Jonathan Blumhofer
A persuasive case for MacDowell’s orchestral voice, led by pianist Xiayin Wang and conductor John Wilson.
Michael Krielaars’ portrait of Soviet musicians reveals art shaped—and warped—by fear, ideology, and longing.
The Neave Trio’s new album is as well recorded as it is programmed and played.
This a superb album, smartly programmed and brilliantly played.
If there’s anything the U.S. needs in 2026, it’s a recovery of Lincolnesque values—resolve, common sense, understanding, and charity. If such a renewal can get some impetus and sense of direction from a new recording, so much the better.
It’s hard to argue that the decision to forge careers as composer-pianists in the teeth of fin de siècle misogyny and rock-set views of musical gender roles wasn’t an act of defiance.
What have Donald Trump and John F. Kennedy got in common? Besides the office they hold, not much. Certainly not an appreciation for the arts: Trump is to the field what McDonald’s is to fine dining.
Our classical music critics supply their favorites, albums and concerts, from over the past year.
Though none of the works exhibit the stylistic flashiness of Fernande Decruck’s better-known contemporaries, they all suggest a musician of singular—and sometimes idiosyncratic—vision.
Arts Commentary: The Nelsons Case
Ultimately—and regardless of one’s take on Andris Nelsons as an artist—it’s hard to see how the institution’s long-term interests are served by last week’s developments.
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