Jonathan Blumhofer
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.
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?
Mother Nature provided singular and poetic assistance during Sunday’s afternoon outing at Tanglewood.
At its best, Mark Twain emerges in this biography as much a live wire as ever: brash, outspoken, and overflowing with exasperating contradictions.
Could it be that Erich Wolfgang Korngold’s Symphony in F-sharp is the big kahuna of our symphonic music?
Composer Michael Daugherty’s lovely survey of 20th-century touchstones continues; violinist Philippe Quint plays a lineup made up (mostly) of commissions.
Pianist Daniil Trifonov’s no stranger to playing Rachmaninoff with Nelsons and the BSO—they delivered a memorable outing of this very piano concerto in 2019—and, while Saturday’s traversal was periodically rusty, it built in spirit and tightness as the evening proceeded.
On “hommages,” United Strings of Europe is technically secure, rhythmically precise, richly colored, and ever attuned to matters of nuance and spirit. Tchaikovsky’s output could be uneven, and this installment of Alpesh Chauhan’s continuing traversal of the Russian icon’s orchestral music with the BBC Scottish Symphony Orchestra is proof.
Neeme Järvi, true to his usual form, favors brisk tempos, which tend to keep things from getting bogged down in Wilhelm Furtwängler’s bog of a Symphony No.2; Nicholas Collon leads a stupendous recording of Sibelius’s Symphony No. 5.
Violinist Lea Birringer does dazzlingly right by Sibelius and Szymanowski concertos and cellist Sheku Kanneh-Mason finds life and defiance in Shostakovich’s Cello Concerto No. 2.
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