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Concerts in the past week by the Boston Symphony Orchestra with guest artist James Carter and the Orquesta Sinfónico de Puerto Rico with guest artist Luis Sanz were a cultural festival and a musical feast.
The album ends up paying dividends, not just for fans and students of 20th-century composition, but for anyone interested in the broader reach and global development of classical music in the last century.
This is a lyrical, visually arresting, if sometimes verbally prolix film version of Denis Johnson’s sublime 2011 novella.
Though Sibelius’s music has come to define whatever Finnish music is supposed to sound like, he certainly wasn’t the country’s only active, turn-of-the-20th-century composer.
Two jazz albums whose uncompromising visions succeed.
As an artist, Allan Crite was always observing, drawing, and thinking about his Boston—the buildings, streets, parks, and playgrounds of Lower Roxbury and the South End.
All three records were recorded at Rudy Van Gelder’s famous studio. The sound is what one would expect from Van Gelder, clear, bright and close: these LPs were made with care at every stage. I recommend all three.
Director Joachim Trier is a masterful arbiter of storytelling conceits and tones: by turns subtle, ironic, melodramatic, cold, and, often, heartbreaking.
“Standard Stoppages” is a veritable cornucopia of sounds experienced in multifarious combinations, showcasing a diversity of fresh, inventive, and satisfyingly expressive voices operating at full tilt.
Cultural Commentary: France Marks the 10th Anniversary of the Bataclan Attacks
The aftermath of a terrorist act becomes an opportunistic event for those selling us a certain bill of partisan geo-political goods… while simultaneously diminishing our latitude as citizens.
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