Music
Throughout the night, CpM music director Jamie Kirsch kept tempos lively and never lost sight of the overarching shape of each of the evening’s big pieces.
Max Bruch’s music is smart, strong, crafty, and, often, quite endearing.
Bob Brookmeyer’s great contribution was to make it seem as though anything is possible — and permissible –in the big band context.
On the occasions that Bob Weir and Phil Lesh performed as a legitimate duo the concert attained some of its more transcendent peaks.
From a compositional standpoint, too, Chamber Dance is an example of Tower at her engaging best.
The music on Accent’s album is lovely and the singers render the arrangements with skill and commitment.
Their combined sound, made by two nested pianos, their lids off, aided and abetted by Jordan Hall’s superb acoustics, was irresistible.
Singer Sara Serpa refracts, bends, suspends, and shifts sounds and syllables, creating a kind of linguistic limbo.
The deeply personal nature of the music’s narrative drew some extraordinary music from Liszt’s pen.
This weekend’s concert fires on all cylinders. Don’t miss it.
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