Classical Music
Even if this isn’t the most interpretively satisfying of Daniel Barenboim’s traversals through this repertoire, it is a deeply revealing one that draws on a lifetime of experience with this music.
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Under the baton of Andris Nelsons, a listless Boston Symphony Orchestra delivered flat renditions of works by Shostakovich and Brahms.
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Guitarist Aaron Larget-Caplan new release is arresting for how natural the transcriptions sound: it’s as though they’d been intended for this instrumentation all along.
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The Emerson Quartet’s greatest strength lies in its ability to temper individual excess in favor of a lush corporate blend.
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Groton Hill’s stunning new venue is a beautifully designed and acoustically brilliant music hall that is certain to become a desired destination for artists touring New England.
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In the hands of some, Szymanowski’s Second Violin Concerto can be tame and traditional. As conducted by Karina Canellakis, and performed by the BSO and violinist Nicola Benedetti, the piece came off as bold, colorful, and urgent.
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Justin Dello Joio’s Concerto for Piano and Orchestra, written especially for pianist Garrick Ohlsson, creates an emotionally satisfying canvas out of thorny harmonies and astringent lyricism.
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Music of Machaut, the teenaged Mozart, and three vibrant American composers, plus a remarkable book about Charles Ives and his works.
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This world-premiere recording of a powerfully compelling opera, based on a play by Jewish philosopher Martin Buber, is revelatory.
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A trio of reviews of recordings that include sadly neglected pieces by Dvořák, pianist Mitsuko Uchida’s phenomenal Diabelli Variations, and a haunting, arresting round-up of new music by the Departure Duo.
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The 20th Annual Francis Davis Jazz Critics Poll: The Institution Continues