Classical Music
The performances on the recording exhibit no conception of Shostakovich’s style – where is this music’s irony and sarcasm, let alone pathos? – not to mention any sense of how to navigate large-scale forms.
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Not all of Atlanta Symphony Orchestra conductor Nathalie Stutzmann’s ideas about Dvorak’s Ninth Symphony add up, but there is not much to argue with in Czech Philharmonic Orchestra director Semyon Bychkov’s take on Dvorak’s Seventh, Eighth, and Ninth Symphonies.
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It’s a rare treat to hear these three Francis Poulenc sonatas on a single program.
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Carlos Simon’s gifts and voice are real even, as with every composer, his muse sometimes leads him down errant pathways.
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There’s plenty in Magnus Lindberg’s viola concerto to occupy the ear, and pianist Claire Huangci makes the complex passagework of a trio of American composers speak with breathtaking ease.
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The Boston Chamber Music Society’s greatest strengths lay in its skill in letting the music breathe.
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“The more you listen to Bach, the more the synapses fire and you just have to take hold of the reins and let the Bach horse take you wherever it will.”
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Samuel Adler, now 96 and still composing, has released an updated version of his rich, entertaining, and sometimes gripping memoir of a life well lived.
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Each of these four works has its own flavor, and lovers of Baroque and Classic-era music will happily scoop up one or more of the recordings.
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Classical Concert Commentary: The Boston Symphony Orchestra Takes On the Contemporary
It is only a month into the current season, and the Boston Symphony Orchestra has offered three pieces that have either been heard for the first time in Symphony Hall or given that more rare honor that evades most premieres — the deuxième performance.
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