Music
This album is a remarkably mature effort. The Weeknd reflects on his long career while expanding on his earlier accomplishments.
Berkeley’s Nelson reinforces my sense that many fine composers of the twentieth century have largely slid off the map because they did not cater to the obsession of many critics and academics with “the New at all cost.”
A young ensemble, the USE is a technically accomplished one and, regardless of the interpretive strengths or weaknesses of each reading, the group’s sheer skill level is evenly impressive.
A surprisingly moving collection, all of it mightily played and sung by musicians who clearly intuit John Harbison’s musical language.
Brian Wilson tweeted: “I loved her voice so much and she was a very special person and a dear friend. This just breaks my heart. Ronnie’s music and spirit will live forever.”
Soprano saxophonist Emile Parisien’s new disc is deliberately, and satisfyingly, international.
The rewards of these and other recordings provide ample proof that, with its shape-shifting qualities, the string quartet will continue to be a powerful asset for talented jazz composers.
Each month, our arts critics — music, book, theater, dance, and visual arts — fire off a few brief reviews.
Newly recorded in the original German, Anton Reicha’s Lenore offers a vivid response to Bürger’s famous “Gothic” ballad from 1774.
Fest Review: IFFBoston Shorts — Part One