Jonathan Blumhofer
A three-movement concerto for violin and orchestra, “Dependent Arising” fuses the worlds of heavy metal, punk rock, and 20th-century classical composition into a furious, frenetic, sometimes tortured thirty-minute whole.
Ultimately, then, we’ve got something special here: a fresh take on some canonic works by a conductor and soloist whose bread-and-butter is this very fare.
Move over, Beethoven, Rachmaninoff, and Bartók: the pantheon of great Third Piano Concertos is growing.
This new recording of Charles Villiers Stanford’s”Requiem” by Martyn Brabbins, the City of Birmingham Symphony Orchestra (CBSO), and the University of Birmingham Voices, is beautiful and often memorable.
An album that does admirable justice to one of the most prolific, significant, and increasingly long-lived composers of a remarkable generation.
Randall Goosby’s sophomore album proves that the violinist is the real deal.
This is an album of top-notch orchestral playing. Yet the real star is Karina Canellakis.
In place of coherent, in-depth analysis, the author has provided us with a series of short profiles on various individuals, some of them familiar, others less so. The tack presents problems that can’t be overcome.
The best items in this all-Mozart album are the concertos.
Violinist Maria Ioudenitch seems to know how to get directly at the expressive core of this fare without devolving into showboating or histrionics.
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