1”) and Arvo Part (“Hymn to a Great City”) gave the program a meditative spine. Those were interspersed with three substantial anchors: the “Symphonic Dances,” which Rachmaninoff set for two pianos as he was writing the orchestral version; the Schubert Fantasy; and John Adams’s “Hallelujah Junction.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 138 Shares99 Views

      in Music

      Drake’s Tentative Comeback, Plus: New Music From the Weeknd and More

      by

      Subscribe to Popcast!Apple Podcasts | Spotify | Amazon Music | YouTubeLast week saw the release of “Some Sexy Songs 4 U,” the collaborative album from Drake and the Toronto R&B singer and songwriter PartyNextDoor, a longtime collaborator. For the most part, the sound is a vintage one for Drake, feeling something like a retreat to a comfort zone: moody heartbreak soul bathed in self-loathing and suspicion.It’s an album that, from a distance, appears to exist in a space totally parallel to the dominant narrative of his last year, which is the toxic and very popular beef he’s had with Kendrick Lamar, which seemed to culminate this month with Lamar’s five Grammy wins for “Not Like Us,” followed by his performance of the song at the Super Bowl halftime show.But there are a handful of songs on this new album that suggest Drake is already looking at musical pathways forward, or away, from that bumpy stretch.On this week’s Popcast, a conversation about Drake’s post-Kendrick predicament and the ways he might move on. Plus: a host of promising new albums that have brightened up the beginning of the year from artists like the Weeknd, Central Cee, Oklou, Skaiwater and OsamaSon.Guest:Joe Coscarelli, The New York Times’s pop music reporterConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica.Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. More

    • 113 Shares99 Views

      in Music

      At Kennedy Center, Trump Inherits a Tough Job: Fund-Raising

      by

      For the arts institution, which receives only a small portion of its budget from federal funding, the perennial challenge is to raise additional revenue through ticket sales and private donations.In just one week, the John F. Kennedy Center for the Performing Arts in Washington has been completely transformed.President Trump purged the center’s board of all Biden appointees and installed himself as chairman, ousting the financier David M. Rubenstein, the center’s largest donor. The new board fired Deborah F. Rutter, the center’s president for more than a decade. At least three other top staff members were dismissed.Performers have dropped out in protest amid fears that Mr. Trump’s call to rid the center of “woke” influences, drag shows and “anti-American propaganda” will result in a reshaping of programming too narrowly aligned with the president’s own tastes.This concern — that the center’s tradition of pluralism, free expression and classical art forms is in jeopardy — has dominated conversation about its future. But just as relevant, experts say, are questions about its financial stability.Though the abrupt takeover by the new administration might suggest the center is an arts adjunct of the federal government, it is actually a semi-independent nonprofit.It operates under the Smithsonian Institution as a public-private partnership, and only a small portion of its $268 million budget — about $43 million, or 16 percent — comes from the federal government. That subsidy is not spent on programming but is earmarked for operations, maintenance and repairs of the property, which is federally owned.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 150 Shares169 Views

      in Music

      Sean ‘Diddy’ Combs Files to Dismiss Sex-Trafficking Charge Due to ‘Racist Origins’

      by

      The music mogul’s lawyers filed a motion to dismiss a sex-trafficking charge, saying that the law involved has “racist origins.”Lawyers for Sean Combs filed a motion on Tuesday night seeking the dismissal of one of the sex trafficking charges he is facing, arguing that the hip-hop mogul is being unfairly prosecuted based on his race.Mr. Combs, who has pleaded not guilty to the charges against him and is awaiting trial in a Brooklyn jail, was indicted on federal racketeering and sex trafficking charges — the most serious of which carries a mandatory minimum sentence of 15 years in prison.His lawyers’ filing focuses on a lesser sex trafficking charge, which stems from a federal law known as the Mann Act. The law makes it illegal to transport a person “with intent that such individual engage in prostitution.”Mr. Combs’s lawyers contend that the law has “racist origins” and that it is being deployed against a “prominent Black man” for allegedly using an escort service to transport male escorts across state lines to have sex with his girlfriends.“The use of escorts, male or female, is common and indeed widely accepted in American culture today,” they write. To emphasize what it depicted as the noncriminal nature of the conduct, the filing notes that the chief executive of the escort service that Mr. Combs is said to have used has been interviewed in the media and was featured in a Showtime reality series.The lawyers questioned whether any white person had been charged under the law based on similar allegations.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 88 Shares159 Views

