Jonathan Blumhofer
Thanks to CLT’s pluck and commitment to underperformed repertoire, Boston audiences have the chance to check out the rarely performed opera “Mozart and Salieri” for themselves.
Read MoreHoward Hersh hails from northern California, and, as in John Adams’ “City Noir,” the music on Hersh’s album, “Angels and Watermarks,” embraces polyglot West Coast culture in various ways.
Read MoreWhile 1962’s Symphony owes a clear debt to Stravinsky and Britten (especially its last movement), it sounds like nobody but Irving Fine. This is a score that orchestras ought to be lining up to play.
Read MoreIn a world populated by talented pianists, James Brawn is a standout. He’s not just a virtuoso, but also a probing, thoughtful musician with strong, creative programming instincts.
Read MoreConductor Charles Dutoit seems to have little affinity for Mahler’s distinctive style.
Read MorePraise is due Peggy Pearson and Winsor Music for providing a forum for the talented young composer Lev Mamuya.
Read MoreThe Discovery Ensemble’s precision was also on full display in the vigorous contrapuntal writing that came across with impressive, electrifying energy and visceral punchiness.
Read MoreThree reviews of new classical music CDs: one is inviting, another lively, and the last could use more intensity.
Read MoreSnappy new recordings of the music of Milton Babbitt and George Antheil from the Boston Modern Orchestra Project while cellist Christ Wild’s disc offers a fascinating journey through some richly diverse musical soundscapes.
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