Music
The program is compelling, but some of violinist Yevgeny Kutik’s interpretations could sing more freely and dance more nimbly.
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For prog fans who consider that the proof of the pudding is long, complex songs with virtuosic solos and exotic instrumentation, no fear: To The Far Away is multi-textured and musically exciting.
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At times, Laurel Hell’s withering fatigue is directed at the clash between commodification and art.
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“When you play with authority, then that’s what the music is about, like ooooh baby, and sing it.” — Cecil Taylor
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Tenor Mathias Vidal shines, as does the period-instrument orchestra, in the rarely heard, trimmer version of 1761, on the Chateau’s own new award-winning label.
Read MoreMusic Review: “Someone/Anyone? A 50th Anniversary Tribute to Todd Rundgren’s Something/Anything?”
Someone/Anyone? is packed with lots of great music and makes a strong complement to the album it compliments, Something/Anything?
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Unlike musicians who operate on the surface and create a beautiful veneer, pianist Lennie Tristano’s music asks harder questions.
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Edward Loder’s well-crafted Raymond and Agnes (1855) captures much of the eerie glow of its Gothic model, Matthew Lewis’s once scandalous novel, The Monk.
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Temptations 60 celebrates the band’s 60th anniversary, and it strikes a careful balance between looking backward and staying grounded in the here-and-now.
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Music Commentary: In Memoriam, George Crumb (1929-2022)
George Crumb, who crafted some of the 20th-century’s most brazenly original-sounding and haunting music, lived his life and guided his career on his own terms.
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