Essays About remembrances

Losses

by D. Kern Holoman Robert Commanday(1922-2015)San Francisco Conservatory To ponder the successive losses of Andrew Porter last April and, this week, of Bob Commanday is, necessarily, also to mourn their profession and to wonder anew what will become… Read More

Remembering Alan Curtis

by Davitt Moroney Alan’s death is a sad shock. For those who don’t know the details (which I received from Jennifer Curtis, his first wife—and daughter of the Charles Cushing, legendary professor in our own department), he died on his way into the hospital where he had an appointment to… Read More

Alan Curtis

Alan Curtis died unexpectedly in Florence on Wednesday, 15 July 2015. He was 80. Wendy Heller writes from Princeton: Alan’s contributions to our discipline have been so numerous, it is hard to even known where to begin. An extraordinary harpsichordist and conductor, a kind, gentle, and generous… Read More

Thoughts on Gunther Schuller

in memoriam Gunther Schuller 22 November 1925 – 21 June 2015 by Barry Kernfeld After suffering through an endless string of jazz concerts ruined by overly aggressive sound men, I gave up entirely on live jazz and am spending the last part… Read More

William Scheide 1914-2014

Bill Scheide was known to musicians everywhere as owner of the Haussman portrait (second version, 1748) of J. S. Bach, widely known as “the Scheide Bach portrait.” It hung in his living room, where it was pretty well open to… Read More

Lorin Maazel (1930–2014)

New York Philharmonic The death, at his home in Virginia, of Lorin Maazel follows the losses in short succession of three other leading conductors of the post-Bernstein/ Karajan era: Colin Davis (1927–2013), Claudio Abbado (1933–2014), and Rafael Frühbeck de Burgos (1933–2014). I had… Read More

Joe

by D. Kern Holoman Joseph Kerman at 60 Just before his 60thbirthday, after Andrew Porter had (yet again) cited Opera as Dramain that week’s New Yorker, I asked Joe what it what it was like to be so… Read More

Remembering Joe Kerman

Sarah Fuller I came to graduate study at Berkeley in 1961 as someone unschooled in the labyrinths and habitudes of musicology and with great gaps in cognizance of repertory, and Joseph Kerman became a formative guide to me. I recall especially my two first-year seminars with him. One dealt… Read More