Pianist John Wilson, like his mentor Michael Tilson Thomas, is a servant of the music rather than its dictator and he knows both when and how to step back and let it speak.
Nico Muhly’s writing in Stranger is of a type of post-Minimalism: often pulsing (or undulating) and rhythmically driven, though anything but harmonically simplistic.
Two first-rate albums: pianist Lara Downes successfully reconsiders Scott Joplin and the New York Youth Symphony plays Florence Price and others with panache.
One of Vasily Petrenko’s most successful Elgar releases; there’s an edge to the Crouch End Festival Chorus’ performance of Britten’s Saint Nicolas ; Quartetto di Cremona’s new album is nothing if not overflowing with Mediterranean personality
Composer Anna Clyne’s new disc displays her maturity as a composer and brilliance as an orchestrator; pianist Simone Dinnerstein builds a number of bridges between Philip Glass and Franz Schubert; pianist Hélène Grimaud’s interesting program is marred by some uneven Mozart.
Music in Eight Parts is a welcome and inviting addition to the Philip Glass canon; the Summer of Thomas Adès continues with a stirring new recording of the British composer’s keyboard work; Anna Clyne’s Dance is, without a doubt, one of the finest pieces I’ve heard this year.
Christian Tetzlaff’s brilliant account of Beethoven’s Violin Concerto makes for a great album; Rachel Barton Pine’s versions of Dvorák and Khachaturian violin concertos are songful; orchestrally, Mark Elder and the Hallé Orchestra’s Sigfried is unfailingly colorful and fresh.
Spectrum is a stylish, intelligent, and enjoyable disc played by a couple of musicians from whom we can expect big things.