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On Sept. 14, Crescendo, the award-winning music program based in Lakeville, will present a harpsichord solo recital by Kenneth Weiss in honor of world-renowned harpsichordist Wanda Landowska. Landowska lived in Lakeville from 1941 to 1959. Weiss is a professor at the Paris Conservatoire and has taught at Julliard. Born in New York, he now resides in Europe.
Weiss will play selections from “A Treasury of Harpsichord Music.” It includes works by Baroque composers such as Bach, Mozart, and Handel. It was recorded by Landowska at her Lakeville home, at 63 Millerton Road, which overlooks Lakeville Lake. Weiss said, “I am honored and excited to play in Lakeville, where Wanda Landowska lived.”
Landowska fled Nazi Germany in 1941 with two of her students one of whom was Denise Restout, who later became her companion of many years, and a harpsichord in a box. They landed in New York. Landowski performed the Goldberg Variations of Johann Sebastian Bach at New York Town Hall to “Incredible success.” She then looked around for a place to live and found Lakeville where she resided until her death in 1959.
Kenneth Weiss made “a pilgrimage “to Lakeville in the 1980’s. “Madame Restout received us in the kitchen of the home she shared with Landowska. From the two Pleyel Harpsichords to Landowska concert gowns on display it felt as if Landowska had just stepped out.”
Madame Wanda Landowska, world famous harpsichordist and resident of Lakeville from 1941 until her death in 1959, will be honored in a concert presented by Crescendo and featuring a performance by Kenneth Weiss, renowned harpsichord soloist and professor at the Paris Conservatoire.Provided
Wanda Landowska was a child prodigy. Christine Gevert, Founding Artistic Director of Crescendo said that Landowska “went way beyond the harpsichord to other instruments.”
Landowska commissioned music from composers and wrote some of her own. She also had harpsichords built to order. She founded a music school in Paris where she “invited her students to come and stay on the property as if they were her own children.” She often became a lifelong mentor to students.
Landowska also authored many articles, some of which were translated from Polish and French and made into a book by her life partner Denise Restout who was left to take care of Landowska’s legacy when she died. Most of Landowska’s papers are in the Smithsonian, unfortunately still boxed up.
One reason for Landowska’s fame was that “she changed the course of music and how people perceived and enjoyed it.” She had a Bauhaus architect, Jean-Charles Moreux, design a concert hall, near Paris in the 1920’s, which was filled with light, in contrast to most darkened theaters. She had a low stage built so she could be close to the audience and would bring a carpet and lamp from home “to create ambience” said Gevert. Landowska had a “Holistic concept and made performances more attractive and accessible. She was one of the first performers to talk to the audience.”
The concert will be at the Lakeville Methodist Church at 6 p.m. on Sept. 14. It is presented with special support by Leszek Wojcik, famed Carnegie Hall recording engineer who lives in Lakeville. Wojcik “understands the importance of Landowska’s legacy,” said Gevert, and works with Crescendo to preserve it.
Tickets are available at www.crescendomusic.org or at the door, first come, first serve, forty-five minutes before the concert. Prices are forty dollars for general seats, ten dollars for youths or seventy-five for an up-close seat.
Support for the concert has also been provided to Crescendo by the Connecticut State Department of Economic and Community Development/Connecticut Office of the Arts (COA) from the Connecticut State Legislature, and NBT Bank.
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Silent cinema, live magic
Sep 11, 2024
Natalia Zukerman
On Saturday, Sept. 7, Gordon Hall at Music Mountain was transformed into a time machine, transporting the audience for a 1920’s spectacular of silent films and live music. Featuring internationally acclaimed silent film musicians Donald Sosin and Joanna Seaton, the evening began with a singalong of songs by Gershwin, Irving Berlin and more. Lyrics for favorites like “Ain’t We Got Fun,” “Yes Sir That’s My Baby,” and “Ain’t Misbehavin’” were projected on the screen and Sosin and Seaton lead the crowd with an easeful joy. The couple then retreated to the side of the stage where they provided the live and improvised score for Buster Keaton’s 1922 short, “Cops,” and his 1924 comedy, “Sherlock Jr.”
Joanna Seaton and Donald Sosin, a husband-and-wife duo, have crafted a singular career, captivating audiences at some of the world’s most prestigious film festivals—New York, TriBeCa, San Francisco, Seattle, Denver, Telluride, and Yorkshire among them. Their performances have graced venerable institutions like MoMA, Film at Lincoln Center, the AFI Silver Theatre, and Moscow’s celebrated Lumière Gallery. Their melodic journey has taken them to far-flung locales such as the Thailand Silent Film Festival and the Jecheon International Music and Film Festival in South Korea. Notably, Seaton and Sosin have become a fixture at Italy’s renowned silent film festivals in Bologna and Pordenone, where they perform annually.
In addition to their festival appearances, they have brought their artistry to Yale, Harvard, Brown, Cornell, and Emory Universities, where they are frequently invited to present workshops on silent film scoring and songwriting. Their contributions to silent cinema are further immortalized in over sixty-five DVD scores for silent films, released by Criterion, Kino, Milestone, Flicker Alley, and other prominent labels.
Seaton, a Manhattan native with a degree in Theatre Arts from Cornell University, has been lauded by The New York Times as a “silvery soprano.” Her theatrical résumé spans more than eighty Off-Broadway, regional, and stock productions, and her vocal prowess has earned her a collaboration with jazz legend Dick Hyman at the 92nd Street Y. Sosin, originally from Rye, New York, and Munich, studied composition at the University of Michigan and Columbia University before spending years on Broadway. His compositions have been featured on PBS and TCM, as well as providing the sonic backdrop for network soap operas and contemporary films.
