David Yearsley

David Yearsley is a long-time contributor to CounterPunch and the Anderson Valley Advertiser. His latest recording is Handel’s Organ Banquet. He can be reached at dgyearsley@gmail.com

“Strengthen the Breast and Open the Pipes!” Byrd, Callas and the Call to Song

Hands, Fingers, Nose and Throat: Re-Doing Dylan

Top of the Mormon

The Infant Revolution in Bach’s Christmas Music

Silenced Night: The Unheard Lesson of Lessons and Carols

Concert in the Colosseum: Grappling with the Soundtrack of Gladiator II

The Song Remains the Same: Detuning the Democratic Defeat

Monument to Music in Time of War: Samuel Scheidt’s Tabulatura Nova at 400

No She Couldn’t

Swing State Blues

Ives at Election Time

Sun King Playlists

In Praise of the First Piano Duets

Handel Organ Banquet

I Met Myself in the Afterlife

Kluge and the Comet: Actuarial Art in Space

The Romantic Body Behind the Redwood Curtain

Kind of Blue: Still on the Job at 65

Bill-Bored and Sha-Boozing

Bedeviled Democratic Song

Retroactive Update: A New Recording of Bach’s Sonatas for Violin and Keyboard

Olympian Water Music

The Political Lyre

Hymn from Hell:  Greenwood Burns for Trump

Practicing the Past

Gilded Age Organ Riches From Long A. G. O. and Last Week

Partenope by the Bay: Handel in San Francisco

Changed Circumstances: Out with Elgar’s Pomp

Sex, Death and Manuscripts: Anna Magdalena Bach Rises from the Dead

Bang for Your Bach

Tower of Power

Bach and the Beasts

No One’s Neutral Come Eurovision Time

Non-Silent Spring: Cornell’s Slope Day, 2024

The Three Bs: Borden, Burney, and Baseball

On the Road with Sasquatch

Sounding Out O.J.

Beach Art, Water Music

Opera Theatres of War: La Forza del Destino at the Met

Bach Hits the Road

Thaïs Takeout: The Taste of Things

Oscar’s Ring of Fire

Oscar and Caesar, Horner and Handel

Baby Bach Will be Heard

The Harrowing Heroism of Alexander Melnikov

LVIII Forever

Fugitive Music: The Zone of Interest and the Chorus of Souls

The Musical Patriot: Prelude to the Fall of the House of Usher

R.I.P., P. D. Q.

Concourse Contours: Satchmo and the Max Roach Centenary