Cedille
When it comes to defining American music, Pacifica Quartet’s new recording offers some welcome food for thought.
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A three-movement concerto for violin and orchestra, “Dependent Arising” fuses the worlds of heavy metal, punk rock, and 20th-century classical composition into a furious, frenetic, sometimes tortured thirty-minute whole.
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These stories occupy their own, distinctive spaces but they share something intangible. A kind of humanity, maybe? Perhaps.
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When There Are No Words presents six pieces written between 1936 and 1980 by composers responding (at least seemingly) to contemporaneous political events and situations.
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Each month, our arts critics — music, book, theater, dance, and visual arts — fire off a few brief reviews.
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Johannes Brahms’s wistful 1894 Clarinet Sonatas receive fantastic performances.
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The young baritone Will Liverman’s performances are full of spirit and a wide range of moods.
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One of the year’s stand-out releases: full of wonderful music, all of it well worth getting to know, and played to the hilt.
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Arguably, the strongest entry in the BSO’s complete Shostakovich symphony cycle thus far; Esa-Pekka Salonen’s 2016 Cello Concerto is emotionally direct and, at times, simply gorgeous; the resurgence of interest in the music of Boston-educated composer Florence Price is a good thing.
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A triumphant disc from A Far Cry, some fresh thinking from Giuseppe Sinopoli and the Israel Philharmonic, and Thomas Hampson, a great purveyor of American song, focuses on Chicago.
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