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Ahead of APEC Summit, Musicians from Philadelphia Orchestra Tour China
by Aurelia Butler 15 November 2023, 17:17
President Biden and China’s leader, Xi Jinping, face a host of thorny geopolitical issues as they meet Wednesday in San Francisco: trade, Taiwan and the war between Israel and Hamas.But they have found some common ground in the cultural sphere. Both leaders have in recent days praised the visit by a delegation of Philadelphia Orchestra musicians to China.The musicians arrived there last week to mark the 50th anniversary of the orchestra’s celebrated 1973 visit to Beijing, when it became the first American ensemble to perform in Communist-led China as the two countries worked to re-establish official ties.Now, with the relationship between the United States and China at its lowest point in four decades, their leaders have highlighted the role of music in easing tensions.Mr. Biden said in a recent letter to the orchestra that its visit this month could help “forge even closer cultural ties, forever symbolizing the power of connection and collaboration.”Mr. Xi, in a letter released on Friday, said the Philadelphia Orchestra had long played a role in strengthening the connection between the two countries, describing its 1973 visit as an “ice-breaking trip.”“Music has the power to transcend borders,” he wrote, “and culture can build bridges between hearts.”Daniel R. Russel, a former senior American diplomat now at the Asia Society Policy Institute, said that cultural exchange could build connections between China and the United States and help “refute political caricatures” that citizens of each country may hold.But there are limits, he said, given the heated rhetoric and the increasingly intense rivalry between Beijing and Washington over national security and economic issues.“It’s a very slender thread to use to knit together such a huge gash in the relationship,” he said.Cellist John Koen of the Philadelphia Orchestra, right, going over the score with his counterpart from the China National Symphony Orchestra on Friday, for a concert at the National Center for the Performing Arts in Beijing.Todd RosenbergOn Friday, a dozen musicians from the Philadelphia Orchestra joined their counterparts from the China National Symphony Orchestra for a concert at the National Center for the Performing Arts in Beijing. The program included Beethoven’s Fifth Symphony, Leonard Bernstein’s overture from “Candide,” and Chinese folk songs.“It was an incredibly impactful moment,” said Matías Tarnopolsky, the orchestra’s president and chief executive. “It had the effect of focusing the attention on the arts and culture and on the beauty and the power of music to effect change.”The visit by the Philadelphia musicians, who are also traveling to Shanghai, Suzhou and Tianjin, has received wide attention in China. Many news outlets have in recent days published nostalgia-filled stories about the 1973 visit, during which the Philadelphia Orchestra, led by Eugene Ormandy, performed inside a packed hall in Beijing, a year after President Richard M. Nixon’s historic visit.At the time, China was in the final years of the Cultural Revolution, during which most traditional music, including Western classical music, was banned. Jiang Qing, Mao Zedong’s wife, made sure that the concert — which featured a favorite work, Beethoven’s Sixth Symphony (known as the “Pastoral”) — was broadcast across the country.The orchestra has been all over Chinese state media in recent days. An article about Mr. Xi’s letter to the orchestra appeared on Saturday’s front page of People’s Daily, the main newspaper of the Chinese Communist Party, just under the announcement that Mr. Xi would meet Mr. Biden in San Francisco. China Central Television, the state broadcaster, aired interviews showing Philadelphia Orchestra staff members and musicians praising Mr. Xi’s letter.The focus on the orchestra’s visit reflects the Chinese government’s recent efforts to shore up its global image by emphasizing more personal ties, said David Bandurski, co-director of the China Media Project, an independent research program based in the United States.“Emphasizing people-to-people exchanges is a way to stress the positives from the standpoint of China’s leadership,” he said. “They harken back also to an earlier time when Ping-Pong was sufficient to get both sides back to the table.” More
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Orin O’Brien Broke Barriers in Music but Doesn’t Want Center Stage
by Aurelia Butler 15 November 2023, 15:42
A new documentary tells the story of Orin O’Brien, a double bassist who became the only woman in the New York Philharmonic when she joined in 1966 and helped open doors for others.For decades, the New York Philharmonic, the oldest symphony orchestra in the United States, was an all-male bastion. Then, in 1966, came Orin O’Brien, who played the double bass.Often described as the first woman to become a permanent member of the Philharmonic, O’Brien was part of a pioneering group of female artists who opened doors for other women. Last year, for the first time in its 180-year history, women outnumbered men in the ensemble.O’Brien, who retired from the Philharmonic in 2021 after a 55-year career, has resisted speaking publicly about her life in music, preferring to stay in the background.But a new documentary short, “The Only Girl in the Orchestra,” directed by her niece, the filmmaker Molly O’Brien, looks at her struggles and achievements. (The film premiered last week at DOC NYC, a festival that celebrates documentary film.)The Philharmonic, which was founded in 1842, was long closed off to women. It was not until 1922 that it hired its first female member: Stephanie Goldner, a harpist. But she departed after a decade, and the orchestra became a male bastion once again until the arrival of O’Brien.In a recent interview at her Manhattan home, O’Brien, 88, reflected on her early days in the Philharmonic, the strides made by women in classical music and growing up in California with movie-star parents. These are edited excerpts from the conversation.A scene from “The Only Girl in the Orchestra,” the documentary film made by O’Brien’s niece, Molly O’Brien.The Only Girl in the Orchestra ProductionYou made history at the Philharmonic but you’ve avoided talking about your time there. Why did you agree to take part in this film?I hate the idea of being photographed. I hate the idea of talking about myself. It’s just awful. In music, you’re part of a group and you enjoy the camaraderie with the other musicians. My niece begged me for years. She told me, “Maybe it will help the cause of classical music.” If she wasn’t my relation, I would just say no. It’s all her fault.Your appointment to the Philharmonic was the subject of many news reports that focused on your gender. How did you feel about the attention?I didn’t like it because, first of all, the difficulty was not being female. The difficulty was studying for years and practicing and also being encouraged by your teachers and being encouraged by your colleagues.I felt there was undue attention on me, especially because the orchestra was so great and Leonard Bernstein, the music director, was so great. Bernstein would yell out once in awhile, “Bravo, Orin!” because I could count. And I felt so embarrassed. I felt my face turning red. He was trying to be nice and friendly and welcoming. But I felt that the other musicians would resent it because I was new. I mean, who was I? I was just a member of a section. I wasn’t anybody that important. But I was made important by the P.R. at the time, and I shrank from it.Much of the coverage at the time was sexist. A Time magazine article said that you were “as curvy as the double bass she plays.” A New York Times article called you “as comely a colleen as any orchestra could wish to have in its ranks.”It seems a little frivolous, doesn’t it? It doesn’t say anything about my background or experience or the fact that my teacher, Fred Zimmermann, was in the orchestra for 36 years before me, and that I had a tremendous working knowledge of the orchestra because I had heard every concert they played for two whole years when I worked as an usher at Carnegie Hall. I absorbed their style that way.In the 1960s and 1970s, the maestro Zubin Mehta opined that he did not think women should be in orchestras because they “become men.” He also said that female musicians were “just not as good at 60 as a man is at 60.” He was named the Philharmonic’s music director in 1976. How did you feel about his remarks?They were so unfounded and ridiculous and prejudiced. I thought it was laughable because there were so many talented women. One of the best musicians in the Philharmonic, although her name was very often not listed, was the pianist Harriet Wingreen, who could sight-read any score. And the concertmaster at New York City Ballet was Marilyn Wright. I remember the violinist Nathan Milstein came and sat in the front row to listen to her play the big violin solo in Tchaikovsky’s “Nutcracker.” And she didn’t flinch and played perfectly.