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      Lincoln Center Announces ‘Summer for the City’ Festival

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      A festival, Summer for the City, which includes elements of Mostly Mozart, is part of an effort to attract younger, more diverse audiences.After more than two years of upheaval brought on by the coronavirus pandemic, Lincoln Center will stage a festival this summer aimed at helping New York City heal.Called Summer for the City, the festival will take place across 10 outdoor spaces and three indoor stages at the campus from mid-May to mid-August and will be programmed around themes of rejoicing, reclaiming and remembering. It is also part of Lincoln Center’s efforts to recalibrate its image as an exclusive bastion of classical music and appeal to a younger, more diverse crowd.The center plans to feature more popular music and install a large disco ball, 10 feet in diameter, that will hang over a dance floor at the center’s main plaza.“My hope is that we’re making space for people to find their neighbors again, to find each other again and to find their own inner performer,” Shanta Thake, the center’s chief artistic officer, said in an interview. “And to really be in their whole body with other New Yorkers and come back together again as a city.”The festival, which is expected to include over 300 events and 1,000 artists, is the first under Thake, who joined Lincoln Center last year with a mission of broadening its appeal beyond classical music and ballet into genres like hip-hop, poetry and songwriting.This year’s programming will open with a mass singalong on the Josie Robertson Plaza, featuring the Young People’s Chorus of New York, under the direction of Elizabeth Núñez, and including classics like “This Little Light of Mine” and Elton John’s “Your Song.”In August, two versions of Mozart’s Requiem will be on offer — a traditionally presented one, by the Mostly Mozart Festival Orchestra, and a reimagined dance version, “Requiem: Fire in the Air of the Earth,” choreographed by Kyle Abraham and performed by his company, A.I.M, featuring the electronic musician Jlin.Summer in the City will unite the center’s festivals — including the discontinued Lincoln Center Festival and the Mostly Mozart Festival, which has largely been put on hold since 2020.The Mostly Mozart Festival Orchestra will perform six pairs of concerts this summer, including a free opening program in July under the ensemble’s longtime music director, Louis Langrée, with Conrad Tao as the soloist in Mozart’s Piano Concerto No. 17 in G and Gershwin’s “Rhapsody in Blue.” (Tao will also play the William Grant Still solo “Out of the Silence” from “Seven Traceries.”)Thake, a former associate artistic director at the Public Theater, where she spent a decade managing the cabaret-style venue Joe’s Pub, said that she hoped to broaden the audience for Mostly Mozart by integrating it with Lincoln Center’s other summer offerings.“What we’re experimenting with this year is really the breaking down of our internal silos,” she said. “They’re all under the same banner, and this is one Lincoln Center audience that is very broad, and we’re going to see how that works.”Summer for the City aims to build on Restart Stages last year, when the center hosted small-scale performances outdoors, to help get artists back to work after months of pandemic cancellations. According to Lincoln Center, that series attracted more than 200,000 people, nearly a quarter of whom were first-time visitors.The disco ball is the centerpiece of the Oasis, an outdoor stage designed by the costume and set designer Clint Ramos, that will host live music and dance parties throughout the summer.In June, Jazz at Lincoln Center, embracing a New Orleans tradition, will lead a second-line processional from Columbus Circle to Lincoln Center, to mourn those who have died since the pandemic started. And in July, the center will host “Celebrate LOVE: A (Re)Wedding,” as a ceremony for couples who canceled or scaled back nuptials in the past two years, with live music and a reception on the dance floor.The arts, Thake said, “speak to all of the deep trauma that we’ve all collectively been through and also bring so much of the joy and revitalization that the city needs.” More

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      Radu Lupu, Pianist Who Awed Listeners, Is Dead at 76

