Jonathan Blumhofer
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.
Soprano-conductor Barbara Hannigan’s semiquincentennial album reframes familiar American classics through a lens of wistfulness, insight, and quiet defiance.
A thoughtfully curated program uncovers surprising connections between George Gershwin and Vienna’s early 20th-century avant-garde.
With Carlos Simon’s “Four Black American Dances,” the Pittsburgh Symphony offers a thoughtful and resonant recontextualization of Dvořák’s Ninth.
Andris Nelsons and the Vienna Philharmonic deliver a polished but curiously inert reading of a symphonic powerhouse.
A polished, detail-rich account of two lyrical concertos, distinguished more by clarity and refinement than by risk or fire.
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