Music
This is the quintessential Club d’elf album, smartly arranged and surprisingly accessible without losing any of the group’s improvisational edges or exotic breadth.
A new recording of Ferdinando Paër’s Leonora gives us characters we love (or love to hate) in a fresh light
Crooked Tree is the Molly Tuttle record we’ve been waiting for, one that is firmly rooted in bluegrass, but imbued with her own sharp style as a guitarist, singer, and songwriter.
To always be listening more and to therefore always be listening differently is of course the very nature of fandom, and to call What’s Good the work of a fan is not a putdown.
Once Twice Melody goes about refining rather than changing Beach House’s vision of dream pop.
In Lowell, America played to a packed, enthusiastic, Centrum Silver-popping crowd who sang along with the band’s impressively deep roster of hits.
A major contribution to the recorded repertory, making clear just how effective Saint-Saëns’s The Yellow Princess could be on stage, its nowadays objectionable title repudiated by its varied and nuanced approach to the evocation of the exotic.
Jean-Michel Pilc is a talented pianist who expresses his happiness at just being alive via performances that treat the most revered standards in a manner that is wholly personal, even idiosyncratic — yet memorable.
This cooperative music is deliberately international in instrumentation and personnel and theme, proffering its own characteristic, and often quite beautiful, mix of sounds.
Music Commentary: Jean Sibelius’s Violin Concerto — The Universal Concerto?
Sibelius’s Violin Concerto is almost something of a phenomenon now: in just eight months, I’ve heard it played by three different fiddlers — Baiba Skride, Lisa Batiashvili, and Inmo Yang.
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