Saturday, September 12, 2026

News and Ideas Worth Sharing

Larry Wallach

Larry Wallach is the Livingston Hall Chair in Music at Bard College at Simon’s Rock, where he has taught for five decades. He is a performer, composer, musicologist, and educator whose interests span the history of Western music up to the present day, with particular focus on baroque and modern repertories. He has published articles about Charles Ives and Johannes Brahms, and as pianist performed all the Ives violin sonatas. He is a founding board member of the Berkshire Bach Society. Dr. Wallach is active as a keyboard player on harpsichord, organ, and piano, collaborating with Ronald Gorevic, Paul Green, the Avanti Wind Quintet, John Cheek, Daniel Stepner, Stephen Hammer, Lucy Bardo, Paul Green, Susanna Ogata, Allan Dean, Ronald Barron, the Berkshire Bach Society chorus, Crescendo, and Anne and Eva Legêne. He has organized and performed in a concert for the Bard Retrospective Festival for Charles Ives in 1996, for the Housatonic River Festival Concert in 2004, for the Boston Early Music Festival in 2009, and for a program of music for four harpsichords that was performed in Norfolk CT, Great Barrington, MA, Albany NY and Hunter NY in 2009 and 2010. His compositions, primarily of chamber music, have been performed in New York, New England, Texas, California, and elsewhere. In 2020, his orchestral composition “Species of Motion” was recorded by the Janacek Philharmonic in the Czech Republic. He started writing music reviews for the Columbia College newspaper and resumed in 2009 for the Berkshire Review of the Arts.

written articles

CONCERT REVIEW: Conductors — who needs ’em?

. According to the program, this was an homage to the “democratic spirit” of America on its 250th birthday and the start of a summer’s worth of anniversary observances at Tanglewood.

CONCERT REVIEW: Thoughtful program meets youthful fire with Solomon Ge at Tannery Pond

This was a serious program assembled by an artist who trusted his audience to listen with open minds and trusted himself to deliver performances of such power and eloquence that his listeners would be compelled to enter into the experience.

CONCERT REVIEW: The Next Festival offers an expansive view of ‘American music’

Conductor Peter Askim’s expansive definition of “American music” was a necessary monkey wrench thrown into the contemporary machinery of cultural nationalism that is showing such an ugly face here and elsewhere in the world.

CONCERT REVIEW: Saint Matthew, Bach, and Berkshire Lyric offer the ‘Passion’ at Ozawa Hall

At over three hours in duration, "Saint Matthew Passion" moves swiftly and is packed with as much (or more) food for thought as the 14-plus hours of Wagner’s “Ring,” and it expresses a unique and objective sense of moral and spiritual authority that is neither mystical nor self-indulgent.

CONCERT REVIEW: Warm strings, live performances stave off the cold and wet

Staunch music lovers remained swathed in their protective layers as they occupied folding chairs in the chilly building, anticipating chamber music that would hopefully stimulate their hearts to keep sending blood to their cold extremities.

CONCERT REVIEW: Grand and intimate music on the Roosevelt Organ in Great Barrington

Acoustics aside, this was an imaginative program of less familiar works, thoughtfully assembled and skillfully performed.

Remembering Michael Tilson Thomas

Michael Tilson Thomas became the most articulate spokesperson for classical music since Leonard Bernstein.

Boston Symphony DNA Lives On: Large-ensemble chamber serenades at Tanglewood Learning Institute

Members of the orchestra were collectively adept at crafting interpretations that were beautifully conceived and rendered, full of a lively character, precise coordination, and unanimity of execution that spoke to a powerfully shared orchestral culture.

CONCERT REVIEW: The Johnson Organ punches above its weight

The ingeniously assembled collection of works offered mostly unfamiliar fare up until the final work, which is one of the greatest masterpieces in Bach’s canon, for organ or otherwise.

CONCERT REVIEW: A study in contrasts in American Music — Ives and Beach performed at the Linde Center

The two works on the program underscored the stylistic divergence of these two composers.

CONCERT REVIEW: ‘Cinematic Refuge’ exercises the imagination

The unique program assembled by the Catalyst Quartet, titled “Cinematic Refuge,” focused on the idea that films provide an escape from everyday life while offering intense engagement with emotional experiences.

Catching up on two concerts, Part Two: The ‘Joy of Sextets,’ renewed — Dvořák and Ortiz at the Linde Center

This is music that never really stands still, and the entire half-hour duration of the work seemed to go by in a flash of fresh inspiration and good spirits.

Catching up on two concerts: Part One

It seems apt that a program which demonstrates the diversity of cultural influences characteristic of American music should serve to support a community library, where minds can be opened and local neighbors can learn about their ties to the larger national family.

CONCERT REVIEW: Restoring Bach’s voice — Kenneth Weiss’s ‘Goldberg Variations’

While there are many facets of this complex work that can be revealed by other versions, which might make use of expanded dynamic and coloristic capabilities, it is completely possible to reveal the inexhaustible variety of color and character within the limits of the instrument that Bach intended.

CONCERT REVIEW: Energy, emotion, entertainment — The Terra Quartet a year later

In addition to providing a richly enjoyable program, the group itself displayed an increased cohesiveness and richness of sound.

CONCERT REVIEW: Dancing to success, defying fate — The final TMCO concert

It was a great way to conclude a summer in which the Tanglewood Music Center Orchestra reached a level of excellence on which it would be difficult to improve.
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