Music
A trio of jazz albums that dazzle in surprising ways.
Among Artistic Director Holly Druckman’s goals is to turn Cappella Clausura into a “very serious player in the Boston early-music-new music scene.”
“The Old Country” is a wonderful addition to the Keith Jarrett discography. There are no stale leftovers here — this album adds a whole new course to the pianist’s extraordinary banquet.
“My goal is to play these wonderful venues and also be close to home so I can have time in the morning with my daughter. I marvel at living in New England.”
The performance of the Jerusalem Quartet was marked by considerable poise, polish, and personality.
Just weeks apart, two different groups have made their way to Boston on international tours – without Robert Fripp but with his blessing – their shows focusing on a specific era of King Crimson’s existence.
Saturday’s finale of a two-night Roadrunner stand, the Dresden Dolls’ first Boston shows since 2017, raged as a celebration of camaraderie and catharsis.
The performances on the recording exhibit no conception of Shostakovich’s style – where is this music’s irony and sarcasm, let alone pathos? – not to mention any sense of how to navigate large-scale forms.
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.
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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