Music
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.
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.
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