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A packed, wide-ranging conversation with violinist Anne-Sophie Mutter that touches on several subjects, from a lifelong love of jazz to her verdict on John Williams’ Violin Concerto no. 2.
This attractive, inexpensive box set dedicated to Claudio Abbado contains a rich gathering of lucid, colorful recordings, among the most accomplished modern performances of symphonies that are absolutely central to the repertoire.
As the composer moves from youth to middle age, Thomas Adès is unique among his contemporaries for his singular embrace of melody, harmony, and form.
Nikolaus Harnoncourt’s final recording is the conductor at his best. Bernard Haitink helmed a great performance of Mahler’s Symphony no. 1.
Through fresh new works and a welcome toss-up of pieces commissioned during Koussevitzky’s historic tenure, the BSO’s coming season will honor the fullness of the Russian-born conductor’s legacy.
John Williams’s concert music may be intended to enrich and edify, but there’s always room for a little fandom, particularly on occasions like this. At 93, and after a lifetime of firsts, the composer deserves every accolade.
Saturday’s pairing demonstrated exactly the kind of risky programming the Boston Symphony Orchestra shouldn’t be afraid to explore, even when it doesn’t all quite come together.
Perhaps most remarkably, BSO conductor Stéphane Denève managed to create an atmosphere in which the Symphony Hall audience, which at this time of year sometimes sounds like it’s made up of inpatients from a tuberculosis ward, was utterly captivated: even the quietest moments were accompanied by a welcomed, attentive silence.
For everyone who feels the attraction but lacks the study, THE WORD EXCHANGE is a huge gift. It’s the most generous sampling I’ve seen of poetry translated from Old English and collected in one volume.
Manfred Honeck and the Pittsburgh Symphony have ways of digging into the music and providing new perspectives on it such that their recordings are, by and large, can’t-miss events.
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