“I felt I was welcomed in as a musician, as a member of the group. The feeling was ‘You’re a musician like us,’ except they were my heroes.”James Estrin/The New York TimesWhen you joined the Philharmonic, there were no dressing rooms for women. At the beginning of the 1970s, there were only five women in the orchestra. How did you feel you were treated in those early years?I felt I was welcomed in as a musician, as a member of the group. The feeling was “You’re a musician like us,” except they were my heroes. They were special people. I knew them by name. And now they were talking to me? I was very thrilled to be there.Some women in the Philharmonic have said that they struggled to be paid as much as their male counterparts and were offended when male colleagues referred to them as “the skirts.” Did you encounter those issues?I never heard that. They were too polite to say that to me, I think. Everybody has a different experience.How do you feel about the fact that women now make up roughly half of the New York Philharmonic?It’s an uncomfortable subject. It was when I joined, and it still is for me. I don’t think that it has anything to do with music. It doesn’t mean anything to me. I don’t think that female composers are any better than men or any worse. I have friends in the orchestra of both genders.One of your fans was Bernstein, who led the Philharmonic from 1958 to 1969 and once described you as a “source of radiance in the orchestra.”I remember when Bernstein said he was going to take some time off to compose something special. I had just bought a book about Masada, the ancient fortress in Israel. I wrote him a letter saying, “I think I found a theme for you for an opera or maybe a cello concerto. And if you want, I can loan you my book.” And the next week at rehearsal he stops and he says: “Orin, thank you for your letter. It’s a very good idea.” And all the guys turned and looked at me and I thought, “Oh my God, I’m never going to write him another letter. Never.” And I never did. I was so embarrassed and humiliated.You say in the film that you chose the double bass because you liked being in the background. Was that a reaction to the fame of your parents, George O’Brien and Marguerite Churchill, who were both movie stars in the 1930s?That was definitely part of it. My brother and I would go out to dinner with my father and fans would come up and ask for his autograph. We were bitterly resentful of that because that took him away from us because he loved the attention. “I’d love to sign an autograph.” And we were then deprived of his attention for awhile and we were hurt by that. But you could see that he just reveled in it. He enjoyed the perks of fame and fortune. And my mother probably did, too — she was an actress onstage here in New York before she went to Hollywood. If you’re a bass player, you don’t expect that much attention. And that’s maybe one reason I gravitated to it.How do you feel about the future of classical music, as cultural institutions work to recover from the pandemic?I’m a little bit in despair because I see audiences not coming as well-informed as they used to be, and the programming is being watered down. I’m sorry to say, but not every composition is a great composition and the great compositions are still basically the lifeblood of an orchestra: Beethoven, Brahms, Tchaikovsky, Mozart, Haydn, and so on. Sometimes I feel that the real great repertoire is neglected in favor of other things. Musicians need to play the classics.After you retired from the orchestra, you continued to teach and perform. How do you see the totality of your career?I just feel so lucky that I was able to do something that I loved all my life, and I was so lucky that I landed in my favorite orchestra. When my father would pick me and my brother up, he would ask, “Are you coming into church?” I would say, “No, I’m going to stay in the car and listen to the New York Philharmonic.” And that’s when I decided music was my religion.If I can convince my students to love music the way I’ve been lucky to love it — through their whole lives — and if it gives them the same joy it’s given me, that’s all I really would like. More
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Debussy and Final Fantasy Are Peers on This Radio Stream
by Aurelia Butler 15 November 2023, 09:02
Arcade, a new project by Classical California, aims to dispel preconceptions about classical music and video game soundtracks.A treacherous puzzle that lies near the end of Myst, the 1993 point-and-click video game, involves a pipe organ and a spaceship.But Jennifer Miller Hammel, a pianist who got the game as a child for Christmas that year, did not have much trouble finding the solution. The experience even showed her that video games could deeply incorporate music.Hammel, 44, is now a trained opera singer and a host at Classical California, a classical musical radio network that is a collaboration between KUSC in Los Angeles and KDFC in San Francisco. But she still loves video games, gravitating toward action-adventure and role-playing series like Fallout and Mass Effect. After nearly 150 hours of space exploration, she recently completed Starfield.The musical themes to Fallout 3 or Skyrim would occasionally be played at Classical California, Hammel said. But whenever she pitched an hourly show or a podcast that would dig deeper into video game music, she was told that the genre was polarizing. More
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MasterVoices Puts on a Starry Show With a Shoestring Budget
by Eliana Willis 13 November 2023, 15:32
This essential organization gives fresh, entertaining life to music theater curiosities. What if it had more money?There’s a lot of Stephen Sondheim in New York at the moment: the premiere staging of his last musical, “Here We Are,” and star-studded revivals of “Merrily We Roll Along” and “Sweeney Todd” on Broadway.And for one weekend this month, there was also one more show of his on: “The Frogs.”This endearingly weird, Aristophanes-inspired musical — created with Burt Shevelove and famously premiered at a Yale University swimming pool in 1974 — hasn’t been onstage in New York since a heavily revised 2004 revival that Sondheim conceived with Nathan Lane, who also performed the role of Dionysos.Few local institutions have the skill or interest to pull off “The Frogs” — with its bookish references and ironic-then-impassioned music — but it’s typical, delightful fare for MasterVoices and its artistic director, Ted Sperling, who mounted and conducted a concert staging of the musical at the Rose Theater. (Lane was there, too, now as a host guiding the audience through the show.)MasterVoices, a nonprofit chorus that mounts theatrical productions of seldom heard repertoire, lends its performances generously sized orchestras, a rarity on Broadway, as well as its chorus, which for “The Frogs” consisted of an all-volunteer group of 130 singers. Sondheim’s ensemble material was in moments gleefully tongue-in-cheek, as when extolling Dionysos with a lightly psychedelic, 1960s-style tune; at others, it sounded genuinely serious about the role of art in wartime.Nathan Lane, who conceived a revised version of “The Frogs” with Sondheim in the early 2000s, returned to the show with MasterVoices.Erin BaianoSperling had a command of this material befitting his experience: His first professional gig in New York, after college, was as a rehearsal pianist for Sondheim’s “Sunday in the Park with George.” (He also played synthesizer on the original cast recording: “All that harpsichord-sounding stuff is me,” he said with a self-effacing laugh during a recent interview.)In that conversation, shortly after the three-performance run of “The Frogs,” Sperling discussed how MasterVoices — previously known as the Collegiate Chorale — approaches its adaptations of rarely heard material.For starters, this scrappy organization can attract top talent like Lane because “we’re only asking them for two weeks of their time,” Sperling said, “not asking them to commit to a year’s run on Broadway.” As a result, “we