Jonathan Blumhofer
Sometimes new music isn’t really new and old music isn’t actually old; the best of it exists on some other plane entirely.
A welcome triumph for Hyperion, Bruch, and the Nash Ensemble, but the Oregon Symphony does not do right by Haydn.
For terrific viola playing and some fresh repertoire by familiar names, look no further than Antoine Tamestit’s Bel Canto.
Hyperion builds a CD around a superb performance of Amy Beach’s magnificent Piano Concerto.
No orchestra in this country embraces the challenges of Charles Wuorinen’s hyper-intellectual style better than the Boston Symphony Orchestra.
There have been lots of recordings of Philip Glass to hit the market recently. One of the highlights is Víkingur Ólafsson’s Piano Works.
This invigorating, sometimes unpredictable, Beethoven-heavy program certainly offered its share of athleticism and energy.
Vasily Petrenko and the Royal Liverpool Philharmonic Orchestra serve up some curious and, from time to time, rather languorous Elgar.
“We thought, why don’t we hark back to earlier occasions which were equal parts socializing and entertainment?”
Music Commentary: Thoughts on the Boston Symphony Orchestra’s 2017-18 Season
On paper, at least, the upcoming season of the BSO is a bit of a letdown: cautious, unthreatening, comfortable.
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