Jonathan Blumhofer
Nico Muhly’s writing in Stranger is of a type of post-Minimalism: often pulsing (or undulating) and rhythmically driven, though anything but harmonically simplistic.
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A serving of the essence of the music of John Corigliano: a blend of old and new, radical and traditional that has made him such a singular force in American music over the last fifty-plus years.
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Symphonic music wasn’t composer Florence Price’s strong suit. Rather, she was much more at home working in smaller forms or for her own instrument.
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We’ve got ourselves another winner in this ongoing Pittsburgh/Beethoven series. Warmly recommended.
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This is the definitive recording of William Bolcom’s rags, complete or excerpted: a triumph for the pianist and the composer – as well as a grandly spirited, accessible, inventive journey for any who care to join them on it.
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The album serves up exceptional stuff, even if the program’s a touch macabre and pianist Orion Weiss’s well-written liner notes make uncomfortable connections between the world of pre-World War 1 Europe and our own pandemic-riddled age.
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What might be the most impressive feature of this disc: everything on it was written for The Claremont Trio since 2008. The album stands as a shining testament to their adeptness as an ensemble as well as their curiosity as musicians.
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Nazareno is bright, often joyous, and easy on the ears. That ought to count for something.
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Violinist Lea Birringer’s performance of the Christian Sinding selections are impressive. Her Mendelssohn Violin Concerto, though, is missing drive, excitement, and passion.
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When There Are No Words presents six pieces written between 1936 and 1980 by composers responding (at least seemingly) to contemporaneous political events and situations.
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Jazz Perspective: Zev Feldman – A Sherlock of a Producer with an Impressive Portfolio