are able to present all kinds of pieces that I don’t think other people can right now.”MasterVoices has independence and pluck: It managed to stay active during the pandemic by producing an online adaptation of Adam Guettel’s cult favorite song cycle “Myths and Hymns.” It has collaborated with the New York Philharmonic, as when it offered a thrilling performance of the Italian modernist Luigi Dallapiccola’s “Il Prigioniero” in 2013.At New York City Center in 2019, the group and the Orchestra of St. Luke’s put on an intoxicating performance of Kurt Weill and Ira Gershwin’s rarely heard “Lady in the Dark.”That range is a legacy of the original Collegiate Chorale — a group that, at its 1941 founding, was one of the first racially integrated classical ensembles. “Even the very early programs that I’ve been able to take a look at start with Bach and end with a Broadway tune,” Sperling said. “The DNA of the group has always been to try to be the people’s chorus, and something that represented a large swath of our community and that would have a broad appeal.”In recent seasons, I’ve heard MasterVoices give witty, precise accounts of George Gershwin’s political parody “Let ’Em Eat Cake” and Bizet’s original, comic opera version of “Carmen.” Any organization that can do justice to such a wide range of material has my immediate affection. But I’m far from the only fan: The “Frogs” run was sold out.But should more people have the opportunity to see them sing? The chorus’s budget for this season — in which they’ll also present Ricky Ian Gordon’s opera adaptation of “The Grapes of Wrath” next April — stands at a slight $1.9 million. Sperling, who is in his 10th year with the group, has some ideas of what he would do with more money, beyond simply expanding the number of performances.“I’d love to have a family of young singers who are professionals — and expert — who could be the backbone of our choral sound, and also step out and do smaller solo work,” he said. “And maybe also help us spread the joy of choral singing in our community, by being teaching artists.”The MasterVoices chorus is made up of volunteer singers, 130 of whom performed in “The Frogs.”Erin BaianoSperling wouldn’t mind a permanent home, either. In recent years, MasterVoices has bounced around from New York City Center to Carnegie Hall and Jazz at Lincoln Center, often renting spaces on its own. For “The Frogs,” Sperling noted, the crew loaded into the Rose Theater on Friday morning, just in time for a performance that evening. “I’d love to have a little more rehearsal time for everything we do,” he said. “It always seems like we’re doing it at the very edge of what we’re capable of.”Given those constraints, the group’s capability is all the more impressive. The MasterVoices version of Weill’s “Lady” included an updated book by Chris Hart and Kim Kowalke; that version has since been used in a celebrated production of the musical in the Netherlands. And because New York doesn’t have a comic opera company, MasterVoices fills a crucial, consistently entertaining niche. “I love that we can present these pieces that would not sustain a commercial Broadway run,” Sperling said, “or might not even fit in the opera house, necessarily, right now.”He added that he would like to add more projects to the season, which could raise MasterVoices’ visibility. They wouldn’t have to be at the scale of “The Frogs,” either: “I’d be interested in doing some smaller pieces that are part of that repertoire that I’m so eager to bring back to New York.”That might include William Bolcom’s early musical “Casino Paradise,” whose original production Sperling worked on. But, given the flexibility and inventiveness of MasterVoices, the possibilities are extensive.“I feel like there are a lot of operas out there that have been extremely popular around the country but have not found a home in New York yet,” Sperling said. “I’m on a mission to find out which ones of those would be a good fit for us.” More
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For Joan Armatrading, Classical Music Is Just Another Genre
by Aurelia Butler 12 November 2023, 09:00
The pioneering singer-songwriter is unveiling her first classical composition, Symphony No. 1, this month.Last year, Chi-chi Nwanoku, the founder and artistic director of the Chineke! Orchestra, received an email out of the blue from the singer-songwriter Joan Armatrading. She, the message said, had finished composing her first classical composition.They exchanged a few more emails about the piece, Symphony No. 1, and Nwanoku called to verify that she was talking with the real Armatrading, known for hits like “Love and Affection,” “Down to Zero,” and “Drop the Pilot.” She wanted to hear the music, with the idea of having Chineke! premiere it — which the ensemble will do on Nov. 24 in London.Rather than sending over a recording or a score, Armatrading decided that the only way forward was to visit Nwanoku’s home. The two sat at the kitchen table, and listened to the 30-minute electronic piano version of what would become the symphony through separate sets of headphones, with Armatrading watching Nwanoku carefully for any hints of a reaction.At one point, Nwanoku broke into a smile. Armatrading stopped the tape, assuming there was something wrong. But Nwanoku was just pleased by a moment of harmonic expansion, from total unison into flowing harmony.“I’ve never done that before, with a composer looking at my facial expressions,” Nwanoku said recently. “It’s very unusual.” More
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2024 Grammy Nominations: Full List
by Aurelia Butler 10 November 2023, 22:45
Artists, albums and songs competing for trophies at the 66th annual ceremony are being announced on Friday. The show will take place on Feb. 4 at Crypto.com Arena in Los Angeles.SZA is the top nominee for the 66th annual Grammy Awards with nine nods, all for her album “SOS,” which topped the Billboard 200 for 10 weeks.She leads a group of contenders that also includes Victoria Monét (with seven), as well as Jon Batiste, boygenius, Brandy Clark, Miley Cyrus, Billie Eilish, Olivia Rodrigo and Taylor Swift (all with six apiece). Songs from the movie “Barbie” received 11 nods in seven categories. The producer Jack Antonoff and the engineer Serban Ghenea are also top nominees.The ceremony, which will take place on Feb. 4, 2024 at the Crypto.com Arena in Los Angeles, will recognize recordings released from Oct. 1, 2022, to Sept. 15, 2023.Here is a complete list of the nominations, which were announced on Friday by the Recording Academy.Record of the Year“Worship,” Jon Batiste“Not Strong Enough,” boygenius“Flowers,” Miley Cyrus“What Was I Made For?” from “Barbie,” Billie Eilish“On My Mama,” Victoria Monét“Vampire,” Olivia Rodrigo“Anti-Hero,” Taylor Swift“Kill Bill,” SZAAlbum of the Year“World Music Radio,” Jon Batiste“The Record,” boygenius“Endless Summer Vacation,” Miley Cyrus“Did You Know That There’s a Tunnel Under Ocean Blvd,” Lana Del Rey“The Age of Pleasure,” Janelle Monáe“Guts,” Olivia Rodrigo“Midnights,” Taylor Swift“SOS,” SZASong of the Year“A&W,” Jack Antonoff, Lana Del Rey and Sam Dew, songwriters (Lana Del Rey)“Anti-Hero,” Jack Antonoff and Taylor Swift, songwriters (Taylor Swift)“Butterfly,” Jon Batiste and Dan Wilson, songwriters (Jon Batiste)“Dance the Night” (From “Barbie: The Album”) Caroline Ailin, Dua Lipa, Mark Ronson and Andrew Wyatt, songwriters (Dua Lipa)“Flowers,” Miley Cyrus, Gregory Aldae Hein and Michael Pollack, songwriters (Miley Cyrus)“Kill Bill,” Rob Bisel, Carter Lang and Solána Rowe, songwriters (SZA)“Vampire,” Daniel Nigro and Olivia Rodrigo, songwriters (Olivia Rodrigo)“What Was I Made For?” from “Barbie,” Billie Eilish O’Connell and Finneas O’Connell, songwriters (Billie Eilish)Best New ArtistGracie AbramsFred again..Ice SpiceJelly RollCoco JonesNoah KahanVictoria MonétThe War and TreatyProducer of the Year, Non-ClassicalJack AntonoffDernst “D’Mile” Emile IIHit-BoyMetro BoominDaniel NigroSongwriter of the Year, Non-ClassicalEdgar BarreraJessie Jo DillonShane McAnallyTheron ThomasJustin TranterBest Pop Solo Performance“Flowers,” Miley Cyrus“Paint the Town Red,” Doja Cat“What Was I Made For?” from “Barbie,” Billie Eilish“Vampire,” Olivia Rodrigo“Anti-Hero,” Taylor SwiftBest Pop Duo/Group Performance“Thousand Miles,” Miley Cyrus featuring Brandi Carlile“Candy Necklace,” Lana Del Rey featuring Jon Batiste“Never Felt So Alone,” Labrinth featuring Billie Eilish“Karma,” Taylor Swift featuring Ice Spice“Ghost in the Machine,” SZA featuring Phoebe BridgersBest Pop Vocal Album“Chemistry,” Kelly Clarkson“Endless Summer Vacation,” Miley Cyrus“Guts,” Olivia Rodrigo“-” (Subtract), Ed Sheeran“Midnights,” Taylor SwiftBest Dance/Electronic Recording“Blackbox Life Recorder 21F,” Aphex Twin“Loading,” James Blake“Higher Than Ever Before,” Disclosure“Strong,” Romy & Fred again..