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      Preferring the stage (and an office chair) to the recording studio, he enthralled audiences with ruminative performances that evoked the otherworldly.Radu Lupu, a pianist of rare refinement whose ruminative, enigmatic performances and recordings wove spells over his listeners, induced awe among his colleagues and confirmed him as one of the finest musicians ever to have graced his instrument, died on Sunday at his home in Lausanne, Switzerland. He was 76.His manager, Jenny Vogel, confirmed the death. She did not specify a cause but said that Mr. Lupu had struggled with a series of prolonged illnesses.The Romanian-born Mr. Lupu was no ordinary virtuoso. He was a conjurer of sounds, a spontaneous and sometimes eccentric player of patient lyricism and hypnotic tone, distinguished as much by his control over the ebbing of notes as by his fastidious initial touch.Uninterested in showmanship, with a wary stage presence and an allergy to public relations, Mr. Lupu shone in the music of the twilight, his rapt poetic sensibility working wonders in the shadowy ambiguities of Schubert and, above all, Brahms. The critic Fiona Maddocks once wrote that he appeared to take “aural dictation from the ether.”Quickly abandoning the dazzle of the Prokofiev Second Concerto with which he won the Van Cliburn International Piano Competition as a young musician in 1966, Mr. Lupu reportedly said that he would have liked to have made a career playing “nothing but slow movements.” He settled on a repertoire of the more reflective music of Mozart, Beethoven, Schubert, Schumann and Brahms, with Debussy, Franck, Janacek and Bartok among the few other composers he added in concert.“The decision has nothing to do with music I like, but rather music that likes me,” Mr. Lupu explained to The Chicago Tribune in a rare interview in 1994. “I love Chopin, but when I play it, it has always sounded like Brahms or something. I play it more for myself.”Mr. Lupu in concert at Carnegie Hall in 2008. His fellow pianist Daniel Barenboim noted Mr. Lupu’s “ability to improvise as if he was discovering what he is doing at the spur of the moment.” G. Paul Burnett/The New York TimesWhatever Mr. Lupu played, he evoked the mystical, the otherworldly. He sat on an office chair rather than a piano bench, and he leaned ever so slightly back; he seemed less to produce his sound than to elicit it, though thunder was always available for him to summon when necessary.Critics marveled at the intimacy this apparently diffident figure could create. Writing in The New York Times in 1974, Allen Hughes called it “alchemy” — “that mysterious something that goes beyond technique, erudition and general musicality to reach into the sensibilities of listeners.”Mr. Lupu’s performances did not always come off, but his was playing of such an exalted quality that it intoxicated fellow pianists: Daniel Barenboim noted Mr. Lupu’s “ability to improvise as if he was discovering what he is doing at the spur of the moment.” Mitsuko Uchida called him “the most talented guy I have ever met.”For the pianist Kirill Gerstein, hearing Mr. Lupu was an experience that approached transcendence. “The instrument, the craftsmanship, even the compositions themselves recede into the background,” Mr. Gerstein wrote in The New York Review of Books in 2015, “and there remains a lone figure communicating not just music, but something deeply humane.”Radu Lupu was born on Nov. 30, 1945, in Galati, a city on the Danube near Romania’s border with the Soviet Union. He was the only child of Meyer Lupu, a lawyer, and Ana (Gabor) Lupu, who taught French.Radu barely spoke a word until he was almost 3; as he tended to sing rather than speak to express himself, his parents gave him a piano when he was 5. He took lessons from the age of 6.“But I did not really play the piano as an end in itself,” Mr. Lupu told The Christian Science Monitor in 1970. “I made tunes on it, and from the very beginning I regarded myself as a composer. I was sure, and everybody else was sure, that one day I would become a famous composer.”He gave up composing only when he was 16, four years after his professional debut as a pianist in Brasov, Romania. He trained at the Bucharest Conservatory with Florica Musicescu, who had previously taught another cultivated Romanian, Dinu Lipatti, to whom Mr. Lupu was sometimes compared. Mr. Lupu attended the Moscow Conservatory for much of the 1960s; his professors there included Heinrich Neuhaus, tutor to two temperamentally different artists, Sviatoslav Richter and Emil Gilels.“I found even the most elementary rudiments of piano technique very difficult,” he confessed to The Monitor, “because this needed great self-discipline, and as for years I had imagined that I would one day become a composer, I had always felt that this sort of perfection wasn’t going to be needed.”Even so, Mr. Lupu placed fifth at the International Beethoven Piano Competition in Vienna in 1965 before sweeping to victory at the Cliburn finals in Fort Worth the next year. “I really do not like competition at all,” he told the press then; he nonetheless shared first prize at the George Enescu International Competition in Bucharest in 1967 and triumphed at the Leeds International Piano Competition in England in 1969.Fanny Waterman, the founder of the Leeds, recalled Mr. Lupu inviting the jury to tell him which of the Beethoven concertos to play; they declined, and he won with the first movement of the Third. He recorded that Beethoven with Lawrence Foster and the London Symphony Orchestra in 1970 — a prelude to his later complete survey of the five concertos with Zubin Mehta and the Israel Philharmonic.Despite such successes, he already struck listeners as anything but a standard-issue product of the competition circuit. “He is somewhat different from the regulation contest winner, in that he is not primarily a brilliant and impeccable technician,” Raymond Ericson wrote in The Times of Mr. Lupu’s Carnegie Hall debut in April 1967. Harold Schonberg, also in The Times, thought the Brahms First Concerto, with which Mr. Lupu returned to the hall in 1972, “willful, episodic and mannered,” but allowed that it at least had “the virtue of not being stamped from the same old cookie cutter.”Mr. Lupu, who retired in 2019, made few recordings for a pianist of his stature; he admitted to tensing up in the presence of studio and even radio microphones. A boxed set of his solo releases on Decca runs to a mere 10 discs, the last from the mid-1990s. As well as further concertos, including Mozart, Schumann and Grieg, Mr. Lupu recorded duets with the violinists Szymon Goldberg and Kyung Wha Chung, and two-piano or four-hand works with Mr. Barenboim and Murray Perahia.If Mr. Lupu’s solo records capture only a hint of the aura he exhibited in concert, his ethereality is made close to tangible on several of them, including one of Schubert’s Impromptus from 1982 that draws impossible tension from the natural flow of its singing lines; a pair of Schubert sonatas that won a Grammy Award in 1996; and a collection of late Brahms from the 1970s that is suffused with such understanding, such light and shade, that the result, as the critic Alex Ross put it, comes “as close to musical perfection as you could ask.”Mr. Lupu married the cellist Elizabeth Wilson, a fellow student in Moscow, in 1971; their marriage ended in divorce. He was married to Delia Bugarin, a violinist, for 32 years. She survives him, along with a son, Daniel, and two grandchildren.Mr. Lupu’s critics sometimes accused him of looking aloof onstage, such was his focus on the music at hand. But speaking to The Chicago Tribune in 1994, he denied that he was playing only for himself.“The audience element is the most important element in the concert,” he said. “But it is also true that if I can make music for myself, even while practicing, and be moved by it, then that will project to the audience. So it may seem I am playing for myself, but it’s not quite like that.“Why should I make a big show of the whole thing?” More

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      Citing Ukraine War, an American Resigns From Russia’s Mariinsky

