Music
It’s a rare treat to hear these three Francis Poulenc sonatas on a single program.
In Godwin Louis’s music, prayer seems best expressed in dance.
Carlos Simon’s gifts and voice are real even, as with every composer, his muse sometimes leads him down errant pathways.
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.
“We want everyone to come and let out a primal scream,” said Amanda Palmer of the Dresden Dolls.
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.
The Boston Chamber Music Society’s greatest strengths lay in its skill in letting the music breathe.
The music in Avishai Cohen’s album, written and recorded soon after Oct 7, expresses a persistent hopeful gentleness.
“The more you listen to Bach, the more the synapses fire and you just have to take hold of the reins and let the Bach horse take you wherever it will.”
Classical Concert Commentary: The Boston Symphony Orchestra Takes On the Contemporary
It is only a month into the current season, and the Boston Symphony Orchestra has offered three pieces that have either been heard for the first time in Symphony Hall or given that more rare honor that evades most premieres — the deuxième performance.
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