Jonathan Blumhofer
Cuarteto Casals brings out Mozart’s playfulness, Luzerner Sinfonieorchester delivers a solid Dvorak’s Sixth, and James Brawn continues to brilliantly play Beethoven’s piano sonatas.
The Commonwealth Lyric Theater has again brought to the fore an underperformed, unfamiliar masterpiece well worth getting to know. Good for them and lucky for us.
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.
Howard 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.
While 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.
In 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.
Conductor Charles Dutoit seems to have little affinity for Mahler’s distinctive style.
Praise is due Peggy Pearson and Winsor Music for providing a forum for the talented young composer Lev Mamuya.
The Discovery Ensemble’s precision was also on full display in the vigorous contrapuntal writing that came across with impressive, electrifying energy and visceral punchiness.
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