Classical Music
Performing with the Boston Landmarks Orchestra, dynamic Canadian violinist Adrian Anantawan made music by Piazzolla and Florence Price burn blue hot.
In Handel’s day, excerpts from his operas were often played at home, without singers. They sound great on this new recording by the group humorously (and quite inaccurately) called False Consonance.
We have a recording of “Déjanire,” its first ever. And it’s splendid, with a superb cast, an insightful conductor, and the orchestra and chorus of the very city in which it was first performed a century earlier!
Conductor Christopher Wilkins and Boston Landmarks Orchestra routinely present serious, challenging programs: but there is always room left for some partying.
When the front page of the newspaper is getting me down, I can feel at least somewhat buoyed by remembering that we live in a world that can produce such profoundly touching and empathetic works of art as Kevin Puts’s “The Hours”.
George Li’s latest release showcases a budding artist with a growing command of musical structure, technique, and character; Bruce Liu’s got the measure of Erik Satie’s music — next time, perhaps, he can take on more of it.
Conductor Manfred Honeck and the Pittsburgh Symphony deliver a conspicuously satisfying and fluent Bruckner Seventh. Dutch violinist Janine Jansen also possesses an uncommon ability to enliven the familiar.
John Wilson and his players clearly have the measure of Eric Coates’ tuneful, often clever, style and deliver it to the hilt; Aziz Shokhakimov and the Strasbourgers, though still on a learning curve, have a bright future ahead of them.
A belated appreciation of one of 2023’s most interesting releases – this Grammy-winning “compendium” may not be a strongly unified work, but its individual parts are eloquent residents of the Place Between classical and jazz.
Here is music of depth, music to hear and to think about in a Time of Troubles. But who will play it again? Who will listen? And who will buy?
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