This week is a rare performance of the Mahler version of Beethoven’s Eroica. What the heck does that mean? And why would anyone mess with a masterpiece? Kurt Loft explains today on the TFO blog.
About Kurt Loft
Freelance writer Kurt Loft's vast knowledge of The Florida Orchestra and classical music comes from his 27 years as a critic at the Tampa Tribune, from 1981 to 2008. He continues to attend Florida Orchestra concerts and write for various media.
Entries by Kurt Loft
It’s Opening Week! Find out more about your favorite earworm works – Bolero! Grieg’s Piano Concerto! — and how they reflect Tampa Bay’s culture, today on the TFO Blog.
World-class pianist Anne-Marie McDermott talks about what goes through her mind – or not – as she performs Mozart’s Piano Concerto No. 27 this weekend with TFO, including a bonus Inside the Music concert.
“Classical rock star” Joshua Roman performs the Bates Cello Concerto, written just for him. What’s it like to work with a composer who’s alive? Today on the blog.
When beloved maestro Thomas Wilkins returned to conduct Gershwin this week, it was like coming home – and not just because he still lives in Tampa Bay. Read about the former TFO conductor and this weekend’s concerts on the blog.
Composers often use the orchestra like a giant paintbrush, splashing colors across an imaginary canvas, evoking ideas and images through a bundle of instruments.
To say the earth will tremble this weekend when The Florida Orchestra stages Verdi’s Requiem seems a bit dramatic. But that’s Verdi for you.
In the summer of 1981, I had the privilege of an invitation for lunch at the St. Petersburg home of Irwin Hoffman and Esther Glazer. It was a hot day, and soon after greeting me at the door, the couple offered a pitcher of lemonade and sandwiches ─ and a genuine curiosity about the 25-year-old journalist sitting in their living room.
You know you’re getting old when you find in a desk drawer a ticket stub to the opening of The Florida Orchestra’s 1981-82 season.
Eighteen years ago, I spent an afternoon at the Brandon home of Michael Ippolito, where he sat at the piano talking about his newly composed Rhapsodie Pathetique. He played a passage and looked at me, confidently. “I’m the piano,’’ he said, “and the orchestra is the world.’’