Jonathan Blumhofer
Florence Price’s voice and the richness and complexity of an almost-entirely neglected body of symphonic music by Black American composers can be heard in this excellent recording.
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This is an album of real spirit and vigor, a mix of the thoughtful and the exciting, all bracingly recorded.
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This weekend’s concerts all add up to a quintessential Symphony Pro Musica event: a mix of the familiar and unexpected, with various old friends coming by to visit along the way.
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Beethoven never left Europe. But he could have. And the possibility that he might have visited Boston is the basis of Paul Griffiths’ touching, witty, and thought-provoking new novel.
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May the Boston Symphony – which just concluded its annual weekend celebrating the music of Black composers by shunting them off on their own, away from Rachmaninoff, Strauss, Beethoven, and Friends – take note: this is how it should be done.
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A terrific album, commandingly played, that adds to our knowledge and appreciation of this too-long neglected repertoire.
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This was an epic performance of an epic piece, steeped in Brucknerian character.
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Andris Nelsons’s conception of Strauss’s Tod und Verklärung was impressive, marked by strong contrasts of character, flexibility of phrasing, and a commendable grasp of musical space.
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I’m not entirely sure if Enigma just adds up to the sum of its parts or if it, in fact, exceeds them. Either way, it is music of stirring, striking originality.
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For Benjamin Zander and his musicians – as for all of us – it was a strange, even desperate, several months.
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