Classical Music
A welcome addition to Scottish percussionist Colin Currie’s endlessly fascinating discography – as well as to Austrian maverick HK Gruber’s.
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If this is your first Bluebeard’s Castle, Susanna Mälkki’s recording makes for a fine, occasionally inspired, introduction.
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There’s much to enjoy here and admire, both in the performances and the selections on hand, which hardly dwell on the usual suspects or limit themselves too narrowly.
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At this point in his career, Mayr is contributing to the development of the musicodramatic conventions that would set the stage for the masterpieces of Donizetti, Bellini, and Verdi.
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Throughout these Études, Driver’s playing marries tonal warmth with textural precision.
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Each month, our arts critics — music, book, theater, dance, and visual arts — fire off a few brief reviews.
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Attention is being paid today to talented composers who have been sidelined or disdained because of their race, ethnicity, religion, or sexual orientation. Reynaldo Hahn qualifies on several counts.
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One might risk hyperbole by saying so, but in this instance such recklessness is worth it: this album sounds like Brahms as he ought to be played and sung.
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For Alex Ross, Wagnerism is as profound and far-reaching an aesthetic ideology – for good, ill, and all degrees in between – as any.
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Fiddler Daniel Hope’s new all-Schnittke disc with pianist Alexey Botvinov brings with it a level of authority that demands respect.
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The 20th Annual Francis Davis Jazz Critics Poll: The Institution Continues