Jonathan Blumhofer
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.
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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.
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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.
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Nazareno is bright, often joyous, and easy on the ears. That ought to count for something.
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Violinist Lea Birringer’s performance of the Christian Sinding selections are impressive. Her Mendelssohn Violin Concerto, though, is missing drive, excitement, and passion.
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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.
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Marvelously accomplished albums from American mezzo-soprano Joyce DiDonato and Canadian soprano Barbara Hannigan.
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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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Conductor Klaus Mäkelä may be young, but, on the merits of this set, he sure seems to be the real deal. Buckle up: this ought to be an exciting career.
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Cultural Commentary: The Gergiev Case
There are times – and we’ve been living in these for several years now – when boldness is required, especially from artists.
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