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For all the surface-y beauty of the BSO’s playing, it’s a dull interpretation of Anton Bruckner’s Symphony no. 3.
Carlos Simon’s gifts and voice are real even, as with every composer, his muse sometimes leads him down errant pathways.
The Cambridge Symphony Orchestra’s recent performance supplied drama, vigor, and reflection.
The BSO’s performance of the Alpine Symphony had purpose and direction.
The BPYO is as responsive, confident, technically skilled, and emotionally expressive an orchestra as they come.
Despite Shostakovich’s often-dissonant approach, the Fourteenth has always been highly-regarded if infrequently-played.
This weekend’s concerts all add up to a quintessential Symphony Pro Musica event: a mix of the familiar and unexpected, with various old friends coming by to visit along the way.
Fort Worth Symphony Orchestra’s heart is in the right place with the ensemble consistently erring on the right (far) side of caution.
Orango is one of the tantalizing “what might have been’s” of musical history: a biting social commentary on Soviet society on the fifteenth anniversary of the October Revolution, written when Shostakovich was at the height of his musical powers and popularity.
Fuse Commentary: 2013-1014 Orchestral Season Preview
So, even though certain pieces by Mendelssohn and Beethoven seem to be turning up with greater frequency than perhaps may be healthy, there is still much to admire and look forward to in the upcoming orchestral season.
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