“Rumble,” Skrillex, Fred again.. and FlowdanBest Pop Dance Recording“Baby Don’t Hurt Me,” David Guetta, Anne-Marie and Coi Leray“Miracle,” Calvin Harris featuring Ellie Goulding“Padam Padam,” Kylie Minogue“One in a Million,” Bebe Rexha & David Guetta“Rush,” Troye SivanBest Dance/Electronic Music Album“Playing Robots Into Heaven,” James Blake“For That Beautiful Feeling,” the Chemical Brothers“Actual Life 3 (January 1 – September 9 2022),” Fred again..“Kx5,” Kx5“Quest for Fire,” SkrillexBest Rock Performance“Sculptures of Anything Goes,” Arctic Monkeys”More Than a Love Song,” Black Pumas“Not Strong Enough,” boygenius“Rescued,” Foo Fighters“Lux Æterna,” MetallicaBest Metal Performance“Bad Man,” Disturbed“Phantom of the Opera,” Ghost“72 Seasons,” Metallica”Hive Mind,” Slipknot“Jaded,” SpiritboxBest Rock Song“Angry,” Mick Jagger, Keith Richards and Andrew Watt, songwriters (the Rolling Stones)“Ballad of a Homeschooled Girl,” Daniel Nigro and Olivia Rodrigo, songwriters (Olivia Rodrigo)“Emotion Sickness,” Dean Fertita, Joshua Homme, Michael Shuman, Jon Theodore and Troy Van Leeuwen, songwriters (Queens of the Stone Age)“Not Strong Enough,” Julien Baker, Phoebe Bridgers and Lucy Dacus, songwriters (boygenius)“Rescued,” Dave Grohl, Rami Jaffee, Nate Mendel, Chris Shiflett and Pat Smear, songwriters (Foo Fighters)Best Rock Album“But Here We Are,” Foo Fighters“Starcatcher,” Greta Van Fleet“72 Seasons,” Metallica“This Is Why,” Paramore“In Times New Roman…,” Queens of the Stone AgeBest Alternative Music Performance“Belinda Says,” Alvvays“Body Paint,” Arctic Monkeys“Cool About It,” boygenius“A&W,” Lana Del Rey“This Is Why,” ParamoreBest Alternative Music Album“The Car,” Arctic Monkeys“The Record,” boygenius“Did You Know That There’s a Tunnel Under Ocean Blvd,” Lana Del Rey“Cracker Island,” Gorillaz“I Inside the Old Year Dying,” PJ HarveyBest R&B Performance“Summer Too Hot,” Chris Brown“Back to Love,” Robert Glasper featuring SiR and Alex Isley“ICU,” Coco Jones“How Does It Make You Feel,” Victoria Monét“Kill Bill,” SZABest Traditional R&B Performance“Simple,” Babyface featuring Coco Jones“Lucky,” Kenyon Dixon“Hollywood,” Victoria Monét featuring Earth, Wind & Fire and Hazel Monét“Good Morning,” PJ Morton featuring Susan Carol“Love Language,” SZABest R&B Song“Angel,” Halle Bailey, Theron Feemster and Coleridge Tillman, songwriters (Halle)“Back to Love,” Darryl Andrew Farris, Robert Glasper and Alexandra Isley, songwriters (Robert Glasper Featuring SiR and Alex Isley)“ICU,” Darhyl Camper Jr., Courtney Jones, Raymond Komba and Roy Keisha Rockette, songwriters (Coco Jones)”On My Mama,” Dernst Emile II, Jeff Gitelman, Victoria Monét, Kyla Moscovich, Jamil Pierre and Charles Williams, songwriters (Victoria Monét)“Snooze,” Kenny B. Edmonds, Blair Ferguson, Khris Riddick-Tynes, Solána Rowe and Leon Thomas, songwriters (SZA)Best Progressive R&B Album“Since I Have a Lover,” 6lack“The Love Album: Off the Grid,” Diddy“Nova,” Terrace Martin and James Fauntleroy“The Age of Pleasure,” Janelle Monáe“SOS,” SZABest R&B Album“Girls Night Out,” Babyface“What I Didn’t Tell You (Deluxe),” Coco Jones“Special Occasion,” Emily King”Jaguar II,” Victoria Monét“Clear 2: Soft Life EP,” Summer WalkerBest Rap Performance“The Hillbillies,” Baby Keem featuring Kendrick Lamar“Love Letter,” Black Thought“Rich Flex,” Drake & 21 Savage“Scientists & Engineers,” Killer Mike featuring André 3000, Future and Eryn Allen Kane“Players,” Coi LerayBest Melodic Rap Performance“Sittin’ on Top of the World,” Burna Boy featuring 21 Savage“Attention,” Doja Cat“Spin Bout U,” Drake & 21 Savage“All My Life,” Lil Durk featuring J. Cole“Low,” SZABest Rap Song“Attention,” Rogét Chahayed, Amala Zandile Dlamini and Ari Starace, songwriters (Doja Cat)“Barbie World” from “Barbie: The Album,” Isis Naija Gaston, Ephrem Louis Lopez Jr. and Onika Maraj, songwriters (Nicki Minaj and Ice Spice featuring Aqua)“Just Wanna Rock,” Mohamad Camara, Symere Woods and Javier Mercado, songwriters (Lil Uzi Vert)“Rich Flex,” Brytavious Chambers, Isaac “Zac” De Boni, Aubrey Graham, J. Gwin, Anderson Hernandez, Michael “Finatik” Mule and Shéyaa Bin Abraham-Joseph, songwriters (Drake & 21 Savage)“Scientists & Engineers,” Andre Benjamin, Paul Beauregard, James Blake, Michael Render, Tim Moore and Dion Wilson, songwriters (Killer Mike featuring André 3000, Future and Eryn Allen Kane)Best Rap Album“Her Loss,” Drake & 21 Savage“Michael,” Killer Mike“Heroes & Villains,” Metro Boomin“King’s Disease III,” Nas“Utopia,” Travis ScottBest Spoken Word Poetry Album“A-You’re Not Wrong B-They’re Not Either: The Fukc-It Pill Revisited,” Queen Sheba“For Your Consideration’24 – The Album,” Prentice Powell and Shawn William“Grocery Shopping With My Mother,” Kevin Powell“The Light Inside,” J. Ivy“When the Poems Do What They Do,” Aja MonetBest Jazz Performance“Movement 18’ (Heroes),” Jon Batiste“Basquiat,” Lakecia Benjamin“Vulnerable (Live),” Adam Blackstone featuring the Baylor Project and Russell Ferranté“But Not for Me,” Fred Hersch and Esperanza Spalding“Tight,” Samara JoyBest Jazz Vocal Album“For Ella 2,” Patti Austin featuring Gordon Goodwin’s Big Phat Band“Alive at the Village Vanguard,” Fred Hersch and Esperanza Spalding“Lean In,” Gretchen Parlato and Lionel Loueke“Mélusine,” Cécile McLorin Salvant“How Love Begins,” Nicole ZuraitisBest Jazz Instrumental Album“The Source,” Kenny Barron”Phoenix,” Lakecia Benjamin“Legacy: The Instrumental Jawn,” Adam Blackstone“The Winds of Change,” Billy Childs“Dream Box,” Pat MethenyBest Large Jazz Ensemble Album“The Chick Corea Symphony Tribute – Ritmo,” ADDA Simfònica, Josep Vicent, Emilio Solla“Dynamic Maximum Tension,” Darcy James Argue’s Secret Society“Basie Swings the Blues,” The Count Basie Orchestra directed by Scotty Barnhart“Olympians,” Vince Mendoza and Metropole Orkest“The Charles Mingus Centennial Sessions,” Mingus Big BandBest Latin Jazz Album“Quietude,” Eliane Elias“My Heart Speaks,” Ivan Lins with the Tblisi Symphony Orchestra“Vox Humana,” Bobby Sanabria Multiverse Big Band“Cometa,” Luciana Souza and Trio Corrente“El Arte Del Bolero Vol. 2,” Miguel Zenón and Luis PerdomoBest Alternative Jazz Album“Love in Exile,” Arooj Aftab, Vijay Iyer, Shahzad Ismaily“Quality Over Opinion,” Louis Cole“SuperBlue: The Iridescent Spree,” Kurt Elling, Charlie Hunter, SuperBlue“Live at the Piano,” Cory Henry“The Omnichord Real Book,” Meshell NdegeocelloBest Traditional Pop Vocal Album“To Steve With Love: Liz Callaway Celebrates Sondheim,” Liz Callaway“Pieces of Treasure,” Rickie Lee Jones“Bewitched,” Laufey“Holidays Around the World,” Pentatonix“Only the Strong Survive,” Bruce Springsteen“Sondheim Unplugged (The NYC Sessions), Vol. 3,” (Various Artists)Best Contemporary Instrumental Album“As We Speak,” Béla Fleck, Zakir Hussain, Edgar Meyer, featuring Rakesh Chaurasia“On Becoming,” House of Waters“Jazz Hands,” Bob James“The Layers,” Julian Lage“All One,” Ben WendelBest Musical Theater Album“Kimberly Akimbo,” John Clancy, David Stone and Jeanine Tesori, producers; Jeanine Tesori, composer; David Lindsay-Abaire, lyricist (Original Broadway Cast)“Parade,” Micaela Diamond, Alex Joseph Grayson, Jake Pedersen and Ben Platt, principal vocalists; Jason Robert Brown & Jeffrey Lesser, producers; Jason Robert Brown, composer and lyricist (2023 Broadway Cast)“Shucked,” Brandy Clark, Jason Howland, Shane McAnally and Billy Jay Stein, producers; Brandy Clark and Shane McAnally, composers/lyricists (Original Broadway Cast)“Some Like It Hot,” Christian Borle, J. Harrison Ghee, Adrianna Hicks and NaTasha Yvette Williams, principal vocalists; Mary-Mitchell Campbell, Bryan Carter, Scott M. Riesett, Charlie Rosen and Marc Shaiman, producers; Scott Wittman, lyricist; Marc Shaiman, composer and lyricist (Original Broadway Cast)“Sweeney Todd: The Demon Barber of Fleet Street,” Annaleigh Ashford and Josh Groban, principal vocalists; Thomas Kail and Alex Lacamoire, producers (Stephen Sondheim, composer and lyricist) (2023 Broadway Cast)Best Country Solo Performance“In Your Love,” Tyler Childers“Buried,” Brandy Clark“Fast Car,” Luke Combs“The Last Thing on My Mind,” Dolly Parton“White Horse,” Chris StapletonBest Country Duo/Group Performance“High Note,” Dierks Bentley featuring Billy Strings“Nobody’s Nobody,” Brothers Osborne“I Remember Everything,” Zach Bryan featuring Kacey Musgraves“Kissing Your Picture (Is So Cold),” Vince Gill and Paul Franklin“Save Me,” Jelly