Jonathan Blumhofer
Simone Dinnerstein and A Far Cry brought warmth, virtuosity, and strikingly inventive instrumental color to an expanded version of Bach’s keyboard masterpiece at Jordan Hall.
Claire Chase and her collaborators make a persuasive, vivifying case for Terry Riley’s hourlong score of freewheeling fantasy, grief, birdsong, and release.
In “Silent Depths,” Kristian Sensini responds to the suffering of civilians in the West Bank and Gaza with sincere, accessible music that ultimately needs greater tension and complexity.
Curtis Stewart transforms two dozen American songs into inventive, virtuosic studies for solo violin.
On its lively new recording, the Boston chamber group gives buoyant, colorful, and sharply characterized performances of three works by a longtime MIT composer.
The sisters’ new ECM recording catches the volatile interplay of lyricism and menace in a compellingly programmed set.
Violinist Anne-Sophie Mutter’s latest Alpha recording pairs two late works by André Previn with Sebastian Currier’s witty, searching “Ringtone Variations.”
Douglas Tirola’s documentary draws on a remarkable archive to make Leonard Bernstein’s musical, political, and moral commitments feel urgently contemporary.
A Singapore Symphony Orchestra recording of compositions by John Williams, Bernard Herrmann, and Hugo Friedhofer quietly punctures old prejudices about film composers and “serious” music.
Arts Commentary: Trump’s War on the Kennedy Center Is a War on Culture Itself
His threatened destruction of the nation’s living memorial to John F. Kennedy exposes not merely an assault on a building, but the petty authoritarianism, civic vandalism, and cultural contempt driving his presidency.
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