Bottom line: these are excellent performances and a valuable documentation of Elliott Carter’s early work.
Terrific performances, blazing with color, character, and wonderful technique from Neeme Järvi and the Royal Scottish National Orchestra; John Williams and the Vienna Philharmonic Orchestra offer considerable pleasure with some misteps; another triumphant release from Gil Rose and the BMOP.
Discs dedicated to overlooked composers Harold Shapero and Peter Lieberson are well worth your attention. Gustavo Dudamel and the Los Angeles Philharmonic Orchestra don’t do well by Charles Ives’ final symphony, but the three preceding symphonies fare better.
Child Alice is an important addition to the recorded catalogue of major American symphonic music.
BMOP releases a fitting, moving tribute to a giant of contemporary music; Johannes Moser turns in a sweeping performance of Elgar’s Cello Concerto.
Odyssey Opera’s first commercially-released album is a fun showcase; BMOP delivers an excellent performance of Four Saints in Three Acts.
Mason Bates’ music isn’t afraid to smile. If it doesn’t always run deep, it’s at least always engaging and pleasant to encounter.
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.
The Boston Modern Orchestra Project is in the habit of making convincing arguments for just about everything it plays and its performers do so again in these three CD releases featuring music by composers with a New England connection.
Musical quibbles aside, the performances on both albums from Boston Modern Music Project’s in-house label, BMOP/sound, are top-notch.