Jonathan Blumhofer
The season-long celebration of the fiftieth anniversary of Benjamin Zander’s debut as a conductor, which gets underway later this month when the Boston Philharmonic Orchestra (BPO) returns to the stage, doesn’t stint on festive spirit.
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Augustin Hadelich has the feeling of this music – its bittersweet melodic phrases, dancing riffs, and restrained passion – well in hand.
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This recording presents one of the most lucid and well-programmed portraits of John Adams to emerge, well, in a long while.
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Soviet Armenian composer Aram Khachaturian, at his best, was compelling. Granted, he wasn’t working at this level in every piece. But most of his bigger works are better than not.
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For Derek Bermel fans, Intonations is a must. For new music enthusiasts and the otherwise curious – ditto.
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At its best, Steve Reich’s Conversations is illuminating and engaging, an honest discussion of the creative process by one of the major composers of our times.
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Nico Muhly’s writing in Stranger is of a type of post-Minimalism: often pulsing (or undulating) and rhythmically driven, though anything but harmonically simplistic.
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A serving of the essence of the music of John Corigliano: a blend of old and new, radical and traditional that has made him such a singular force in American music over the last fifty-plus years.
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Symphonic music wasn’t composer Florence Price’s strong suit. Rather, she was much more at home working in smaller forms or for her own instrument.
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We’ve got ourselves another winner in this ongoing Pittsburgh/Beethoven series. Warmly recommended.
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