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      “There’s no way I could ever be in denial of what is happening,” said the conductor Gavriel Heine, a fixture at the prestigious Russian theater.The American conductor Gavriel Heine has been a fixture at the Mariinsky Theater in St. Petersburg, Russia, for 15 years. He has led hundreds of performances of classics like “Swan Lake” and “The Rite of Spring.” And he has done so as a protégé of the company’s leader: Valery Gergiev.On Saturday, Mr. Heine went yet again to the Mariinsky, but not for an evening at the podium. He was there to inform Mr. Gergiev — a longtime friend and supporter of President Vladimir V. Putin of Russia — that he was resigning from his post as one of the state-run theater’s resident conductors. Mr. Heine gathered his possessions, including a few white bow ties and scores for “La Bohème” and “The Turn of the Screw,” and prepared to leave the country.Mr. Heine, 47, had been increasingly disturbed by the Russian invasion of Ukraine. “There’s no way I could ever be in denial of what is happening in Ukraine,” he said during a series of interviews over the past week. “Russia is not a place where I want to raise my son. It’s not a place where I want my wife to be anymore. It’s not a place I want to be anymore.”His resignation comes as the war continues to upend performing arts. Cultural institutions in Europe and North America, vowing not to hire performers who support Mr. Putin, have severed ties with some artists — most notably Mr. Gergiev — as well as orchestras, theaters and ballet companies. Many artists, citing the invasion, have canceled appearances in Russia.Mr. Gergiev, the theater’s general and artistic director, was once one of the world’s busiest conductors, but his international career has crumbled. Carnegie Hall, for example, canceled a pair of concerts of the Mariinsky Orchestra under his baton that had been planned for May, after he had been dropped from a series of Vienna Philharmonic performances in February. He has returned in recent weeks to St. Petersburg to focus on that company and his domestic cultural empire, which encompasses several stages, thousands of employees and tens of millions of dollars in state financing.Valery Gergiev, a mentor of Mr. Heine’s and a longtime friend and supporter of President Vladimir V. Putin of Russia.James Hill for The New York TimesMr. Heine found Mr. Gergiev at the Mariinsky on Saturday, where he was leading rehearsals and performances of Wagner’s “Götterdämmerung” and Verdi’s “Attila.” He described repeatedly trying to catch his mentor backstage to inform him of his resignation, finally cornering him in an elevator.It was a quick conversation: five minutes while Mr. Gergiev was rushing to a meeting. Mr. Heine said that Mr. Gergiev seemed surprised but accepted his decision.“He was very nice to me,” Mr. Heine said. “He gave me a handshake and a hug and wished me well. And of course I thanked him for giving me such a huge chance pretty early in my career.”The two conductors also spoke about recent tensions between Russia and the West. Mr. Gergiev — who was fired from engagements in the United States and Europe, as well as from the podium of the Munich Philharmonic, over his refusal to publicly condemn the war — defended his decision, saying that he was not a child, Mr. Heine recalled.The Mariinsky declined to comment on Monday, and said it could not yet confirm Mr. Heine’s resignation. However, the company removed Mr. Heine’s biography from its website Monday evening.Mr. Heine’s departure from the Mariinsky is an unexpected conclusion to his three-decade career in Russia, where he studied with renowned teachers and rose to become a conductor at one of the country’s most prestigious houses. And his exit is another blow to Russian cultural institutions, which are grappling with boycotts and cancellations by foreign groups as the country’s arts increasingly turn inward under Mr. Putin. Mr. Gergiev remains a critical figure in Mr. Putin’s campaign. Mr. Putin, during a televised meeting last month, asked Mr. Gergiev whether he was interested in the idea of uniting the Bolshoi Theater in Moscow with the Mariinsky, an arrangement that would take Russia back to the days of the czars.“Russia is just going to be more and more closed,” said Simon Morrison, a music professor at Princeton University. “It’s going to revert more and more to its own true self, harsh as that might seem — a sealed-off, angry, paranoid and resentful feudal realm.”Mr. Heine, who grew up in Cherry Hill, N.J., became interested in Russian culture as a teenager. He accompanied his mother, a pianist, to a performance in Moscow, and while there took cello lessons with a professor at the Moscow Conservatory.After high school, he returned to Russia for language and cultural studies. In 1998, he became one of the Moscow Conservatory’s first American graduates, then began to study with the eminent Russian conductor Ilya Musin, who also taught Mr. Gergiev.Mr. Heine leading the Mariinsky’s orchestra in 2017.Irina TumineneHis break came in 2007, when Mr. Heine approached Mr. Gergiev during a rehearsal in Philadelphia and asked him whether the Mariinsky had any openings. Mr. Heine was invited to make his debut at the theater later that year with Mozart’s “Le Nozze di Figaro,” and soon began to lead performances there regularly. In 2009, he was named a resident conductor.During his time at the Mariinsky, Mr. Heine was at the podium for over 850 performances and watched as the company grew in power and size under Mr. Gergiev. The arts and the state, Mr. Heine said he came to understand, were inexorably linked in Russia. He was in the theater on two occasions when Mr. Putin, the house’s main benefactor, appeared for awards ceremonies and other events.“I just assumed that culture is a priority for this government, for whatever reason,” he said. “And they feel very strongly about it, and that’s the relationship.”How the Ukraine War Is Affecting the Cultural WorldCard 1 of 6Gavriel Heine. More

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      Harrison Birtwistle, Fiercely Modernist Composer, Dies at 87