Roll with Lainey Wilson“We Don’t Fight Anymore,” Carly Pearce featuring Chris StapletonBest Country Song“Buried,” Brandy Clark and Jessie Jo Dillon, songwriters (Brandy Clark)“I Remember Everything,” Zach Bryan and Kacey Musgraves, songwriters (Zach Bryan featuring Kacey Musgraves)“In Your Love,” Tyler Childers and Geno Seale, songwriters (Tyler Childers)“Last Night.” John Byron, Ashley Gorley, Jacob Kasher Hindlin and Ryan Vojtesak, songwriters (Morgan Wallen)“White Horse,” Chris Stapleton and Dan Wilson, songwriters (Chris Stapleton)Best Country Album“Rolling Up the Welcome Mat,” Kelsea Ballerini“Brothers Osborne,” Brothers Osborne“Zach Bryan,” Zach Bryan“Rustin’ in the Rain,” Tyler Childers“Bell Bottom Country,” Lainey WilsonBest American Roots Performance“Butterfly,” Jon Batiste“Heaven Help Us All,” Blind Boys of Alabama“Inventing the Wheel,” Madison Cunningham“You Louisiana Man,” Rhiannon Giddens“Eve Was Black,” Allison RussellBest Americana Performance“Friendship,” Blind Boys of Alabama“Help Me Make It Through the Night,” Tyler Childers“Dear Insecurity,” Brandy Clark featuring Brandi Carlile“King of Oklahoma,” Jason Isbell and the 400 Unit“The Returner,” Allison RussellBest American Roots Song“Blank Page,” Michael Trotter Jr. and Tanya Trotter, songwriters (The War and Treaty)“California Sober,” Aaron Allen, William Apostol and Jon Weisberger, songwriters (Billy Strings featuring Willie Nelson)“Cast Iron Skillet,” Jason Isbell, songwriter (Jason Isbell and the 400 Unit)“Dear Insecurity,” Brandy Clark and Michael Pollack, songwriters (Brandy Clark featuring Brandi Carlile)“The Returner,” Drew Lindsay, JT Nero and Allison Russell, songwriters (Allison Russell)Best Americana Album“Brandy Clark,” Brandy Clark“The Chicago Sessions,” Rodney Crowell“You’re the One,” Rhiannon Giddens“Weathervanes,” Jason Isbell and the 400 Unit“The Returner,” Allison RussellBest Bluegrass Album“Radio John: Songs of John Hartford,” Sam Bush“Lovin’ of the Game,” Michael Cleveland“Mighty Poplar,” Mighty Poplar“Bluegrass,” Willie Nelson“Me/And/Dad,” Billy Strings“City of Gold,” Molly Tuttle & Golden HighwayBest Traditional Blues Album“Ridin’,” Eric Bibb“The Soul Side of Sipp,” Mr. Sipp“Life Don’t Miss Nobody,” Tracy Nelson“Teardrops for Magic Slim Live at Rosa’s Lounge,” John Primer“All My Love for You,” Bobby RushBest Contemporary Blues Album“Death Wish Blues,” Samantha Fish and Jesse Dayton“Healing Time,” Ruthie Foster“Live in London,” Christone “Kingfish” Ingram“Blood Harmony,” Larkin Poe“LaVette!,” Bettye LaVetteBest Folk Album“Traveling Wildfire,” Dom Flemons”I Only See the Moon,” the Milk Carton Kids“Joni Mitchell at Newport (Live),” Joni Mitchell”Celebrants,” Nickel Creek“Jubilee,” Old Crow Medicine Show“Seven Psalms,” Paul Simon“Folkocracy,” Rufus WainwrightBest Regional Roots Music Album“New Beginnings,” Buckwheat Zydeco Jr. and the Legendary Ils Sont Partis Band“Live at the 2023 New Orleans Jazz & Heritage Festival,” Dwayne Dopsie and the Zydeco Hellraisers“Live: Orpheum Theater Nola,” Lost Bayou Ramblers and Louisiana Philharmonic Orchestra“Made in New Orleans,” New Breed Brass Band“Too Much to Hold,” New Orleans Nightcrawlers“Live at the Maple Leaf,” the Rumble featuring Chief Joseph Boudreaux Jr.Best Gospel Performance/Song“God Is Good,” Stanley Brown featuring Hezekiah Walker, Kierra Sheard and Karen Clark Sheard; Stanley Brown, Karen V Clark Sheard, Kaylah Jiavanni Harvey, Rodney Jerkins, Elyse Victoria Johnson, J Drew Sheard II, Kierra Valencia Sheard and Hezekiah Walker, songwriters“Feel Alright (Blessed),” Erica Campbell; Erica Campbell, Warryn Campbell, William Weatherspoon, Juan Winans and Marvin L. Winans, songwriters“Lord Do It for Me (Live),” Zacardi Cortez; Marcus Calyen, Zacardi Cortez and Kerry Douglas, songwriters“God Is,” Melvin Crispell III“All Things,” Kirk Franklin; Kirk Franklin, songwriterBest Contemporary Christian Music Performance/Song“Believe,” Blessing Offor; Hank Bentley and Blessing Offor, songwriters“Firm Foundation (He Won’t) (Live),” Cody Carnes“Thank God I Do,” Lauren Daigle; Lauren Daigle and Jason Ingram, songwriters“Love Me Like I Am,” For King & Country featuring Jordin Sparks“Your Power,” Lecrae and Tasha Cobbs Leonard“God Problems,” Maverick City Music, Chandler Moore and Naomi Raine; Daniel Bashta, Chris Davenport, Ryan Ellis and Naomi Raine, songwritersBest Gospel Album“I Love You,” Erica Campbell“Hymns (Live),” Tasha Cobbs Leonard“The Maverick Way,” Maverick City Music“My Truth,” Jonathan McReynolds“All Things New: Live in Orlando,” Tye TribbettBest Contemporary Christian Music Album“My Tribe,” Blessing Offor“Emanuel,” Da’ T.R.U.T.H.“Lauren Daigle,” Lauren Daigle“Church Clothes 4,” Lecrae“I Believe,” Phil WickhamBest Roots Gospel Album“Tribute to the King,” the Blackwood Brothers Quartet“Echoes of the South,” Blind Boys of Alabama“Songs That Pulled Me Through the Tough Times,” Becky Isaacs Bowman“Meet Me at the Cross,” Brian Free & Assurance“Shine: The Darker the Night the Brighter the Light,” Gaither Vocal BandBest Latin Pop Album“La Cuarta Hoja,” Pablo Alborán“Beautiful Humans, Vol. 1,” AleMor“A Ciegas,” Paula Arenas“La Neta,” Pedro Capó“Don Juan,” Maluma“X Mí (Vol. 1),” Gaby MorenoBest Música Urbana Album“Saturno,” Rauw Alejandro”Mañana Será Bonito,” Karol G“Data,” TainyBest Latin Rock or Alternative Album“Martínez,” Cabra“Leche De Tigre,” Diamante Eléctrico“Vida Cotidiana,” Juanes“De Todas Las Flores,” Natalia Lafourcade“EADDA9223,” Fito PaezBest Música Mexicana Album (Including Tejano)“Bordado a Mano,” Ana Bárbara“La Sánchez,” Lila Downs“Motherflower,” Flor de Toloache“Amor Como en Las Películas De Antes,” Lupita Infante“Génesis,” Peso PlumaBest Tropical Latin Album“Siembra: 45° Aniversario (En Vivo en el Coliseo de Puerto Rico, 14 de Mayo 2022),” Rubén Blades con Roberto Delgado and Orquesta“Voy a Ti,” Luis Figueroa“Niche Sinfónico,” Grupo Niche y Orquesta Sinfónica Nacional de Colombia“Vida,” Omara Portuondo“Mimy & Tony,” Tony Succar, Mimy Succar“Escalona Nunca se Había Grabado Así,” Carlos VivesBest Global Music Performance“Shadow Forces,” Arooj Aftab, Vijay Iyer and Shahzad Ismaily“Alone,” Burna Boy“Feel,” Davido“Milagro y Disastre,” Silvana Estrada“Abundance in Millets,” Falu and Gaurav Shah (featuring PM Narendra Modi)“Pashto,” Béla Fleck, Edgar Meyer and Zakir Hussain featuring Rakesh Chaurasia“Todo Colores,” Ibrahim Maalouf featuring Cimafunk and Tank and the BangasBest African Music Performance“Amapiano,” Asake and Olamide“City Boys,” Burna Boy“Unavailable,” Davido featuring Musa Keys“Rush,” Ayra Starr“Water,” TylaBest Global Music Album“Epifanías,” Susana Baca“History,” Bokanté“I Told Them…,” Burna Boy“Timeless,” Davido“This Moment,” ShaktiBest Reggae Album“Born for Greatness,” Buju Banton“Simma,” Beenie Man“Cali Roots Riddim 2023,” Collie Buddz“No Destroyer,” Burning Spear“Colors of Royal,” Julian Marley & AntaeusBest New Age, Ambient or Chant Album“Aquamarine,” Kirsten Agresta-Copely“Moments of Beauty,” Omar Akram“Some Kind of Peace (Piano Reworks),” Ólafur Arnalds“Ocean Dreaming Ocean,” David Darling and Hans Christian“So She Howls,” Carla Patullo featuring Tonality and the Scorchio QuartetBest Children’s Music Album“Ahhhhh!,” Andrew & Polly“Ancestars,” Pierce Freelon and Nnenna Freelon“Hip Hope for Kids!,” DJ Willy Wow!“Taste the Sky,” Uncle Jumbo“We Grow Together Preschool Songs,” 123 AndrésBest Comedy Album“I Wish You Would,” Trevor Noah“I’m an Entertainer,” Wanda Sykes“Selective Outrage,” Chris Rock”Someone You Love,” Sarah Silverman“What’s in a Name?,” Dave ChappelleBest Audiobook, Narration and Storytelling Recording“Big Tree,” Meryl Streep“Boldly Go: Reflections on a Life of Awe and Wonder,” William Shatner“The Creative Act: A Way of Being,” Rick Rubin“It’s Ok to Be Angry About Capitalism,” Senator Bernie Sanders“The Light We Carry: Overcoming in Uncertain Times,” Michelle ObamaBest Compilation Soundtrack for Visual Media“Aurora,” (Daisy Jones & the Six)“Barbie: The Album” (Various Artists)“Black Panther: Wakanda Forever – Music From and Inspired By” (Various Artists)“Guardians of the Galaxy, Vol. 3: Awesome Mix, Vol. 3” (Various Artists)“Weird: The Al Yankovic Story,” Weird Al YankovicBest Score Soundtrack for Visual Media (Includes Film and Television)“Barbie,” Mark Ronson and Andrew Wyatt, composers“Black Panther: Wakanda Forever,” Ludwig Göransson, composer“The Fabelmans,” John Williams, composer“Indiana Jones and the Dial of Destiny,” John Williams, composer“Oppenheimer,” Ludwig Göransson, composerBest Score Soundtrack for Video Games and Other Interactive Media“Call of Duty: Modern Warfare II,” Sarah Schachner, composer“God of War Ragnarök,” Bear