      in Music

      The Met Opera Announces Its 2025-26 Season

      by

      Our critics choose highlights from a lineup that includes six new productions and modern works by Mason Bates, Kaija Saariaho and Gabriela Lena Frank.The Metropolitan Opera, which has championed contemporary opera in recent years as it works to attract new audiences, announced on Wednesday that it would bring three modern titles to its stage in the 2025-26 season.The company will open the season in September with the New York City premiere of Mason Bates’s “The Amazing Adventures of Kavalier & Clay,” an opera based on the 2000 novel of that name by Michael Chabon, which was first heard at Indiana University last fall. The lineup also includes local premieres of Kaija Saariaho’s final opera, “Innocence,” from 2021, and Gabriela Lena Frank’s first opera, “El Último Sueño de Frida y Diego,” from 2022.There will be new stagings of Wagner’s “Tristan und Isolde,” directed by Yuval Sharon, in his company debut; Bellini’s “I Puritani,” for the annual New Year’s Eve gala; and Bellini’s “La Sonnambula,” directed by the star tenor Rolando Villazón and featuring the soprano Nadine Sierra. Among the dozen revivals planned for the season are Bizet’s “Carmen,” Strauss’s “Arabella” and Giordano’s “Andrea Chénier.”Yannick Nézet-Séguin, the Met’s music director, will conduct the new productions of “The Amazing Adventures,” “El Último Sueño” and “Tristan.”The company’s embrace of contemporary opera, which its leaders have said is necessary to overcome serious financial pressures, with the belief that newer works sell better than the classics, has had mixed results. Attendance has averaged about 70 percent of capacity so far this season, compared with 73 percent at the same point last season. (Still, the Met said that it expected to reach an average of 75 percent capacity by the end of the season.)“It’s impossible to predict hits,” said Peter Gelb, the Met’s general manager. “On the other hand, if we don’t promote new works, then we’re saying goodbye to the art form.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 150 Shares99 Views

      in Music

      ASAP Rocky Found Not Guilty of Shooting Former Friend in Assault Trial

      by

      The rapper had faced two felony counts of assault with a firearm in connection with a 2021 altercation in Los Angeles.The rapper Rakim Mayers, also known as ASAP Rocky, jumped into the courtroom gallery to hug his wife, Rihanna, after the jury found him not guilty of shooting a former collaborator.Daniel Cole/ReutersASAP Rocky, the Grammy nominated hip-hop artist, was found not guilty on Tuesday of shooting a former collaborator. The jury deliberated for nearly three hours in a case that threatened to derail his career.Rocky, 36, born Rakim Mayers, faced two felony counts of assault with a deadly weapon, stemming from an altercation with his one-time friend, Terell Ephron, known as ASAP Relli, near a Hollywood hotel in 2021.Rocky dived into the gallery to hug family including Rihanna, the singer, businesswoman, and mother of his two young sons, and embraced his lawyer, Joe Tacopina, after the verdict was read.“Thank y’all for saving my life,” he told jurors.The trial hinged on jurors’ assessment of the gun used in the incident, which prosecutors said was a semiautomatic firearm and witnesses for the defense testified was instead a prop gun acquired at the filming of a music video. No gun was presented as evidence in the trial and Rocky did not take the stand in his defense. He faced up to 24 years in prison if convicted of both counts.Rocky faced trial at a time when he had several notable projects in the works. He is scheduled to be one of the headliners of the Los Angeles stop of the Rolling Loud festival in March, and was announced as one of the celebrity chairs for the Met Gala, to be held in May. He also stars alongside Denzel Washington in a Spike Lee-directed movie scheduled to open in summer.John Lewin, a deputy district attorney for Los Angeles County, had asked the jury not to be swayed by the court appearances of Rihanna, who was a frequent presence during the 13-day trial and attended the start of closing arguments last week with the pair’s two young sons.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More