Music
Performances of such zest and sensitivity deserve to be rewarded with rapt enthusiasm, even love.
Now in its 18th season, the membership of the Worcester Chamber Music Society has remained remarkably consistent, boasting a number of familiar faces from Boston’s chamber music and orchestral scenes.
Four recent releases illustrate what can happen when the only limits are the imagination of the composer and the passion of the performers.
Big band leader Arturo O’Farrill points out that “Santiago Brooklyn Santiago” makes a forceful argument that the embargo between Cuba and the United States should be done away with.
The bottom line: the Tedeschi Trucks Band proved that the group, and its hybrid of classic rock, soul, blues, and jazz, could rule on arena stages.
Reviews of Hélène Grimaud’s latest homage to Clara Schumann and La Tempête investigates seeming stylistic overlaps in the music of J. S. Bach, Henryk Górecki, Jehan Alain, Knut Nystedt, and John Adams.
Susan Tedeschi has developed a way to assert her powerhouse presence without upending the overall balance of the big band.
Auber’s 1831 “Le Philtre” (“The Love Potion”) is an engaging romp that helped give birth to Donizetti’s “L’elisir d’amore.” Immensely popular in his own day, why isn’t it revived more often?
By Jeremy Ray Jewell Call it lofi or chillwave. Whatever it is, it’s worth it. Daisuke Endo, a.k.a. DE DE MOUSE, has released his new EP, Rainbowtime, in collaboration with fellow Japanese artist Shin-Ski. It is, as Endo describes it, based on “the theme of a world connected to fantasy during the magic time of…
Jazz Commentary: Three More Recent Composer-Driven Jazz Releases — Stretching the Boundaries of the “Conventional”
These projects are more conventionally jazzish in their sounds than the four in the companion post, but that does not make their ambitions less worthwhile or less adventurous.
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