Jonathan Blumhofer
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.
We’ve got ourselves another winner in this ongoing Pittsburgh/Beethoven series. Warmly recommended.
This is the definitive recording of William Bolcom’s rags, complete or excerpted: a triumph for the pianist and the composer – as well as a grandly spirited, accessible, inventive journey for any who care to join them on it.
The album serves up exceptional stuff, even if the program’s a touch macabre and pianist Orion Weiss’s well-written liner notes make uncomfortable connections between the world of pre-World War 1 Europe and our own pandemic-riddled age.
What might be the most impressive feature of this disc: everything on it was written for The Claremont Trio since 2008. The album stands as a shining testament to their adeptness as an ensemble as well as their curiosity as musicians.
Nazareno is bright, often joyous, and easy on the ears. That ought to count for something.
Violinist Lea Birringer’s performance of the Christian Sinding selections are impressive. Her Mendelssohn Violin Concerto, though, is missing drive, excitement, and passion.
When There Are No Words presents six pieces written between 1936 and 1980 by composers responding (at least seemingly) to contemporaneous political events and situations.
Marvelously accomplished albums from American mezzo-soprano Joyce DiDonato and Canadian soprano Barbara Hannigan.
Two first-rate albums: pianist Lara Downes successfully reconsiders Scott Joplin and the New York Youth Symphony plays Florence Price and others with panache.
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