Then and Now: Recalling the places of South Gardner along East Broadway
The neighborhood is a unique village with a history all its own
Mike Richard
Special for The Gardner News
Out of all the neighborhoods in Gardner, there is no question that the area affectionately known as “South Village” has been around the longest. In addition, you won’t find many citizens any more rabid for their section of town than the South Gardnerites.
It was in this section of town that Gardner’s first settler, Elijah Jackson, erected his home, the famed Public House known as “Jackson Tavern.”
What’s It Like to Be a Museum Horticulturalist? For the Isabella Stewart Gardner’s Gardener, ‘You Never Get to the Bottom of Your Curiosity’
Erika Rumbley talks about keeping the many surprises at the Boston museum, and installing her new holiday chrysanthemum display.
December 17, 2020
The courtyard at the Isabella Stewart Gardner museum. Photo courtesy Ally Schmaling and the Isabella Stewart Gardner Museum.
Is there any American art institution more steeped in mystery and intrigue than Boston’s Isabella Stewart Gardner Museum?
Born in 1840, Isabella Stewart Gardner, the museum’s founder and namesake, was easily one of the most colorful and talked-about women in Boston society. A dedicated patron of the arts, she collected works by the likes of Titian, Rembrandt, Michelangelo, Botticelli, Manet, Degas, and John Singer Sargent, with whom, over the course of 30 years, she became especially close. She kept all her treasures artworks, antique furniture, and corresponden
When Bostonâs music scene was built on Beethoven
By Jeremy Eichler Globe Staff,Updated December 10, 2020, 4:42 p.m.
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The city s fascination is mirrored by a 7-foot statue, which arrived to much fanfare more than 160 years ago.Lane Turner/Globe Staff
This Wednesday, Dec. 16, is Beethovenâs 250th birthday, an occasion for celebration. Yet even before the pandemic shut down normal concert life, exactly how best to celebrate has not been a simple question.
Some composers are desperate for the attention that major anniversaries bring. But what does it mean to give special consideration to a composer whose music is already ubiquitous, a figure who dominates orchestral programming to the extent of crowding out too many other voices? Calls to extravagantly mark the Beethoven year can sometimes feel a bit like calls to celebrate white menâs history month. Even without a formal designation, it already comes â every month. And similarly, in concert hall