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Another informative, if unsurprising, contribution to the literature dedicated to understanding “criminal behavior,” especially among teenage boys and young men.
With Carlos Simon’s “Four Black American Dances,” the Pittsburgh Symphony offers a thoughtful and resonant recontextualization of Dvořák’s Ninth.
The first in a series of Fuse podcasts. This inaugural (and experimental) outing samples the best in underground music.
Two exquisite sopranos bring us refreshing songs, arias, and cantatas; and a noted Broadway composer and a remarkable Black librettist offer a searing opera about police brutality.
Extensive and eclectic, DOC NYC is a sampling of documentary films for the coming year. These favorites are worth searching out.
A can’t-miss album of Bartók Ballets, Thierry Fischer continues to do right by the symphonies of Saint-Saëns, and a spirited recording of the “last great symphony in the German Romantic tradition.”
Beethoven’s Symphony No. 9 is a piece the BSO trots out with greater regularity of late than most orchestras (as Tanglewood aficionados are aware, it’s been the traditional summer closer each August for about a decade now) and, while such familiarity may not exactly breed complacency, it certainly runs the risk of so doing.
Tim Page on a generous sampling of Virgil Thomson’s best music criticism – trenchant, outspoken, oftentimes delightfully clever, and always assured.
This symphony is the finest synthesis of Leonard Bernstein’s considerable theatrical instincts within a concert framework, idiosyncratic and singular.
The Latvian conductor can sometimes overindulge in pieces that demand shifts in emotional direction on a dime, so the frenzied eclecticism of Mahler’s Fourth feels tailor-made for him.
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