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With “In Seven Days,” Thomas Adés seems to have developed a musical language that’s complex yet not forbidding: there’s no sense that his music is weighed down by expectations of the past, even as he freely refers to archaic compositional forms.
Herbert Blomstedt and the Gewandhausorchester Leipzig present us here with what is easily the most memorable classical box set of 2012 and, possibly, the most important addition to the Bruckner discography in a generation.
If you are not familiar with Wadada Leo Smith as an artist or as a thinker, you could start with The Chicago Symphonies and know that you are engaging with some of his finest work.
No orchestra in this country embraces the challenges of Charles Wuorinen’s hyper-intellectual style better than the Boston Symphony Orchestra.
Front and center was Andris Nelsons, who, interpretively, seemed more than happy to try on a bunch of different hats.
Why festival programming—and humanities partnerships—can help the BSO.
The performance of John Adams’s “City Noir” is swift and characterful, though sometimes pushed perhaps a bit too hard for its own good. The rendition of Leonard Bernstein’s “Serenade” is clear but a bit too safe.
Under the baton of Andris Nelsons, a listless Boston Symphony Orchestra delivered flat renditions of works by Shostakovich and Brahms.
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.
Classical Music Commentary: The Boston Symphony Orchestra’s 2020-21 Season Announcement
If ever there was a season the BSO needed to put its right foot forward — balancing the core repertory with some strong steps outside of it — this is the one.
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