Classical Music
John Williams’s concert music may be intended to enrich and edify, but there’s always room for a little fandom, particularly on occasions like this. At 93, and after a lifetime of firsts, the composer deserves every accolade.
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Pianist Yulianna Avdeeva’s recording of Dmitri Shostakovich’s Preludes & Fugues is a testament to that rarest of syntheses: a total identification of a musician with her repertoire. Pianist Marc-André Hamelin and the Takács Quartet release an album that, on so many levels, is simply a joy.
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Music by Amy Beach, Leonard Bernstein, Florence Price, John Harbison, and John Williams: this Boston Landmarks Orchestra concert had a little something for everyone.
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The world-renowned tenor Ivo Židek leads a spirited cast, and reminds us how involving opera can be when sung by native speakers.
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What business has a period orchestra got playing the music of Anton Bruckner? And why can’t conductors and orchestras just leave Gustav Holst’s “The Planets” alone?
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Mother Nature provided singular and poetic assistance during Sunday’s afternoon outing at Tanglewood.
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Could it be that Erich Wolfgang Korngold’s Symphony in F-sharp is the big kahuna of our symphonic music?
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Composer Michael Daugherty’s lovely survey of 20th-century touchstones continues; violinist Philippe Quint plays a lineup made up (mostly) of commissions.
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Pianist Daniil Trifonov’s no stranger to playing Rachmaninoff with Nelsons and the BSO—they delivered a memorable outing of this very piano concerto in 2019—and, while Saturday’s traversal was periodically rusty, it built in spirit and tightness as the evening proceeded.
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On “hommages,” United Strings of Europe is technically secure, rhythmically precise, richly colored, and ever attuned to matters of nuance and spirit. Tchaikovsky’s output could be uneven, and this installment of Alpesh Chauhan’s continuing traversal of the Russian icon’s orchestral music with the BBC Scottish Symphony Orchestra is proof.
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