Classical Music
The vocal ensemble Blue Heron closed its season with “a marvelously expansive concept of the divine” in a program of 16th-century Spanish music based on or inspired by the Song of Songs.
An astonishing amount of thinking and creativity has shaped the Boston Choral Ensemble concert.
Far from being a down month, June marks the start of New England’s summer classical music season.
Ultimately, there’s a “look at my technique” quality to composer Lewis Spratlan’s writing in this piece that doesn’t match the musical content and that seems to be striving to be all things to all listeners.
Mr. Hammer played Bach’s Sonata in G minor energetically and sensitively, drawing out composer’s long melodic phrases with appealing grace. Ms. Graveline made a strong accompanist, clearly articulating Bach’s contrapuntal textures.
Chameleon Arts Ensemble’s programming, the brainchild of its director and flutist Deborah Boldin, aims to place pieces together that have interesting things in common musically and culturally.
If you find classical music to be a vibrant, living thing in which inventive pairings and convincing realizations of music of the distant and recent past can speak in fresh and vital ways to the present, Jeremy Denk is your man and this is your CD.
Beethoven’s Symphony No. 9 is a piece the BSO trots out with greater regularity of late than most orchestras (as Tanglewood aficionados are aware, it’s been the traditional summer closer each August for about a decade now) and, while such familiarity may not exactly breed complacency, it certainly runs the risk of so doing.
Emmanuel Music bought this neglected Mozart opera to life with polished musicianship and excellent singers.
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