Above all, Joan Tower’s music doesn’t waste your time.
It was a treat to experience Philip Glass’s orchestral music live and in-person.
The BMOP’s opening concert featured the group succeeding at an important part of its mission: to perform unfairly overlooked American music.
For my money, the biggest star on Friday night turned out to be none other than Antonin Dvořák.
“Would I love to do these big operas in Symphony Hall? Yes. When I feel like I’ve got two-thousand people to attend, I’ll move over to Symphony Hall.”
A series of new and recent recordings by Boston orchestras demonstrate that, in the right hands, symphonic music since 1945 remains alive and well, still powerful, fresh, and vibrant.
It’s fun to recall what’s been played locally since January and be reminded just how rich the greater Boston area’s classical music scene really is.
The orchestral playing, a couple moments of questionable intonation notwithstanding, was commanding and, at times, exhilarating.
While 1962’s Symphony owes a clear debt to Stravinsky and Britten (especially its last movement), it sounds like nobody but Irving Fine. This is a score that orchestras ought to be lining up to play.
Snappy new recordings of the music of Milton Babbitt and George Antheil from the Boston Modern Orchestra Project while cellist Christ Wild’s disc offers a fascinating journey through some richly diverse musical soundscapes.