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      His labyrinthine, theatrical works placed him in the first rank of 20th-century English composers, though his music was often tagged as “difficult.”Harrison Birtwistle, whose intensely theatrical compositions and uncompromising modernism made him the most prominent British composer since Benjamin Britten, died on Monday at his home in Mere, England. He was 87.His death was announced by a spokesman for his music publisher, Boosey & Hawkes.Mr. Birtwistle’s granitic, earthy works revealed their secrets slowly, and their structures were labyrinthine. Dissonant, weighty and to some ears forbidding, they often dwelled on similar themes from piece to piece, interrogating kindred ideas from different angles, developing ideas touched on earlier.“I can only do one thing, and there is nothing else,” Mr. Birtwistle, who was active mainly in Europe, said in 1999.What Mr. Birtwistle did, however, he did in a unique style of indelible permanence. Reviewing “The Shadow of Night,” the critic Paul Griffiths wrote in The New York Times in 2002 that that orchestral work was “like all its predecessors: something strikingly new but heavy with echoes from the past and, indeed, the future.”“This is music made to speak now, authoritatively,” he added, “and (like little else in our time) made to last.”Myth provided much of Mr. Birtwistle’s subject material. In “Gawain,” which was given its premiere at the Royal Opera House in 1991, the legend was Arthurian. Greek sources wove a more constant thread, from instrumental works that borrowed ancient structures like the early “Tragoedia” (1965), to his most successful operas: “The Mask of Orpheus,” a massively complex expansion of the tale that won the prestigious Grawemeyer Prize in 1987, and “The Minotaur,” an unsparingly graphic work with baying crowds and a rape scene; it had its premiere at Covent Garden in 2008.“Birtwistle’s score is relentlessly modernistic, its astringency serving to underscore the opera’s violence and unremitting tension,” the critic George Loomis wrote in The International Herald Tribune.“One did not expect this crusty composer to turn mellow at 73, and he has not done so,” Mr. Loomis continued, adding that “this is not music from which one derives much sheer pleasure, but it is intently theatrical.”Mr. Birtwistle’s interests were always primarily in drama and form, whether writing for the opera house or the concert hall. His compositions tended to be deeply ritualistic, as blocks of material were etched and etched again in sounds dominated by woodwind, brass and percussion.Orchestral players were sometimes treated as if they were akin to characters in a theater. In such works as “Verses for Ensembles” (1969), “Secret Theatre” (1984) and “Cortege” (2007), instrumentalists played musical and dramatic roles, moving between ensembles and around the stage. The moving “Concerto for Violin and Orchestra” (2009-10) engaged the soloist Christian Tetzlaff in a series of duets with individual players, dissecting and reforming the genre even while extending it.Mr. Birtwistle was inescapably an English composer, taking inspiration from distant predecessors, such as the Renaissance musician John Dowland, and incorporating even old techniques like the medieval hocket. He had no time for the pastorals of more recent forerunners like Ralph Vaughan Williams, whose influence on his earliest works was quickly abandoned.Mr. Birtwistle delved instead into the more harrowing side of nature, as in his unearthly “The Moth Requiem” (2012) for female voices, and the volcanic “Earth Dances” (1986), a vast score that divided the orchestra into six bubbling, geological “strata” of instruments, each erupting over separate time scales. It was often compared to Stravinsky’s classic “Rite of Spring.”“You can find Birtwistle’s music ‘difficult’ or not, or like one piece more than another,” the composer Oliver Knussen said in “Wild Tracks,” a diary of conversations between Mr. Birtwistle and the journalist Fiona Maddocks. “But it seems to me that you can’t be indifferent to it. And that’s the mark of a great artist, I think.”Mr. Birtwhistle, right, with the Hungarian conductor Péter Eötvös in London in 1988. Some performances of his work drew heckling.Neil Libbert/Camera Press LondonHarrison Birtwistle was born on July 15, 1934, in the mill town of Accrington, England, north of Manchester. He was the only child of Fred and Madge (Harrison) Birtwistle, who together ran a bakery.Harry, as Mr. Birtwistle was universally known, trained not as a composer but as a clarinetist, taking up the instrument at age 7 and first playing in the local military band and in small theaters. At the Royal Manchester College of Music, which he entered in 1952, he played clarinet in small contemporary music ensembles, some of the work written by his fellow students his fellow students Peter Maxwell Davies and Alexander Goehr, who went onto significant careers of their own.The gritty urbanism and industrial brass of Mr. Birtwistle’s youth drew him to sounds he heard in avant-gardists like Stravinsky and Varèse, Messiaen and Pierre Boulez, who all became strong influences. (Mr. Boulez himself later conducted and recorded many of Birtwistle’s works.) But few of Mr. Birtwistle’s own early pieces survive, and his first published composition, “Refrains and Choruses,” was not given its premiere until 1959.After national service, for which he played in the band of the Royal Artillery from 1955 to 1957, Mr. Birtwistle took teaching jobs while continuing to compose. His breakthrough came in 1965, with the premiere of “Tragoedia” and the awarding of a Harkness Fellowship to study in the United States. As a visiting fellow at Princeton University he completed “Punch and Judy,” a murderous operatic take on puppet shows that premiered at the 1968 Aldeburgh Festival in England. Britten, who died in 1976, reportedly left halfway through.Following spells teaching at Swarthmore and the State University of New York at Buffalo — the latter at the invitation of the composer Morton Feldman — Mr. Birtwistle was appointed the music director of the National Theater in London from 1975 to 1983. His scores for “Hamlet,” “Volpone” and Peter Hall’s production of the “Oresteia,” among other plays, were lost.Mr. Birtwistle cemented his reputation in the 1980s with an extraordinary series of scores that included the orchestral “Secret Theatre” and “Earth Dances” as well as “The Mask of Orpheus,” a four-hour masterpiece with a libretto by Peter Zinovieff. It was so elaborate that it took its composer more than a decade to write.“For Mr. Birtwistle, there is no ‘main action,’” John Rockwell of The New York Times wrote after the premiere of “Orpheus” at the English National Opera in 1986. “He has deliberately thwarted the narrative flow, or even the epic progression, of normal opera in favor of a dizzying montage of flashbacks, repetitions, reconsiderations and parallel actions.”The music was “unrelentingly dense and driven” on a first hearing, Mr. Rockwell added. “But if one allows oneself to start accepting the opera’s gnomic conventions, its earnest search for the underlying truth behind our culture’s notions of music, poetry, sex, love and death take on an undeniable power.”Mr. Birtwistle’s work was always controversial. His “grim, raw, amorphous soundscapes make few concessions to narrow ears,” as the critic Alex Ross wrote in 1995. For the 1994 revival of “Gawain” at Covent Garden, two antimodernist composers coordinated a heckling campaign against what one called Mr. Birtwistle’s “sonic sewage.”The following year, “Panic,” a raucous work for saxophone, drum kit and orchestra, was featured in the Last Night of the Proms. Its appearance in that traditionally jingoistic ceremony caused some in the press and the public to sputter with rage.“I was treading on a sacred cow and the attendant manure,” Mr. Birtwistle later joked. He denied that his music was all that difficult, and refused the premise of questions about the accessibility of his compositions. “Panic,” he laughed, was “the nearest piece I’ve got to fun!”Mr. Birtwistle, who was knighted in 1988, married Sheila Duff in 1959. She died in 2012. He is survived by three sons, Adam, Silas and Toby, and six grandchildren.Asked by Ms. Maddocks in 2013 whether there was a continuity in his life from his childhood to his years as a composer, Mr. Birtwistle, whose gruff public persona hid a warm and witty personality, said that he had “achieved much more than I ever imagined.”“I’ve never felt I had ambitions for myself, only for my idea, and for it materializing into something worthwhile,” he added, laughing.“But I’m still here, still trying. And I’m still exactly the same.”Alex Traub contributed reporting. More

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      Review: ‘Ten Thousand Birds’ Turns the Armory Into an Aviary

