Jonathan Blumhofer
Four new albums: the standouts include the finest Andris Nelsons/BSO Shostakovich collaboration to date and the Neave Trio’s wonderful new French Moments.
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Conductor Aapo Häkkinen explores Robert Schumann’s writing for chorus;Andrew Manze caps off his three-volume Mendelssohn symphony survey with a glorious performance of the oddball Symphony no. 2.
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Strong discs from Edward Gardner and the BBC Symphony Orchestra, Francois-Xavier Roth and his Paris-based period-instrument ensemble Les Siècles, and the National Orchestral Institute Philharmonic, an ad-hoc summer orchestra comprised of some of the U.S.’s finest conservatory musicians.
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Garth Edwin Sunderland’s new chamber adaptation of this opera’s score, is, to date, the Bernstein Centennial Year’s best and most important recording.
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Anna Shelest’s new recording of piano-and-orchestra pieces by Anton Rubinstein is one of those albums that makes you want to rethink Rubinstein’s relative neglect in the broader canon – almost.
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For a composer who hails from Finland but found his spiritual home in Southern California, Esa-Pekka Salonen’s is a singular musical voice.
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Composer Charles Villiers Stanford’s best traits were formidable indeed.
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Henry Cowell’s was an important, if now often forgotten, voice in 20th-century music.
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Composer Florence Price’s lack of acceptance into the American canon is shameful.
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Rethinking the Repertoire: Postlude
The moral should be to err in favor of the audacious. That’s what this world – and this art form – require.
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