Classical Music
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.
In both appearances here, courtesy of the Celebrity Series, Deborah Voigt was sensational and very likable to boot. This cannot be said of all divas.
At this point, violinist Xiang Yu sounds like a mature artist ready to commence a major career.
Tenor Nicholas Phan and pianist Myra Huang are a superb duo, and the pair’s recital was easily one of the highlights of this year’s concert season.
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.
Recent Comments