Jonathan Blumhofer
Perhaps the book’s most impressive accomplishment is to make a kind of systematic case for Leonard Bernstein’s larger compositional output.
A pianist of real character and refinement – plus a huge career in Europe – Lucas Debargue was on hand to lend his musicianship to a relatively rare outing of Franz Liszt’s Piano Concerto no. 2.
Arnold Rosner’s writing in each act is strongly contrapuntal, metrically unpredictable, and idiomatically scored. The music is marked by constantly shifting colors, a strong sense of rhythm, and a healthy dose of lyricism.
John Wilson and the Sinfonia of London are one of the new decade’s most exciting partnerships; Javier Perianes’ album with the Orchestre de Paris is quite clever; Is Liszt’s music trash? The debate continues.
Ádám Fischer’s reading of Mahler’s Eighth Symphony is breathtakingly clean.
A collection that provides a fascinating bit of context for how Andris Nelsons has developed as a conductor over the last decade-plus, and an honest, mostly flattering, tribute to a much-loved conductor, the late Mariss Jansons.
Diana Tishchenko’s a violinist well worth keeping an eye on; Jun Märkl leads the MSO in brisk, shapely readings of pieces by Saint-Saëns; Françoix-Xavier Roth and Les Siecles come up with some winning Berlioz.
John Nelson’s La Damnation de Faust is a triumph; you will rarely encounter Villa-Lobos played with greater understanding or in better sound than here; Paavo Järvi and his orchestra’s survey of Messiaen orchestral works early and late is resplendent.
The Boston Philharmonic Youth Orchestra’s first appearance of the season presented canonical selections without a hint of complacency or apathy.
Top Classical Concerts and Recordings of 2019
Classical music continued to thrive, locally and globally, in 2019.
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