Cedille
“Standard Stoppages” is a veritable cornucopia of sounds experienced in multifarious combinations, showcasing a diversity of fresh, inventive, and satisfyingly expressive voices operating at full tilt.
When it comes to defining American music, Pacifica Quartet’s new recording offers some welcome food for thought.
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.
These stories occupy their own, distinctive spaces but they share something intangible. A kind of humanity, maybe? Perhaps.
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.
Each month, our arts critics — music, book, theater, dance, and visual arts — fire off a few brief reviews.
Johannes Brahms’s wistful 1894 Clarinet Sonatas receive fantastic performances.
The young baritone Will Liverman’s performances are full of spirit and a wide range of moods.
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.
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.
Recent Comments