Jonathan Blumhofer
Baritone Will Liverman is emerging as a musician with a capital “M,” one whose thoroughgoing approach to the craft is singularly illuminating, inviting, and affecting.
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That composer Anna Clyne is a gifted miniaturist is evident in “Abstractions”, a set of five movements offering musical commentary on the works of five contemporary visual artists.
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This collection of ten items by the Soviet-era great manages to be more than a parade of mere curiosities.
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This fine album demonstrates that the music of neglected, mixed-race English composer Samuel Coleridge-Taylor is well worth resurrecting.
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Pianist Yulianna Avdeeva’s recording of Dmitri Shostakovich’s Preludes & Fugues is a testament to that rarest of syntheses: a total identification of a musician with her repertoire. Pianist Marc-André Hamelin and the Takács Quartet release an album that, on so many levels, is simply a joy.
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What business has a period orchestra got playing the music of Anton Bruckner? And why can’t conductors and orchestras just leave Gustav Holst’s “The Planets” alone?
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Mother Nature provided singular and poetic assistance during Sunday’s afternoon outing at Tanglewood.
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At its best, Mark Twain emerges in this biography as much a live wire as ever: brash, outspoken, and overflowing with exasperating contradictions.
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Could it be that Erich Wolfgang Korngold’s Symphony in F-sharp is the big kahuna of our symphonic music?
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Composer Michael Daugherty’s lovely survey of 20th-century touchstones continues; violinist Philippe Quint plays a lineup made up (mostly) of commissions.
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Arts Remembrance: In Memoriam — Tom Stoppard