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“In a crisis we are all Socialists,” goes an old adage. But can that instinct be trusted in an increasingly barbaric world?
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This is an intelligent, inventively performed, be-boppish tribute to a composer I now know better than ever.
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Thomas Adès is a formidable pianist and his output for his native instrument is fundamentally gripping; yMusic’s new album is a spectacularly-played and -recorded disc; Michael Gordon’s Anonymous Man is undeniably hypnotic but gets stuck in a loop that goes on for a mite too long.
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“We ask that you limit your stay to two hours, and remember that our restrooms are not open.”
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The value and virtue of I Belong to Vienna is that it personalizes and humanizes a global reign of terror into an understandable drama.
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The anti-cinema, represented by CGI, obliterates perception; it is not interested in tutoring the eye to see more deeply.
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François-Xavier Roth and his period ensemble Les Siècles serve up freshness of playing and conviction of interpretation; Manfred Honeck is a conductor who can draw compelling, electrifying accounts of the standard canon as if on cue; the verdict’s mixed on the music of Lithuanian-born composer Mikalojus Čiurlionis.
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“Politics is driven by language, and America’s peculiar history has given oligarchs the language to undercut democracy.”
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This glimpse into the relationship of two American Jewish writers makes for good reading during the pandemic: an intelligent, gracefully written memoir of friendship.
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James MacMillan’s Viola Concert is a magnificent addition to the repertoire; the debut recording of Magnus Lindberg’s song cycle Accused leaves a bit to be desired; a fetching, brilliant gathering of orchestral music by Sir Richard Rodney Bennett.
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