McCreary, composer“Hogwarts Legacy,” Peter Murray, J Scott Rakozy and Chuck E. Myers “Sea,” composers“Star Wars Jedi: Survivor,” Stephen Barton and Gordy Haab, composers“Stray Gods: The Roleplaying Musical,” Jess Serro, Tripod and Austin Wintory, composersBest Song Written for Visual Media“Barbie World” from “Barbie: The Album,” Naija Gaston, Ephrem Louis Lopez Jr. and Onika Maraj, songwriters (Nicki Minaj and Ice Spice featuring Aqua)“Dance the Night” from “Barbie: The Album,” Caroline Ailin, Dua Lipa, Mark Ronson and Andrew Wyatt, songwriters (Dua Lipa)“I’m Just Ken” from “Barbie: The Album,” Mark Ronson and Andrew Wyatt, songwriters (Ryan Gosling)“Lift Me Up” from “Black Panther: Wakanda Forever — Music From and Inspired By,” Ryan Coogler, Ludwig Göransson, Robyn Fenty and Temilade Openiyi, songwriters (Rihanna)“What Was I Made For?” from “Barbie: The Album,” Billie Eilish O’Connell and Finneas O’Connell, songwriters (Billie Eilish)Best Music Video“I’m Only Sleeping” (The Beatles), Em Cooper, video director; Jonathan Clyde, Sophie Hilton, Sue Loughlin and Laura Thomas, video producers“In Your Love” (Tyler Childers), Bryan Schlam, video director; Kacie Barton, Silas House, Nicholas Robespierre, Ian Thornton and Whitney Wolanin, video producers“What Was I Made For?” (Billie Eilish), Billie Eilish, video director; Michelle An, Chelsea Dodson and David Moore, video producers“Count Me Out” (Kendrick Lamar), Dave Free and Kendrick Lamar, video directors; Jason Baum and Jamie Rabineau, video producers“Rush” (Troye Sivan), Gordon Von Steiner, video director; Kelly McGee, video producerBest Music Film“Moonage Daydream” (David Bowie), Brett Morgen, video director; Brett Morgen, video producer“How I’m Feeling Now” (Lewis Capaldi), Joe Pearlman, video director; Sam Bridger, Isabel Davis and Alice Rhodes, video producers“Live From Paris, the Big Steppers Tour” (Kendrick Lamar), Mike Carson, Dave Free and Mark Ritchie, video directors; Cornell Brown, Debra Davis, Jared Heinke and Jamie Rabineau, video producers“I Am Everything” (Little Richard), Lisa Cortés, video director; Caryn Capotosto, Lisa Cortés, Robert Friedman and Liz Yale Marsh, video producers“Dear Mama” (Tupac Shakur), Allen Hughes, video director; Joshua Garcia, Loren Gomez, James Jenkins and Stef Smith, video producersBest Recording Package“The Art of Forgetting,” Caroline Rose, art director (Caroline Rose)“Cadenza 21’,” Hsing-Hui Cheng, art director (Ensemble Cadenza 21’)“Electrophonic Chronic,” Perry Shall, art director (The Arcs)“Gravity Falls,” Iam8bit, art director (Brad Breeck)“Migration,” Yu Wei, art director (Leaf Yeh)“Stumpwork,” Luke Brooks and James Theseus Buck, art directors (Dry Cleaning)Best Boxed or Special Limited Edition Package“The Collected Works of Neutral Milk Hotel,” Jeff Mangum, Daniel Murphy and Mark Ohe, art directors (Neutral Milk Hotel)“For the Birds: The Birdsong Project,” Jeri Heiden and John Heiden, art directors (Various Artists)”Gieo,” Duy Dao, art director (Ngot)“Inside: Deluxe Box Set,” Bo Burnham and Daniel Calderwood, art directors (Bo Burnham)“Words & Music, May 1965 – Deluxe Edition,” Masaki Koike, art director (Lou Reed)Best Album Notes“Evenings at the Village Gate: John Coltrane With Eric Dolphy (Live),” Ashley Kahn, album notes writer (John Coltrane & Eric Dolphy)“I Can Almost See Houston: The Complete Howdy Glenn,” Scott B. Bomar, album notes writer (Howdy Glenn)“Mogadishu’s Finest: The Al Uruba Sessions,” Vik Sohonie, album notes writer (Iftin Band)“Playing for the Man at the Door: Field Recordings From the Collection of Mack McCormick, 1958–1971,” Jeff Place and John Troutman, album notes writers (Various Artists)“Written in Their Soul: The Stax Songwriter Demos,” Robert Gordon and Deanie Parker, album notes writers (Various Artists)Best Historical Album“Fragments – Time Out of Mind Sessions (1996-1997): The Bootleg Series, Vol. 17,” Steve Berkowitz and Jeff Rosen, compilation producers; Steve Addabbo, Greg Calbi, Steve Fallone, Chris Shaw and Mark Wilder, mastering engineers (Bob Dylan)“The Moaninest Moan of Them All: The Jazz Saxophone of Loren McMurray, 1920-1922,” Colin Hancock, Meagan Hennessey and Richard Martin, compilation producers; Richard Martin, mastering engineer; Richard Martin, restoration engineer (Various Artists)“Playing for the Man at the Door: Field Recordings From the Collection of Mack McCormick, 1958–1971,” Jeff Place and John Troutman, compilation producers; Randy LeRoy and Charlie Pilzer, mastering engineers; Mike Petillo and Charlie Pilzer, restoration engineers (Various Artists)“Words & Music, May 1965 – Deluxe Edition,” Laurie Anderson, Don Fleming, Jason Stern, Matt Sulllivan and Hal Willner, compilation producers; John Baldwin, mastering engineer; John Baldwin, restoration engineer (Lou Reed)“Written in Their Soul: The Stax Songwriter Demos,” Robert Gordon, Deanie Parker, Cheryl Pawelski, Michele Smith and Mason Williams, compilation producers; Michael Graves, mastering engineer; Michael Graves, restoration engineer (Various Artists)Best Engineered Album, Non-Classical“Desire, I Want to Turn Into You,” Macks Faulkron, Daniel Harle, Caroline Polachek and Geoff Swan, engineers; Mike Bozzi and Chris Gehringer, mastering engineers (Caroline Polachek)“History,” Nic Hard, engineer; Dave McNair, mastering engineer (Bokanté)“Jaguar II,” John Kercy, Kyle Mann, Victoria Monét, Patrizio “Teezio” Pigliapoco, Neal H Pogue and Todd Robinson, engineers; Colin Leonard, mastering engineer (Victoria Monét)“Multitudes,” Michael Harris, Robbie Lackritz, Joseph Lorge and Blake Mills, engineers (Feist)“The Record,” Owen Lantz, Will Maclellan, Catherine Marks, Mike Mogis, Bobby Mota, Kaushlesh “Garry” Purohit and Sarah Tudzin, engineers; Pat Sullivan, mastering engineer (boygenius)Best Engineered Album, Classical“The Blue Hour,” Patrick Dillett, Mitchell Graham, Jesse Lewis, Kyle Pyke, Andrew Scheps and John Weston, engineers; Helge Sten, mastering engineer (Shara Nova and A Far Cry)”Contemporary American Composers,” David Frost & Charlie Post, engineers; Silas Brown, mastering engineer (Riccardo Muti and Chicago Symphony Orchestra)“Fandango,” Alexander Lipay and Dmitriy Lipay, engineers; Alexander Lipay and Dmitriy Lipay, mastering engineers (Gustavo Dudamel, Anne Akiko Meyers, Gustavo Castillo and Los Angeles Philharmonic)”Sanlikol: A Gentleman of Istanbul – Symphony for Strings, Percussion, Piano, Oud, Ney & Tenor,” Christopher Moretti & John Weston, engineers; Shauna Barravecchio & Jesse Lewis, mastering engineers (Mehmet Ali Sanlikol, George Lernis & A Far Cry)“Tchaikovsky: Symphony No. 5 & Schulhoff: Five Pieces,” Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck and Pittsburgh Symphony Orchestra)Producer of the Year, ClassicalDavid FrostMorten LindbergDmitriy LipayElaine MartoneBrian PidgeonBest Remixed Recording“Alien Love Call,” Badbadnotgood, remixers (Turnstile and Badbadnotgood featuring Blood Orange)“New Gold (Dom Dolla Remix),” Dom Dolla, remixer (Gorillaz featuring Tame Impala and Bootie Brown)“Reviver (Totally Enormous Extinct Dinosaurs Remix),” Totally Enormous Extinct Dinosaurs, remixer (Lane 8)“Wagging Tongue (Wet Leg Remix),” Wet Leg, remixers (Depeche Mode)“Workin’ Hard (Terry Hunter Remix),” Terry Hunter, remixer (Mariah Carey)Best Immersive Audio Album“Act 3 (Immersive Edition),” Ryan Ulyate, immersive mix engineer; Michael Romanowski, immersive mastering engineer; Ryan Ulyate, immersive producer (Ryan Ulyate)“Blue Clear Sky,” Chuck Ainlay, immersive mix engineer; Michael Romanowski, immersive mastering engineer; Chuck Ainlay, immersive producer (George Strait)“The Diary of Alicia Keys,” George Massenburg and Eric Schilling, immersive mix engineers; Michael Romanowski, immersive mastering engineer; Alicia Keys and Ann Mincieli, immersive producers (Alicia Keys)“God of War Ragnarök (Original Soundtrack),” Eric Schilling, immersive mix engineer; Michael Romanowski, immersive mastering engineer; Kellogg Boynton, Peter Scaturro and Herbert Waltl, immersive producers (Bear McCreary)“Silence Between Songs,” Aaron Short, immersive mastering engineer (Madison Beer)Best Instrumental Composition“Amerikkan Skin,” Lakecia Benjamin, composer (Lakecia Benjamin featuring Angela Davis)“Can You Hear the Music,” Ludwig Göransson, composer (Ludwig Göransson)“Cutey and the Dragon,” Gordon Goodwin and Raymond Scott, composers (Quartet San Francisco featuring Gordon Goodwin’s Big Phat Band)“Helena’s Theme,” John Williams, composer (John Williams)“Motion,” Edgar Meyer, composer (Béla Fleck, Edgar Meyer and Zakir Hussain featuring Rakesh Chaurasia)Best Arrangement, Instrumental or A Cappella“Angels We