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      The ensemble Alarm Will Sound spread throughout the Park Avenue Armory’s drill hall for the installation-like music of John Luther Adams.By now, the Park Avenue Armory’s Recital Series concerts are a known quantity: art song and chamber music in ornate, intimate spaces.Whether the programming is classic or contemporary, the packaging is the same, with only a few surprises — as when the soprano Barbara Hannigan turned Erik Satie’s music into semi-staged monodrama. But there hasn’t been a performance quite like the one by the ensemble Alarm Will Sound on Thursday.Abandoning the traditional Recital Series rooms, the group’s members spread throughout the Armory’s capacious drill hall for John Luther Adams’s characterful and moving “Ten Thousand Birds,” an installation-like project that’s as much environmental — in presentation, but also in its preoccupations — as it is musical.Brandon Patrick George played flute and, here, piccolo.Julieta Cervantes for The New York TimesAdams, our reigning musical ambassador of the natural world, hasn’t written a score here in the usual sense. It is an Audubon book in translation: each page, the portrait of a bird in sound. Together the sketches form an open-ended and modular folio, with minimal guidance. “The size of the ensemble and the duration of a performance may be tailored to the specific site and occasion,” Adams writes in a note for the published version. “It is not necessary to play all the pieces in this collection. It’s not even necessary to play all the musical material within a particular piece.”He also calls for “the largest possible physical space”; the drill hall is about 55,000 square feet, which Alarm Will Sound occupied with both freedom and precision in a staging by Alan Pierson, the group’s artistic director, and the percussionist Peter Ferry, its assistant artistic director. (Early in the pandemic, Pierson and these players made a short video adaptation called “Ten Thousand Birds / Ten Thousand Screens”; imaginative and often funny, it remains a high point of a low moment in classical music.)At the Armory, Alarm Will Sound arranged “Ten Thousand Birds” into a roughly 70-minute experience that follows the cycle of the day: Beginning with a gentle breeze, it traces the awakening accumulation of morning, the liveliness of afternoon and the long pauses of night before returning to that peaceful wind. Overhead the lights gradually dimmed, and on the floor, the audience was invited to move among the musicians. Just as there is no one way to present this work, there are no rules for how to hear it.The horn player Laura Weiner among audience members, who were free to move among the musicians throughout the work.Julieta Cervantes for The New York TimesOn Thursday, people weren’t entirely prepared for the piece to begin, with some preshow chatter lingering alongside the wind. But it’s difficult to miss a breathy bassoon being waved around, and audience members more clearly understood what was happening as other musicians took their places. A flute, hazy and lightly arpeggiated, introduced melody to the mix, which grew richer: percussion in the familiar falling interval of bird song in classical music, and harmonic runs in the strings.Adams has in the past evoked immense natural forces — such as in his “Become” trilogy, which includes the Pulitzer Prize- and Grammy Award-winning “Become Ocean” — and here he balances both abstraction and transcription. For every passage of lyricism that emerges from instrumental dialogue, there is a phrase with the uncanny exactitude of Messiaen: a piccolo call, an agitated piano flutter.And, as staged at the Armory, there was a subtle sense of drama. Zoomorphic in their movement, the players shifted throughout the space less like musicians and more like characters. A timpani rumble dispersed a small ensemble that had been crowded around it. Some performers were elusive or difficult to place, perched in the mezzanine or in the frame of a Juliet balcony but obscured by darkness. Strings zipped through listeners in a buzzing swarm. By the time the work reached its nocturnal scenes, though, that kind of levity gave way to serene patience — long silences punctuated by passing song.Some in the audience lay as if in meditation while others paced around the drill hall. Julieta Cervantes for The New York TimesAs in “Inuksuit,” another of Adams’s installation works, the audience’s engagement varied. Curiosity kept me in constant motion; some people stayed in chairs, or sat in groups on the ground like picnickers. A few lay flat, eyes closed, as if in meditation. David Byrne strolled with a bicycle helmet in hand, scrutinizing unattended percussion instruments. One man knitted, while another played Scrabble. Many — too many — pulled out their phones to take photos or record, their flashes distracting in the dark.Which is unfortunate because what “Ten Thousand Birds” offers, above all, is an opportunity to marvel, not document. If I were to attend again, I would be in the camp of those who rested in one place and let sounds come to them, the way they might during a day at the park. Regardless, focus is all it takes for this piece, and Alarm Will Sound’s thoughtful realization of it, to achieve its aim: a heightened aestheticization of nature, and perhaps a renewed connection with it.Whether Adams accomplishes something more with this work — whether its spirit of appreciation rises to the level of advocacy — is, like the experience of the music itself, up to the audience.Alarm Will SoundRepeats on Friday at the Park Avenue Armory, Manhattan; armoryonpark.org. More

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      When Classical Music Was an Alibi

