Music
The precision and inventiveness of Angular Blues more than meets our high expectations for this terrific trio.
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Decades on, Matthew Shipp and Whit Dickey have grown into mature models of how to keep the faith when following an idiosyncratic muse.
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Yes, purchasing this EP will help out a good cause, but the musical value of this fabulous duo’s performance is priceless.
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Charli has successfully dramatized her impatiently jagged state of mind, supplying an emotionally honest stream of consciousness that suggests what she (and no doubt many others of her generation) is feeling and thinking in quarantine.
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This is an intelligent, inventively performed, be-boppish tribute to a composer I now know better than ever.
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Thomas Adès is a formidable pianist and his output for his native instrument is fundamentally gripping; yMusic’s new album is a spectacularly-played and -recorded disc; Michael Gordon’s Anonymous Man is undeniably hypnotic but gets stuck in a loop that goes on for a mite too long.
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François-Xavier Roth and his period ensemble Les Siècles serve up freshness of playing and conviction of interpretation; Manfred Honeck is a conductor who can draw compelling, electrifying accounts of the standard canon as if on cue; the verdict’s mixed on the music of Lithuanian-born composer Mikalojus Čiurlionis.
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James MacMillan’s Viola Concert is a magnificent addition to the repertoire; the debut recording of Magnus Lindberg’s song cycle Accused leaves a bit to be desired; a fetching, brilliant gathering of orchestral music by Sir Richard Rodney Bennett.
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Prince of Players is based on a play that also yielded the movie Stage Beauty, and it’s one of the best new operas to come along in years.
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Whither Must I Wander, the debut recording from baritone Will Liverman and pianist Jonathan King, is one of 2020’s finest classical releases; 12 ensemble provides a kinetically-played example of a large-ensemble arrangement of chamber music.
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