Have Heard on High,” Nkosilathi Emmanuel Sibanda, arranger (Just 6)“Can You Hear the Music,” Ludwig Göransson, arranger (Ludwig Göransson)“Folsom Prison Blues,” John Carter Cash, Tommy Emmanuel, Markus Illko, Janet Robin and Roberto Luis Rodriguez, arrangers (The String Revolution featuring Tommy Emmanuel)“I Remember,” Mingus Hilario Duran, arranger (Hilario Duran and His Latin Jazz Big Band featuring Paquito D’Rivera)“Paint It Black,” Esin Aydingoz, Chris Bacon and Alana Da Fonseca, arrangers (Wednesday Addams)Best Arrangement, Instruments and Vocals“April in Paris,” Gordon Goodwin, arranger (Patti Austin featuring Gordon Goodwin’s Big Phat Band)“Com Que Voz (Live),” John Beasley and Maria Mendes, arrangers (Maria Mendes featuring John Beasley and Metropole Orkest)“Fenestra,” Godwin Louis, arranger (Cécile McLorin Salvant)“In the Wee Small Hours of the Morning,” Erin Bentlage, Jacob Collier, Sara Gazarek, Johnaye, Kendrick and Amanda Taylor, arrangers (säje Featuring Jacob Collier)“Lush Life,” Kendric McCallister, arranger (Samara Joy)Best Orchestral Performance“Adès: Dante,” Gustavo Dudamel, conductor (Los Angeles Philharmonic)“Bartók: Concerto for Orchestra; Four Pieces,” Karina Canellakis, conductor (Netherlands Radio Philharmonic Orchestra)“Price: Symphony No. 4; Dawson: Negro Folk Symphony,” Yannick Nézet-Séguin, conductor (The Philadelphia Orchestra)“Scriabin: Symphony No. 2; The Poem of Ecstasy,” JoAnn Falletta, conductor (Buffalo Philharmonic Orchestra)“Stravinsky: The Rite of Spring,” Esa-Pekka Salonen, conductor (San Francisco Symphony)Best Opera Recording“Blanchard: Champion,” Yannick Nézet-Séguin, conductor; Ryan Speedo Green, Latonia Moore and Eric Owens; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)“Corigliano: The Lord of Cries,” Gil Rose, conductor; Anthony Roth Costanzo, Kathryn Henry, Jarrett Ott and David Portillo; Gil Rose, producer (Boston Modern Orchestra Project and Odyssey Opera Chorus)“Little: Black Lodge,” Timur; Andrew McKenna Lee and David T. Little, producers (the Dime Museum; Isaura String Quartet)Best Choral Performance“Carols After a Plague,” Donald Nally, conductor (The Crossing)“The House of Belonging,” Craig Hella Johnson, conductor (Miró Quartet; Conspirare)“Ligeti: Lux Aeterna,” Esa-Pekka Salonen, conductor (San Francisco Symphony Chorus)“Rachmaninoff: All-Night Vigil,” Steven Fox, conductor (The Clarion Choir)“Saariaho: Reconnaissance,” Nils Schweckendiek, conductor (Uusinta Ensemble; Helsinki Chamber Choir)Best Chamber Music/Small Ensemble Performance“American Stories,” Anthony McGill and Pacifica Quartet“Beethoven for Three: Symphony No. 6, ‘Pastorale’ And Op. 1, No. 3,” Yo-Yo Ma, Emanuel Ax and Leonidas Kavakos“Between Breaths,” Third Coast Percussion“Rough Magic,” Roomful of Teeth“Uncovered, Vol. 3: Coleridge-Taylor Perkinson, William Grant Still & George Walker,” Catalyst QuartetBest Classical Instrumental Solo“Adams, John Luther: Darkness and Scattered Light,” Robert Black“Akiho: Cylinders,” Andy Akiho“The American Project,” Yuja Wang; Teddy Abrams, conductor (Louisville Orchestra)“Difficult Grace,” Seth Parker Woods“Of Love,” Curtis StewartBest Classical Solo Vocal Album“Because,” Reginald Mobley, soloist; Baptiste Trotignon, pianist“Broken Branches,” Karim Sulayman, soloist; Sean Shibe, accompanist“40@40,” Laura Strickling, soloist; Daniel Schlosberg, pianist“Rising,” Lawrence Brownlee, soloist; Kevin J. Miller, pianist“Walking in the Dark,” Julia Bullock, soloist; Christian Reif, conductor (Philharmonia Orchestra)Best Classical Compendium“Fandango,” Anne Akiko Meyers; Gustavo Dudamel, conductor; Dmitriy Lipay, producer“Julius Eastman, Vol. 3: If You’re So Smart, Why Aren’t You Rich?,” Christopher Rountree, conductor; Lewis Pesacov, producer“Mazzoli: Dark With Excessive Bright,” Peter Herresthal; Tim Weiss, conductor; Hans Kipfer, producer“Passion for Bach and Coltrane,” Alex Brown, Harlem Quartet, Imani Winds, Edward Perez, Neal Smith and A.B. Spellman; Silas Brown and Mark Dover, producers“Sardinia,” Chick Corea; Chick Corea and Bernie Kirsh, producers“Sculptures,” Andy Akiho; Andy Akiho and Sean Dixon, producers“Zodiac Suite,” Aaron Diehl Trio & the Knights; Eric Jacobsen, conductor; Aaron Diehl and Eric Jacobsen, producersBest Contemporary Classical Composition“Adès: Dante,” Thomas Adès, composer (Gustavo Dudamel and Los Angeles Philharmonic)“Akiho: In That Space, at That Time,” Andy Akiho, composer (Andy Akiho, Ankush Kumar Bahl and Omaha Symphony)“Brittelle: Psychedelics,” William Brittelle, composer (Roomful of Teeth)“Mazzoli: Dark With Excessive Bright,” Missy Mazzoli, composer (Peter Herresthal, James Gaffigan and Bergen Philharmonic)“Montgomery: Rounds,” Jessie Montgomery, composer (Awadagin Pratt, A Far Cry and Roomful of Teeth) More
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Review: With Premieres, an Orchestra Keeps Facing Forward
by Aurelia Butler 10 November 2023, 16:43
The American Composers Orchestra, which occupies an essential place in the New York scene, presented an evening of several new works at Zankel Hall.Pity the American composer interested in writing orchestral music. Unless your last name is Glass, Reich or Adams, opportunities are destined to come few and far between.But one institution bucks this regrettable trend. The focus of the American Composers Orchestra is right there in its name: Its website specifies an intention to spotlight “the infinite variety of American orchestral music, reflecting gender, racial, ethnic, geographic, stylistic and age diversity.”On Thursday night at Zankel Hall in Manhattan, the orchestra did its mission proud. There was a significant amount of music from veterans of the American experimental scene: Augusta Read Thomas’s “Sun Dance — In memoriam Oliver Knussen” and George E. Lewis’s “Weathering.” Pieces by the younger composers Nina C. Young and Jack Hughes offered distinct ways of engaging the tradition of tonal writing, and Guillermo Klein’s “The Kingdom” offered some of the poised polystylism familiar from his work as a pianist and bandleader.With the exception of Thomas’s work, a local premiere, every piece on Thursday was being given its world premiere. All told, the program’s 70 minutes of playing were equal to the amount of new American orchestral music that you might catch in an especially ambitious month of, say, the New York Philharmonic’s season.Led by Vimbayi Kaziboni, the American Composers Orchestra gave an impressive account of the varied works, even if there were occasional hints that this program had tested the limited rehearsal time available for it — as in some blurred brass articulation in Thomas’s hard-riffing, six-minute tribute to Knussen. But overall, the ensemble’s sound was a pleasure to hear, across pieces that were all worth hearing.“Weathering,” a bustling, impassioned 15-minute work, continued Lewis’s sterling recent run of music for large forces. (How long until the Philharmonic, his local symphony, recognizes the merit of his orchestral catalog?) Speaking from the stage before the performance, he compared the title with the endurance required in the face of racist microaggressions. He advertised a noisy “weathering” chord that he said depicted this ritual annoyance. It was indeed noisy, and did indeed recur. But it was also not narrowly didactic: His packed yet considered orchestrations connote a generous spirit — even, or particularly, in moments of carefully chiseled chromatic density.Lewis’s “weathering” chord, then, cut a wry, playful figure whenever it appeared. And the balance of his writing was riveting, with different elements catching the ear in near simultaneity. One such moment of supple rhythmic patterning came from a pair of percussionists playing gongs that led to a wisp of luminous harp writing and droning in the woodwinds. Kaziboni shaped this hyperactive swirl with crucial attention to dynamics. At one juncture, he let the orchestra rip with a loud chord, then pared things back to cradle a crying articulation in the trumpets.Discussions of tonal contemporary music sometime fall into the cliché of calling any such works “lushly” melodic. So give Hughes credit: His motivic sense in “Three Ways of Getting There” on Thursday was robust and convincing. And yet his accompanying orchestration didn’t operate with any boring received wisdom. In the first movement, as an undulating-then-rising melodic figure was passed among the strings, there was also tartness that offered a clever way of scrambling expected codes for conventional melody. (Tuneful and finely textured, “Three Ways” makes you wonder what Hughes would do with an opera commission.)
