Music
It is April in New England and for local music that means one thing, it’s time to RUMBLE!.
The Boston Camerata proffers a constant sense of discovery and rediscovery, of unusually lively musicianship and scholarship, and a sprightly sense of the humanity – and the snarly complexity – behind the music it performs.
All is not well with the classical music scene in Boston. Boston’s Church of St. John the Evangelist has pulled funding from its Wednesday Concert Series.
The Slide Brothers fuse steel with gospel, Etana brings the roots back to reggae, Duke Levine steps out on his own, and much, much more this month.
A busy month that includes a pair of appearances by composer/conductor Oliver Knussen, turns by stellar pianists Evgeny Kissin and Lars Vogt. Also, the final concert this season in the admirable Music for Food Series.
Is it country? Is it rock? When it’s good, is there really a difference?
Boston Musica Viva presented an invigorating (if early) conclusion to the season, providing an ear-catching snapshot of chamber music written in the last thirty-plus years.
Daniele Gatti’s management of the orchestra – the unfolding of melodic lines and instrumental textures – was particularly noteworthy, matched here with a keen sensitivity to the music’s expressive detail: this was a riveting performance.
It turns out that it was more than just a rumor that saxophonist Charles Lloyd spent some of the ’70s playing with The Beach Boys.
The winter doldrums may be upon us, but the first few months of 2013 have been anything but uninteresting when it comes to releases from Harmonia Mundi (HM).
Classical Music Commentary: Boston’s Lost Opportunity — How the BSO Board Chose Charles Munch over Leonard Bernstein