Jonathan Blumhofer
Franz Peter Zimmermann’s rendition of Stravinsky’s Violin Concerto overflows with style and character; James Ehnes’ version is generally warmer and more relaxed, though it doesn’t lack for rhythmic zip.
Violist Timothy Ridout’s new double-album “A Lionel Tertis Celebration” is heartily recommended; soprano Asmik Grigorian’s “Laws of Solitude” not so much.
Jeremy Eichler calls on hearers to engage in “deep listening,” by which he means engaging the mind and heart not just with the music, but also with the historical, cultural, and artistic contexts that gave rise to it.
“Maestro” is raw and unsparing but also full of understanding, grace, and honesty. This compelling drama brings to life the man and woman behind an extraordinary amount of musical activity, with many of their shortcomings and contradictions fully intact.
Missional zeal from the Fort Smith Symphony and an electrifying performance from the Cincinnati Symphony Orchestra.
Spiffy discs of French music featuring the Orchestre National de Lyon led by Nikolaj Szeps-Znaider and François-Xavier Roth and Les Siècles.
An admiring review of the latest disc from Hermitage Trio and praise for Boston Philharmonic and Boston Philharmonic Youth Orchestra concerts earlier this month at Symphony Hall.
The final installment in the Boston Symphony Orchestra’ s Shostakovich symphonies series is not nearly as overwhelming as its kick-off disc.
The Emerson String Quartet concludes its recorded legacy pretty much the way it began it — in musical glory. Robert Trevino and the Orchestra Sinfonica Nazionale della RAI’s Respighi has plenty of spirit and heart.
Music Commentary: In Memoriam, Seiji Ozawa (1935-2024)
Taking in the totality of Seiji Ozawa’s life and career, it seems clear that Boston got him in his prime and that he largely returned the favor, ingratiating himself with the community, at times truly elevating the BSO while conveying a lot of joy and energy in the process.
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