Classical Music
Saturday’s was the most electrifying, exciting, spontaneous-sounding, inevitable performance of this warhorse (Beethoven’s Violin Concerto) I’ve heard.
Ascending Light is, by far, the most serious orchestral score of Gandolfi’s I’ve heard and it succeeds to a considerable extent thanks to its expressive honesty.
This first group of mavericks all have their roots in the 1920s, but they demonstrate that George Gershwin’s way wasn’t the only way.
New York and Paris both respected innovation, but Paris demanded that the new have a certain style.
Pianist Simone Dinnerstein’s new album, Broadway-Lafayette, features her on three pieces, all written since 1924, that celebrate musical ties between France and the United States.
After hearing pianist Daniil Trifonov in this recital performance, I would say no one on the celebrity circuit has a more impressive technique.
The opportunity to hear Leoš Janáček’s magnificent score live ultimately trumps any reservations I have about the production as a whole.
The BSO’s captivating performances of King Roger received unanimous rave reviews from the local press, to which I add mine.
There are still some places where the genius of George Gershwin is underappreciated, and regrettably, they include most of the concert halls in his home country.
Jazz Commentary Series: Jazz and the Piano Concerto — Mavericks, 1938-1983
More composers who followed their own distinctive paths when they incorporated jazz into their piano concertos.
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