Music
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.”
This 65-year-old recording features some of the best players in L.A. and it is bright, sharp, and revealing. There’s plenty to marvel at here even if I would have wished for more ballads and fewer Stan Kenton-like brass fanfares.
Most of the night’s visually tilted action took place within a tightly framed stage that made the presentation seem somewhat detached.
Samuel Adler, now 96 and still composing, has released an updated version of his rich, entertaining, and sometimes gripping memoir of a life well lived.
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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