Music
Not all of Atlanta Symphony Orchestra conductor Nathalie Stutzmann’s ideas about Dvorak’s Ninth Symphony add up, but there is not much to argue with in Czech Philharmonic Orchestra director Semyon Bychkov’s take on Dvorak’s Seventh, Eighth, and Ninth Symphonies.
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We should be grateful for Ohad Talmor’s wide-ranging curiosity, not only because of the detective work he put into the Ornette Coleman/Lee Konitz recordings, but because of his uniquely varied presentations of these mostly unknown pieces.
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It’s a rare treat to hear these three Francis Poulenc sonatas on a single program.
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In Godwin Louis’s music, prayer seems best expressed in dance.
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Carlos Simon’s gifts and voice are real even, as with every composer, his muse sometimes leads him down errant pathways.
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There’s plenty in Magnus Lindberg’s viola concerto to occupy the ear, and pianist Claire Huangci makes the complex passagework of a trio of American composers speak with breathtaking ease.
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“We want everyone to come and let out a primal scream,” said Amanda Palmer of the Dresden Dolls.
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Thanks in large part to the late Phil Lesh’s influence, the performances of the Grateful Dead developed a signature blend of composition and improvisation.
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The Boston Chamber Music Society’s greatest strengths lay in its skill in letting the music breathe.
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The music in Avishai Cohen’s album, written and recorded soon after Oct 7, expresses a persistent hopeful gentleness.
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