Los Guachos Cristal by Guillermo KleinAfter intermission, “The Kingdom” offered some of the characteristic complexity of Klein, a pianist-composer known for writing harmonically stacked material for his jazz ensemble, Los Guachos. Where his recordings spoil listeners with fine-drilled detail, some moments of Thursday’s performance had me wondering about intonation: Passages of polyphonic sourness could seem slightly overdone, even though I left wanting to hear the piece again.I had a similar reaction to Young’s “Out of whose womb came the ice,” a 28-minute monodrama for orchestra and baritone (Sidney Outlaw, sounding richly impassioned). Inspired by Ernest Shackleton’s Antarctic exploration, it was full of spacious expanses and some stark, well judged dramatic pivots. Not all those were obviously loud in nature: At multiple junctures, Young skillfully depicted hope breaking down through a subtly unspooling, solo instrumental line, amid keening hazes of arid orchestration.But the text, by Young and David Tinervia, overindulged in nautical coordinates and other technical language. It also stinted on some of the concepts Young described more expansively in a program note — specifically, her interest in the crew’s “perception of the Endurance in relationship to their surroundings.” Her electronic elements, while well produced, tended to distract attention from the orchestral momentum. And R. Luke Dubois’s accompanying video design was likewise too often literal, depicting blocks of ice in various stages of melting.It’s unfortunate that Thursday’s program was a one-off performance. Still, Kaziboni and the players were skilled champions of the music. And the focused attention of a robust crowd of listeners was an indication that this group’s necessary interventions have a ready, supportive local audience.American Composers OrchestraPerformed on Thursday at Zankel Hall, Manhattan. More
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Yuri Temirkanov, Conductor Who Celebrated Russia’s Music, Dies at 84
by Aurelia Butler 9 November 2023, 22:38
Immersed in his native land’s repertoire — Tchaikovsky, Rachmaninoff, Prokofiev — he drew bold, rich sounds from the world’s major orchestras. In Russia, he was adored.Yuri Temirkanov, a well-traveled Russian conductor steeped in his country’s bygone musical culture, died on Nov. 2 in St. Petersburg, the city where he held sway for over 30 years. He was 84.His death was announced by both the St. Petersburg Philharmonic, where he was music director from 1988 to 2022 — his tenure began when it was still the Leningrad Philharmonic — and the Baltimore Symphony Orchestra, where he was music director from 2000 to 2006. A close associate in Baltimore said Mr. Temirkanov had had heart trouble and had died in a care facility.When he was a boy, Prokofiev had held his hand; in his prime, he was artistic director of one of the world’s great opera companies, the Kirov, in what was then Leningrad, taking that post before he was 40; and in his later years, he consulted with Shostakovich, conducted some of the world’s major orchestras, and was the object of almost cultlike adoration in his native land.At a glittering memorial service for him on Sunday in the columned hall of the St. Petersburg Philharmonic, his coffin lay open as the orchestra played Tchaikovsky.In the Russian repertoire with which he was most closely associated — Tchaikovsky, Rachmaninoff, Prokofiev — Mr. Temirkanov drew bold, rich sounds from his orchestras, each phrase laden with meaning. But he also found subtleties in the understated works of Haydn.Critics praised his ability to shape extended lines with minimal hand gestures — he eschewed the baton — but were puzzled by what some called his unpredictability and inconsistency. And he created an uproar in 2012 when he declared to a Russian interviewer that women shouldn’t be conductors because it was “counter to nature.” A woman, he explained, “should be beautiful, likable, attractive. Musicians will look at her and be distracted from the music!”His handpicked associate conductor in Baltimore, Lara Webber, said in a phone interview that those words were “completely incoherent with the experience I had.”Mr. Temirkanov, she said, was a “really supportive boss” and a “tremendously empathetic humanist.”Mr. Temirkanov largely tried to steer clear of politics; he once insisted to the British critic Norman Lebrecht that while living in the Soviet Union he never joined the Communist Party. But he told the critic Time Smith of The Baltimore Sun in 2004 that President Vladimir V. Putin was a “very good friend, very good.” Mr. Smith noted that Mr. Temirkanov had successfully lobbied Mr. Putin for funding and that he was the first recipient of a new medal created by the president.Mr. Temirkanov after his farewell concert with the Baltimore Symphony Orchestra at Joseph Meyerhoff Symphony Hall in Baltimore in 2006.Brendan Smialowski for The New York TimesGregory Tucker, who had become close to Mr. Temirkanov as publicity director for the Baltimore orchestra, said that as Russian orchestras faced financial crisis in the post-Soviet era, Mr. Temirkanov “had a very frank discussion with Putin, that if the state doesn’t step up, these institutions won’t survive.”To his American associates, Mr. Temirkanov was a mysterious but compelling presence, a visitor from the lost world of the Soviet Union’s last years and a disciple of old modes of music instruction that now barely exist. The Baltimore Sun critic Stephen Wigler noted in 1999 that Mr. Temirkanov “doesn’t own a TV set and doesn’t even know how to drive a car.”He spoke English but hardly used it, and he did not go out of his way to cultivate audiences, though those who knew him in Baltimore said that this was less a sign of aloofness than of shyness.“My back must be to the audience, not to the orchestra,” he told The Sun. “When I conduct, I am like an actor, I am talking to the audience, but the words belong to the composer, and I am just the vessel through which they pass.”In 2005, the critic Anne Midgette wrote in The New York Times: “‘Unpredictable’ is a word that has consistently cropped up in assessments of Mr. Temirkanov’s work. And it seems to apply not only to his conducting — which he does without a baton, using circular hand motions that can seem enigmatic to outsiders — but also to his musical tastes and, indeed, to the man in general.”He was known to audiences around the world. Over his career he variously conducted the Berlin Philharmonic, the Vienna Philharmonic, the Staatskapelle Dresden, the London Philharmonic, the London Symphony, the Royal Concertgebouw Orchestra in Amsterdam and the Chicago Symphony Orchestra, among other ensembles.His arrival in Baltimore was greeted with some astonishment: A world-class conductor was coming to an orchestra that, although considered good, was not in the country’s top five. The city had “landed a big one,” a Sun editorial said in 1997. The tone was set for an awed and respectful relationship.For the musicians who played under Mr. Temirkanov in Baltimore, the experience was unlike any they had had with any other conductor.“He was very much into expressiveness, through hands and body movements,” Jonathan Carney, the Baltimore Symphony’s concertmaster, said in a phone interview. “It was like a ballet, watching him. He was not into controlling an orchestra. He was trying to entice us to go into a certain direction. For me, it was like watching a poet on the podium.”That Mr. Temirkanov used few words only added to his aura and helped create a “certain almost fear that you would have,” Michael Lisicky, the orchestra’s second oboist, recalled. Yet, he said by phone, “he would sing the phrase back to you. Everything, when he sang it back to you, it made sense.”“You never knew what he was thinking,” Mr. Lisicky said. “He kind of gives you these hand gestures, as if he was blessing you.”In an interview from his home in Prague, the pianist Evgeny Kissin, who played with Mr. Temirkanov many times over the years, said simply, “He was an extraordinary man.”Mr. Temirkanov conducted the Royal Philharmonic Orchestra during a rehearsal in London in 1979. He was named the orchestra’s principal guest conductor in 1980 and later became its principal conductor.Popperfoto, via Getty ImagesYuri Khatuyevich Temirkanov was born on Dec. 10, 1938, in Nalchik, the capital of the southern Russian republic of Kabardino-Balkaria, in the Caucasus. He was the son of Khatu Sagidovich Temirkanov, the republic’s culture minister, and Polia Petrovna Temirkanova. His father was shot and killed by the Nazis when Germany invaded Russia in 1941; shortly before that, Sergei Prokofiev and his wife, who were evacuees, had stayed with the family.Mr. Temirkanov studied violin at the Leningrad Conservatory, graduating in 1965. He won a prestigious Soviet competition in 1968 and was named music director of the Leningrad Symphony Orchestra the next year.After becoming director of the Kirov Opera in 1977, he was named principal guest conductor of the Royal Philharmonic Orchestra in London in 1980. (He would later become the orchestra’s principal conductor.) In 1988, he was named principal conductor of the Leningrad Philharmonic (later the St. Petersburg Philharmonic).Mr. Temirkanov remained active as a conductor roughly until the onset of Covid in 2020, Mr. Tucker said.Mr. Temirkanov’s son, Vladimir, a violinist in the St. Petersburg Philharmonic, and his wife, Irina Guseva, died before him. No immediate family members survive. More

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