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      The idea that musicians and their work are apolitical flourished after World War II, in part thanks to the process of denazification.On April 16, 1955, the soprano Camilla Williams became the first Black singer to appear at the Vienna State Opera, bowing as Cio-Cio-san in Puccini’s “Madama Butterfly.” Critics hailed it as a landmark and said it illustrated how much Vienna had changed since the end of World War II, a decade earlier.What went undiscussed by the newspapers at Williams’s debut, however, were the colleagues she performed with: among others, Wilhelm Loibner, Erich von Wymetal and Richard Sallaba, all of whom were active musicians in Austria under National Socialism.Sallaba, a tenor, sang in several special performances of Strauss’s “Ariadne auf Naxos” for the Nazi leisure organization “Kraft durch Freude” (“Strength Through Joy”) between 1941 and 1943. On July 15, 1942, Loibner conducted a performance of Smetana’s “The Bartered Bride” for the Wehrmacht, and barely a month after Hitler committed suicide, he was back on the podium at the Vienna State Opera leading Puccini’s “La Bohème.” Von Wymetal, who coached Williams for her debut, assumed his position as the State Opera’s stage director after Lothar Wallerstein, a Jew, fled in 1938.Was Williams’s milestone tainted because she worked with those whose artistic careers directly benefited from the Nazi regime? Faced with such a question, we might be tempted to say that politics has nothing to do with classical music. It is an argument that has been heard again and again when artists come under scrutiny for their involvement in current events — most recently, musicians whose ties to President Vladimir V. Putin of Russia have been questioned.When the soprano Camilla Williams became the first Black singer to appear at the Vienna State Opera, it was alongside musicians who had been active when Austria was occupied by Nazi Germany.Archive/AlamyPerforming classical music, or listening to it, has never been an apolitical act. But the idea that it might be flourished in the wake of World War II, thanks in part to the process of denazification, the Allied initiative to purge German-speaking Europe of Nazi political, social and cultural influence.The American and British military demanded that German and Austrian musicians who wanted to resume work fill out “Fragebogen,” comprehensive questionnaires that sought to determine the extent of their political complicity. This resulted in lists of “white,” “black,” “gray acceptable” and “gray unacceptable” artists — categories that were immediately the subject of disagreement. The process also varied widely by region. American officials were initially committed to systematic denazification and decried the “superficial, disorganized and haphazard” efforts in the zones occupied by France, Britain and Soviet Russia.But even in the American zone, strict blacklists were short-lived. By 1947, responsibility for assessing guilt was transferred to German-run trial courts, which were invested in resuming the rhythms of institutionalized music-making, for cultural and economic reasons. The moral aims of denazification quickly conflicted with the realities of music as an industry and a set of labor practices. Austria’s often-claimed position after the war as “Hitler’s first victim” likewise meant that musical affairs there resumed quickly — with even less public conversation about accountability.Musicians slipped through the denazification process with relative ease. Many rank-and-file artists had been required to join Nazi organizations in order to remained employed, and the correlation of such membership to ideological commitment was often ambiguous. Individuals tended to lie on their forms to obtain a more advantageous status. And artists such as the eminent conductor Wilhelm Furtwängler referred to music’s apolitical status as a kind of alibi, even when they had performed on occasions, and as part of institutions, with deep ties to the regime.Allied forces were keen to “clean up” the reputations of musicians whose talents they valued, and even aided some in gliding through the denazification process. On July 4, 1945, the soprano Elisabeth Schwarzkopf was asked to fill out a Fragebogen because she was on the Salzburg register of National Socialists in Austria. Had the form been deemed acceptable, the American military would have approved her return to the stage.But when the American intelligence officer overseeing her case, Otto von Pasetti, realized that she had lied on the form, he destroyed it. The following day, she was asked to fill out another one. Although it was not any more accurate, Pasetti accepted it because Schwarzkopf’s status as a celebrity diva had convinced him that “no other suitable singer” was available for major operatic performances. Shortly thereafter, she climbed into a jeep driven by an American officer, Lieutenant Albert van Arden, and was driven 250 kilometers to Graz, Austria, to sing Konstanze in Mozart’s “Die Entführung aus dem Serail.”After 1945, then, career continuity was more the norm than the exception. Denazification status defined immediate employability but was only one factor in musicians’ prospects. Artists looking to resume their careers readily identified themselves as POWs, refugees, bombing victims, disabled soldiers and widows, many facing housing and food insecurity. Reference letters used postwar hardship as a justification for priority consideration or tried to explain how a person had been pulled into, as one put it, the “vortex” of Nazi politics. One baritone assured administrators that although he had been detained in a prison camp for several years, he still “had the opportunity to practice.”These claims of hardship easily slid into narratives of victimhood. Bombed concert halls and opera houses in formerly Nazi territories were potent symbols of destruction and the necessity of rebuilding, but also enabled the focus to shift from Nazi atrocities to German suffering. At the opening of the rebuilt Vienna State Opera on Nov. 5, 1955, just months after Williams’s debut in “Butterfly,” the conductor Karl Böhm — who had led concerts celebrating Hitler’s annexation of Austria in 1938 — was on the podium for the celebration. No Jewish survivors were invited to participate.Performances amid the rubble reignited a sense of community and attempted to rehabilitate classical music as inherently humanistic, universal and uplifting after its supposed “corruption” by propagandistic use during the Nazi era. In “The German Catastrophe” (1946), the historian Friedrich Meinecke evoked the power of German music as a restorative force: “What is more individual and German than the great German music from Bach to Brahms?” For Meinecke, the country’s music was redemptive, expressing the national spirit while still possessing a “universal Occidental effect.”Some composers, encouraged by the Allies, promoted the idea that modernist musical techniques were particularly antifascist because they had been banned by the Nazis — an exaggeration both of Nazi officials’ stylistic understanding and of the level of control they exerted over the arts. Winfried Zillig, a German who composed in the 12-tone style, had many career successes from 1933 to 1945, including major opera premieres and a position in occupied Poland, granted as a reward for his operas’ political values.The composer Winfried Zillig’s career flourished under the Nazis, but he later claimed that the regime had repressed his music.Ullstein Bild, via Getty ImagesBut Zillig later claimed that the Nazis had repressed his music. Around the time of his denazification trial, he expressed outrage at being “one of the few surviving ‘degenerates’” — that is, composers who, as modernists, were targeted by the regime — who was facing the indignity of being labeled a propagandist. Zillig’s self-flattering version of events was enshrined in Adorno’s writing about him and was not debunked until 2002, long after his death. His career as a conductor and radio director flourished in West Germany, and he played an important role in the dissemination of modern music.Despite the black-and-white thinking that too often accompanies these topics, and how easy it is to retrospectively condemn, Zillig’s career is a reminder that all working Austrian and German musicians were implicated in the Third Reich. The fact that classical music was the industry they worked in does not mean they transcended politics.The more uncomfortable truth may be that the ambiguity of classical musicians’ status under Nazism makes them prime examples of “implicated subjects,” to use the theorist Michael Rothberg’s phrase. Rothberg writes that “implicated subjects occupy positions aligned with power and privilege without being themselves direct agents of harm; they contribute to, inhabit, inherit or benefit from regimes of domination, but do not originate or control such regimes.”Many German and Austrian musicians occupied this liminal place, neither victim nor perpetrator but a participant in the history that produced both those positions. The well-meaning but blunt categories of denazification after 1945 actually blurred our understanding of the complex systems that led to war and genocide and how musicians operated within them.In 1948, seven years before Camilla Williams sang “Butterfly” in Vienna, the Black American soprano Ellabelle Davis gave a recital there, marking the first time a Black concert singer had performed in the Austrian capital since the outbreak of the war. Calling Davis’s performance “the first fully validated representative of the vocal arts from overseas since the war,” one critic heralded her debut as a turning point in Vienna’s musical journey, an opening of borders and an acceptance of voices that only a few years earlier would have been unthinkable.Commentators also pointed out that Davis was the first Black singer to perform in a Viennese classical venue since Marian Anderson in November 1937, a few short months before the Nazi annexation. At last, these critics said, the city was being restored to its previous era of musical openness. Such comments created a timeline that bridged the Nazi era, cordoning it off as an aberration.Yet other competing continuities also defined Vienna. Only a few months before Davis’s recital, the composer Arnold Schoenberg, who was Jewish, shared a scathing critique of the city’s postwar racial politics. Schoenberg, who had fled Europe in the 1930s, wrote in 1948, “I have the impression that in Vienna racial issues are still more important than artistic merit for judging artwork.”Later, in 1951, he affirmed that judgment: “I would like it best if performances of my music in Vienna were banned completely and forever. I have never been treated as badly as I was there.” Appeals to continuity after World War II could condemn or vindicate. Both classical music’s history of racism and its universalist aspirations persisted.In moments of war and violence, it can be tempting to either downplay classical music’s involvement in global events or emphasize music’s power only when it is used as a force for what a given observer perceives as good. Insisting on a utopian, apolitical status for this art form renders us unable to see how even high culture is implicated in the messy realities of political and social life. We must work to understand the complex politics of music, even when that means embracing discomfort and ambiguity.Emily Richmond Pollock teaches at the Massachusetts Institute of Technology and is the author of “Opera After the Zero Hour: The Problem of Tradition and the Possibility of Renewal in Postwar West Germany.” More

