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Wednesday, May 07, 2008
Carter Emmart: Astrovisualization Domine

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Sure, Google Earth might be impressive with its ability to let you comb the planet and see the street level view of your home, but if you’re looking for a truly out of this world experience then test-fly the Digital Universe Atlas of the American Museum of Natural History’s Hayden Planetarium. You can download free software to begin a personal expedition of the Galaxy.

One of the major forces behind this celestial magic is Carter Emmart, Director of Astrovisualization at the Hayden Planetarium. For more of his work, spend some time browsing the Astrophysics Visualization Archive with video clips that demonstrate astronomical or astrophysical phenomena.

Emmart will stay grounded long enough to lead a discussion at the Y on May 14 to help answer the question, “Should We Go Back to the Moon?” Former astronaut Buzz Aldrin thinks so. NASA plans to go to the moon no later than 2020 and start a permanent base there by 2024. The reason seems simple—we need energy, and it’s there! Hear more about the plans and who will go.

Previously: Space Age Fantasies and Realities: The Moon, Mars and Beyond



Two Notes: Brentano String Quartet and Kalichstein- Laredo- Robinson Trio

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2 Notes = Quartet + Trio

  • Alex Ross writes about the Brentano String Quartet—which he calls “one of America’s finest, brainiest young quartets"—in a recent issue of The New Yorker:

    The scholar Michael Spitzer, in a recent book entitled “Music as Philosophy: Adorno and Beethoven’s Late Style,” amplifies the point, saying of the first movement of Opus 127, “Each of the movement’s ostensible eccentricities actually has a precedent in Classical practice.” The Brentano players underlined such subtleties throughout. As Steinberg observed, in remarks from the stage, the quartet begins with emphatic, maestoso music in E-flat major, the key of Beethoven’s revolutionary, middle-period “Eroica” Symphony. Then, in the sixth bar, the heroic fades into something much more intimate and introspective. The maestoso chords return twice more, but after an expectant bar of silence they don’t appear again, and the inward mood prevails, setting the stage for the great fifteen-minute Adagio that is the heart of the piece. The Brentano managed to convey the fascinating discontinuities in the music without stinting on the fundamental eloquence of Beethoven’s hymnal writing. And, at the end of the Adagio, Steinberg rendered the closing solo in touchingly elegant, sweet-toned fashion—a case of a formula that somehow takes on transcendent meaning.

    The Brentano String Quartet will perform with Peter Serkin, piano and Richard Lalli, baritone at the Y in December.

  • On Monday, American Public Media’s Performance Today broadcasted segments of a concert at the 92nd Street Y featuring the Kalichstein-Laredo-Robinson Trio with violist Michael Tree and an interview with the musicians and composer Richard Danielpour whose work received its US premiere at the concert. You can listen to it here. The Kalichstein-Laredo-Robinson Trio return for the Chamber Music at the Y series in the fall.




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