Jonathan Blumhofer
Three superb albums: two focusing on works by Brahms, one featuring Hans Abrahamsen’s meditation on Shakespeare’s Ophelia.
Ghosts seems to be trying to be all things to all listeners — edgy, nostalgic, farcical, adventuresome.
The Rasas are but the latest in a series of remarkable scores John Harbison has been turning out over his eighth decade.
There’s an apparent level of trust between the BSO and its leader, best demonstrated by the spirited excellence of the orchestra’s playing of late.
Nikolaus Harnoncourt’s final recording is the conductor at his best. Bernard Haitink helmed a great performance of Mahler’s Symphony no. 1.
Fort Worth Symphony Orchestra’s heart is in the right place with the ensemble consistently erring on the right (far) side of caution.
It’s no secret that 2016 has already been a strong year for albums featuring new and recent music: now things get even better.
Working within the forms perfected by Haydn and Mozart, Beethoven early compositions managed to say some things that remain compelling to hear.
Saturday’s performance revealed the BSO to be at the top of its collective game, totally locked in, and fully responsive to Andris Nelsons’ leading.
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