The duo delivered a raucous, high-energy score for the two Buster Keaton films, bringing an infectious spontaneity to every note. Remarkably, as they reminded the audience, Seaton and Sosin were improvising the entire performance, yet their music perfectly matched Keaton’s subtle wit, wild gags, and iconic physical comedy. Percussion, sound effects, and melody wove together effortlessly, amplifying the humor on screen and transforming the viewing into a riotous, laugh-out-loud experience. Their playful synergy with Keaton’s films made the music feel like an integral part of the action, rather than mere accompaniment.
The couple currently reside in Lakeville, where their shared love for film and music continues to enrich both their own lives and provide wonderful entertainment for the wider community.
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Desperately seeking Susan Seidelman
Sep 11, 2024
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On Thursday, Sept. 19 at 6 p.m., Haystack Book Talks will present a special evening with director Susan Seidelman, author of “Desperately Seeking Something: A Memoir About Movies, Mothers, and Material Girls.” Part of the Haystack Book Festival run by Michael Selleck, the event will take place at the Norfolk Library, featuring a conversation with Mark Erder after a screening of the 1984 classic, “Desperately Seeking Susan.”
Susan Seidelman’s fearless debut film, “Smithereens,” premiered in 1982 and was the first American indie film to ever compete at Cannes. Then came “Desperately Seeking Susan,” a smash hit that not only solidified her place in Hollywood but helped launch Madonna’s career. Her films, blending classic Hollywood storytelling with New York’s downtown energy, feature unconventional women navigating unique lives. Seidelman continued to shape pop culture into the ’90s, directing the pilot for “Sex and the City.” Four decades later, Seidelman’s stories are still as sharp, funny, and insightful as ever.
Susan Seidelman on set.Courtesy of MGM
Interview
Natalia Zukerman: How has it been for you watching the film all these years later?
Susan Seidelman: It’s been interesting to watch it with multi-generational audiences. You never know whether something’s going to pass the test of time, but I think it does.
NZ: You write in the opening of your memoir, “If how one sees the world is a reflection of who they are (and I believe it is), then you can look at the world reflected in any of my films and see little pieces of me. Like Where’s Waldo? I’m hidden somewhere in each of them.” So where are you hidden in “Desperately Seeking Susan?”
SS: Well, I’m not so hidden in that. I’m a little bit of both characters, really. I mean, I was a girl who grew up in the suburbs, but I was also that rebellious girl from the suburbs who moved to New York City to live a different kind of life. It’s really about wanting to be your authentic self, that within all of us, there’s this other person that we sometimes want to let out.
NZ: Was there pressure for you to top the success of “Susan”?
SS: You know, no one expected this movie to be successful. It was made for $5 million, which for a studio movie was low. We shot it in New York, and the studio in LA kind of thought, “Oh, it’s just a little bit of money, we’ll leave them alone.” And then surprisingly, Madonna became such a superstar at the exact moment that we were making the movie. That was something that we couldn’t have planned any better. So, suddenly the film got way more attention critically as well as commercially than we ever expected. I knew that at some point, people were looking over my shoulder saying, ‘What are you going to do next?’ People were paying attention.
NZ: And was that hard or demanding of you in a new way?
SS: There’s something in the film industry called “the sophomore slump” so I knew that whatever I did next was going to be viewed differently because of the success of “Susan.”
(Seidelman’s third film was “Making Mr. Right” which came out in 1987 and starred John Malkovich and Ann Magnuson.)
SS: “It’s an AI romantic comedy. It’s about a woman who falls in love with an android that she gets to program. It’s sort of a Pygmalion story. She creates what she thinks is the perfect man, and then she falls in love with her creation.
NZ: Tell me about “Sex and The City.” How did that come about?
SS: That came about because Darren Star was a fan of “Desperately Seeking Susan” and a few of my other movies that are about New York City as much as they are about the characters. He wanted “Sex and The City” to be about the women, but to also be about the city. So, he contacted me, which was interesting because I never really wanted to work in television. Back then, it was kind of like the ugly stepsister to the movie business. I mean, it was great for writers because there was some wonderful writing going on. But by the mid late 90s, HBO and Showtime really reinvented television and suddenly TV didn’t look like TV anymore — the language was bolder, the themes were more adult. So, when I got the script and I first heard it was going to be a pilot for a TV series, I was not that excited about it. And then I read the pilot, and I thought, ‘Wow, this is pretty amazing.’ The writing was smart, and it was about women in their mid 30s, and there weren’t that many shows that starred women of that age at that time.
NZ: So how old are you now, may I ask?
SS: 71
NZ: Incredible. And how do you feel?
SS: I feel good. I mean, I think another factor of why I wanted to write this book was because suddenly I felt I was old enough to kind of look back on my career with enough objectivity, with a filter of time, and with enough to say about it and maybe enough distance. And I can’t believe it’s been more than 40 years now. You know, I didn’t want to tell tales out of school or be snarky or vindictive. It wasn’t about airing dirty laundry or anything. I wanted to tell my story from the inside out. I mean after 40 years of reading other reviewers or people writing about what they thought I was doing or thought my motivation was, I thought it was time to do it myself.
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