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      She Wrote for the Piano’s Extremes: Bronfman on Ustvolskaya

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      Yefim Bronfman discusses Galina Ustvolskaya’s Fourth Sonata, which he will play at Carnegie Hall on Monday.Galina Ustvolskaya, a reclusive composer who lived in St. Petersburg, Russia, from her birth in 1919 to her death in 2006, has acquired a reputation for works of unearthly spiritual strength and formidable technical demands. “Your fingers literally bleed,” the violinist Patricia Kopatchinskaja has said of playing them.But if Ustvolskaya’s few, grim compositions are works of violent extremes, the brutally loud cluster chords that often smash their way dissonantly through them are tempered with moments of quiet, rapt tranquillity.It’s that prayerful side of a composer who wrote for God as much as for mortals that appeals to the pianist Yefim Bronfman, who performs her Sonata No. 4 (1957) alongside sonatas by Beethoven and Chopin at Carnegie Hall on Monday.Ustvolskaya insisted that her music was not susceptible to ordinary analysis, and she vowed that no influences could be traced in it; even without her efforts, it would still sound unique. After all, as the historian Simon Morrison has written, Ustvolskaya “challenged the conventions not just of art, but of our understanding of art” — writing not “for workers in obeisance to official aesthetics,” but turning “music into work.”Still, no music exists entirely outside history. Asked in an interview to choose a favorite page from the Fourth Sonata, an 11-minute piece in four brief, continuous movements, Bronfman discussed how Ustvolskaya’s work extends traditional forms, as well as its political context. Here are edited excerpts from the conversation.An excerpt from the final movement of Ustvolskaya’s Fourth Sonata.SikorskiUstvolskaya’s music has only really become prominent outside Russia since around the end of the Cold War. How did you come across it?I never really knew her until seven or eight years ago, when a conductor asked me to perform her “Composition No. 2” for piano, percussion and eight double basses. Somehow the performance never happened, but having studied the score, there was something very special about it. I started looking into her other music, of which there is not very much. I spoke to Markus Hinterhäuser, who recorded all the sonatas. It’s been a fantastic experience, I have to say, very different from anything else I have ever played in my life.I didn’t find any connection to anybody, except Beethoven maybe. Everybody leads toward Beethoven in a direct way or an abstract way. Hers is an extremely abstract way. As Beethoven grew older, his sonata form got shorter and shorter. Hers relate to that. No matter how short a movement, there is always a sonata form in it. Sometimes the development section is only a few notes, but then there’s a clear indication of the recapitulation in each movement.Music usually has a life span. The music starts and ends, and then life begins anew. But a piece by Ustvolskaya — you play it, and it lingers for a long time. It’s almost like a meditation. It gives you a very peaceful feeling playing it.Do you see it as religious or at least spiritual music in that sense?Not religious, but very spiritual. She grew up in Soviet times, and religion was prohibited. A lot of people who leaned toward religion experienced it in a spiritual way, not in a biblical way. That’s how I feel about Ustvolskaya.So you hear her personal introversion in her music as well?Definitely, I hear total loneliness. She’s talking to the universe and she doesn’t want to be involved with anything else. I don’t feel there is any gravity to the music; most music has an epicenter, but hers is in slow motion, out there. That is not to say there are no explosions; there are very violent explosions. But they are usually followed by very serene and soft sounds.I have to say that she’s also a very Russian composer in the sense that one always hears bells. Bells and choruses, human voices, like in the second movement of this sonata, it begins with bells, and there is a chorale. The third movement is all bells.The third movementMarkus Hinterhäuser, piano (Col Legno)Some of it sounds quite close to chant.Right. She’s maybe more connected to medieval music, but with a very modern voice. You know, it’s very hard to talk about this music because one needs to hear it and experience it.She herself said that she didn’t want us to analyze her music, that it should just be felt.Correct, and she didn’t want to appear influenced by anybody. Even Shostakovich, her teacher, she rejected. She felt a regret for how much he tried to influence her, and she tried to throw it all out. I don’t think there is even one inch of his music in hers. She is completely unrelated to anything before her or after her, which is quite fascinating.So much of Shostakovich’s work was shaped by his political context. Do you hear similar struggles in her later work?Shostakovich suffered a lot from being persecuted by the authorities. He wrote a lot of Soviet music to please the authorities, and so did she. But music like the sonatas has nothing to do with politics; it’s totally apolitical music.It’s interesting that she was able to create that space, given the traditional Western clichés about composers working in Soviet society.I’m sure she experienced the same as other composers who wanted their voice to be heard, and were not allowed. A lot of composers at this time were much more creative writing between the notes than in the notes. The message was always hidden. A little bit like Schumann, in a different time and for different reasons.Ustvolskaya wrote six piano sonatas over four decades. Why perform this one?I picked it because it’s not so violent. Especially the last movement, it has those cluster chords but most of it is very peaceful and has a very beautiful, meditative quality that I think is needed for this program, after the intensity of Beethoven’s “Appassionata.”Is there a page of the score that you particularly enjoy or that is revealing of her?I like the middle section of the second movement, where it’s “pppp”: It’s almost like human voices coming from another world or from space, in the middle of this violent piece. I also love the murmurs of the trills in the last movement; you have those long notes against them — for me that’s very special.The opening of the fourth movementMarkus Hinterhäuser, piano (Col Legno)Those trills, to my ears, suggest the first movement of Schubert’s last sonata.It definitely has an echo of that. They go through the whole movement, those trills, then the cluster chords with sforzandos, then you have a pianissimo progression. It has a fascinating sonority and imagination.Ustvolskaya was fastidious about how people performed her music. She reacted strongly against people being particularly expressive with it. And she’s asking an enormous amount of you. How possible is it to distinguish between a “ppp” and a “pppp,” a “fff” and a “ffff”?Dynamics are relative, in all music. “Piano” means “piano” only in context with what comes before and follows after. The same thing with her. If it’s “ppp” it’s one sound, but if it’s “pppp” it has to be softer; there’s no magic to it. You find an instrument on which you can really differentiate between dynamics, that’s all we can do.Every composer I have worked with is different. Stravinsky said just play the notes, play what’s written and don’t exaggerate. I imagine she belonged to the same school; she wanted you to execute exactly what is on the page. The music speaks for itself. You don’t need to work hard to make it sound the way it should.Will you play her other sonatas in concert?I really want to. Why not? She’s a good composer, I think a great composer. She has a strong message, however abstract it is, and rare, but there’s something there that has a magnetism to it. More

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      Franz Mohr, Piano Tuner to the Stars, Is Dead at 94

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      “I play more in Carnegie Hall than anybody else,” he said of his career adjusting instruments for Horowitz, Gould and others, “but I have no audience.”Franz Mohr, who in his 24 years as the chief concert technician for Steinway & Sons brought a musician’s mind-set to the mechanics of important pianos and the care of those who played them, died on March 28 at his home in Lynbrook, N.Y., on Long Island, where he lived. He was 94.His son Michael, the director of restoration and customer services at Steinway, confirmed the death.“I play more in Carnegie Hall than anybody else,” Mr. Mohr said in 1990, “but I have no audience.”Sometimes a string would snap or a pedal would need adjusting during a concert, and he would step into the spotlight for a moment. But he did much of his work alone, on that famous stage and others around the world. He might have been mistaken for a pianist trying out a nine-foot grand for a recital — until he reached for his tools and began making minute adjustments, giving a tuning pin a tiny twist or a hammer a slight shave.For years, he went where the pianists went. When Vladimir Horowitz went to Russia in the 1980s, Mr. Mohr traveled with him, as did Horowitz’s favorite Steinway. Mr. Mohr made house calls at the White House when Van Cliburn played for President Gerald R. Ford in 1975, and again in 1987, when Mikhail S. Gorbachev was in Washington for arms-control talks with President Ronald Reagan.Mr. Gorbachev’s wife, Raisa, wanted Cliburn to play one of the pieces that had made him famous — Tchaikovsky’s Piano Concerto No. 1 — but there was no orchestra. Instead, Cliburn played some Chopin and, as an encore, played and sang the Russian melody “Moscow Nights.”“I was amazed that Van Cliburn, on the spur of the moment, remembered not only the music but all the words,” Mr. Mohr recalled in his memoir, “My Life with the Great Pianists,” written with Edith Schaeffer (1992). “The Russians just melted.”He also attended to performers’ personal pianos. The pianist Gary Graffman, whose apartment is less than a block from the old location of Steinway’s Manhattan showroom, and Mr. Mohr’s home base, on West 57th Street, recalled that Mr. Mohr would come right over when a problem presented itself.“If he came because I broke strings, he would replace the strings,” Mr. Graffman said in an interview. But if more extensive work was needed — if Mr. Graffman’s almost constant practicing had worn down the hammers and new hammers had to be installed, for example — “he would take out the insides of the piano and carry it half a block to the Steinway basement. He would work on it and carry it back.” (The unit Mr. Mohr lifted out and took down the street is known as the key and action assembly, a bewildering combination of all 88 keys and the parts that respond to a pianist’s touch, driving the hammers to the strings.)Franz Mohr was born in Nörvenich, Germany, on Sept. 17, 1927, the son of Jakob Mohr, a postal worker, and Christina (Stork) Mohr. The family moved to nearby Düren when he was a child; in 1944, when he was a teenager, he survived an air raid.His interest in music began not with pianos but with the viola and the violin. He studied at academies in Cologne and Detmold and, in his 20s, played guitar and mandolin in German dance bands.He was playing Dixieland music one night when he spotted a woman on the dance floor. “I fell in love with her as soon as I saw her and said to my friends, ‘That is the girl I’m going to marry,’” he recalled in his memoir. Her name was Elisabeth Zillikens, and they married in 1954. Besides his son Michael, she survives him, as does a daughter, Ellen; seven grandchildren; and three great-grandchildren. Another son, Peter, died in 2019.Tendinitis forced Mr. Mohr to give up performing when he was in his 20s, his son said, and he turned to pianos, answering a want ad from the piano manufacturer Ibach that led to an apprenticeship. Another advertisement, in 1962, sent him to the United States.It said that Steinway was looking for piano technicians — in New York. A devout churchgoer, he had made a connection with a German-speaking Baptist church in Elmhurst, Queens, that showed him the ad. He contacted Steinway and was soon hired as an assistant to William Hupfer, the company’s chief concert technician.Before long, he was tuning for stars like the famously eccentric Canadian pianist Glenn Gould, who came to New York to make recordings. (In Toronto Gould relied on another tuner, Verne Edquist, who died in 2020.)Mr. Mohr not only worked on the piano at the recording studio, he also rode around New York with Gould. “He loved Lincoln Town cars,” Mr. Mohr wrote in his memoir. “That is all he would drive. He once said to me: ‘Franz, I found out that next year’s model will be two inches shorter. So, you know what I did? I bought two Town Cars this year.”He succeeded Mr. Hupfer as Steinway’s chief concert technician in 1968. The job made him the keeper of the fleet of pianos that performers could try out before a concert in Steinway’s West 57th Street basement. They could choose the one they were most comfortable with, but there were pianos that were off limits — Horowitz’s favorite, for example.Sometimes, maybe with a wink, Mr. Mohr would let pianists try it out.  “He’d regulate Horowitz’s piano to make it feather-light and capable of an enormous range of sound,” the pianist Misha Dichter recalled. “When I’d see Franz in the Steinway basement, I’d ask to try that piano when it was parked in a corner. He’d conspiratorially look over his shoulder and then give me the OK. It was like starting up a Lamborghini.”Mr. Mohr, who retired in 1992, said in 1990 that the first time he tuned Arthur Rubinstein’s piano, before a recital at Yale, he cleaned the keys. Then he proudly told Rubinstein what he had done.“Young man,” Rubinstein told him as they stood in the wings with the audience already in their seats, “you didn’t know, but nobody ever cleans the keys for me. It makes them too slippery.”Mr. Mohr had to find something to gum up the keys and find it fast, before the lights went down. The stickiest thing he could get his hands on backstage was hair spray. “I went pssst up, pssst down,” he said. “The audience laughed. But he loved it.” More